CHAPTER X
AT THE ZENITH OF HIS FAME
Fate bestoweth no gift which it taketh not back. Ask not aught of sordid humanity; the trifle it bestoweth is a nothing.
—Hafiz.
apoleon's star, hitherto so uniformly in the ascendant, was now on the wane. His victories at the battles of Lützen and Bautzen in May of 1813, could not atone for the disaster of Moscow in the previous year. The crushing defeat encountered by the French at the battle of Vittoria by the English under Wellington, and the battle of Leipzig in October of the same year showed the world that here was only a man after all; a man subject to the usual limitations and mutations of mankind. The demigod was dethroned, the pedestal knocked from under, and all Europe rejoiced. The nightmare of fear which had so long pervaded all classes, was after all only a bad dream; the incubus could be shaken off, and mankind again resume its normal mode of living. Waterloo was already foreshadowed in the events of this year, and the people were wild with joy.
The alliance which followed Napoleon's marriage to the Austrian Archduchess did not have the good political results which Metternich expected from it. The war indemnity of fifteen millions of dollars, the cession of provinces whereby three and one half millions of people were lost to Austria, the reduction of the army to 150,000 men, exactions made by Napoleon at the time of the marriage, did not tend to make him popular. The alliance existed in name, not in sentiment. He was still regarded as the conqueror, not the ally. Austria had been lukewarm all along, and when she changed front in 1813, and joined the coalition against him, acting in concert with England, Russia and Prussia, the measure had the moral support of the nation. This was three years after his marriage to the Archduchess.
The news of the battle of Vittoria reached Vienna on July 13. Beethoven was importuned by a clever friend, M. Maelzel, a musician, to write a symphony in commemoration of it, and to call it "Wellington's Victory." Maelzel was a man of remarkable mechanical ingenuity. He had before this won his way into Beethoven's good graces by making him an ear-trumpet, which he used for several years. He was the inventor of the metronome and a man of considerable intelligence. He had invented a Panharmonicon, an automaton instrument containing most of the instruments found in full orchestra, on the principle of the modern orchestrion. Allied to his talents as musician and inventor were those of good business ability and a knowledge of human nature. The Battle Symphony appears to have been written originally for the Panharmonicon. "I witnessed," says Moscheles, "the origin and progress of this work, and remember that not only did Maelzel induce Beethoven to write it, but even laid before him the whole design of it; writing the drum marches and trumpet flourishes of the French and English armies himself, giving Beethoven hints how he should herald the English army by the tune of 'Rule Brittania;' how he should introduce 'Malbrook' in a dismal strain; depict the horrors of the battle, and arrange 'God Save the King,' with effects representing the huzzas of the multitude. Even the idea of converting the melody of 'God Save the King' into a subject of a fugue in quick movement emanates from Maelzel." It is hardly conceivable that Beethoven, if left to himself, would have produced anything of this sort. But it exactly suited the popular feeling, and was such a success that Beethoven was induced to arrange it for full orchestra. This work is never classed among his symphonies, although it served to make him very popular with the Vienna public.