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Man who freed music |
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Part I. His life and works. The nickname. Ludwig's nickname ; Daydreams ; "Scratch according to the notes!" ; Ancestry ; Influence of Flemish blood ; Grandfather Ludovicus ; Father John the Gullet-Baptist ; Mother Maria Magdalena -- A town of music lovers. Ludwig's birth, December 16, 1770 ; No. 20 Bonngasse ; Family misery ; A musical atmosphere ; How the elector sacked the classics ; The elector's love of a practical joke ; 1780, Max Franz, a fiddling elector ; A street of music lovers ; Early trios op. 1, 3, 8, and 9 ; Second-violin trouble ; "Man, help thyself!" ; A rich period for the arts ; Teachers -- The Spanish castle tunes. Neefe, the music master 1779 ; Hiller's aesthetic ideas ; Music vs. literature ; The bagatelles of 1782 ; Starting the ball of Romanticism ; Becomes court organist, 1784 ; Visits Vienna, 1787 ; Praise from Mozart ; Mother's death ; A second home at the Von Breunings ; Slow ripening ; Count Waldstein ; Improvisation ; Head of the family ; Encouragement from Haydn, 1792 ; Name first joined with those of Mozart and Haydn -- Young Pygmalion and the plaster casts. Vienna, 1792 ; Social success ; Dress and dance ; Haydn's neglect ; Lessons from Schenck Sub Rosa ; Studies with Albrechtsberger, 1793-1795 ; Fugues and the breath of life -- The musician moves above the salt. Discipline ; Revolt ; Studies with Salieri ; Attic to palace ; A talented nobility ; Privileges at court ; Outwitting the musical parasites ; Proud independence -- He comes, he plays, he conquers. Musical conditions in Vienna ; First public appearance in Vienna, 1795 ; B flat piano concerto ; Presence of mind at rehearsal ; Making money ; Father's death ; Sends for brothers ; Trios, op. 1 ; Haydn's attitude towards them ; "Joseph Vance" tunes ; Ambition -- "The great mogul". 1796, first piano sonatas ; First violoncello sonatas ; Disgusted by listeners' tears ; His one-way sense of humour ; 1797, E flat sonata ; New friends ; Strength, his morality ; Was Beethoven conceited? ; Haydn and Prometheus ; Humility towards forerunners ; Socialistic ideas ; "I too am a King!" ; Ridicules Prince Lobkowitz ; Describes friends as "Instruments on which I play" ; Quick alternations of a mood ; Jekyll and Hyde -- Catastrophe fingers the knocker. 1798, approach of deafness ; Despairing music ; Sonatas op. 10 ; Courage ; 1799, Sonate Pathetique ; Pianistic depths and modernity ; The epoch-making germ-motive ; Its interlocking of movements ; Its far-reaching influence ; The source-motive ; Groups of compositions thematically interlocked ; Emotional extremes in his music -- Beethoven hugs the contrabass. Learns from virtuosos ; Plays with Dragonetti, 1799 ; Original cure for a financial crisis ; The Beethoven myth ; Hurls dish at waiter ; Fun in his music -- Finding his medium. Cautious approach to new forms ; 1800, first symphony ; Septet ; The string quartet as a vehicle ; The Lobkowitz quarters, op. 18 ; The first piece of jazz ; His first real Chef d'Oeuvre ; The Schuppanzigh quartet ; Lichnowsky gives Beethoven Cremona Fiddles and annuity -- Prometheus writes a ballet. 1800, piano duel with Steibelt ; Robinson Crusoe costume ; His difficult personality ; Enmity of rivals ; 1801, indelible sonata in B flat ; "Pastoral" sonata ; Passion for out-of-doors ; 1801, Prometheus ballet ; 1802, the pirated string quintet ; Freer handling of form in op. 26 and 27 ; A flat sonata ; The variation forum ; Origin of funeral march ; Musical parody ; 1802, "Moonlight" sonata ; Legends ; Possible interpretations ; Violin sonatas, F major and C minor -- Le grand sourd. The rift in the lute ; First admissions of deafness ; 1801, letter to Amenda ; Letters to Wegeler ; Antaean resilience ; Relations with brothers ; Insults prince Lobkowitz ; 1802, Heiligenstadt testament ; Effects of deafness ; Frees creative music from |
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composer-executant tradition ; And from taint of virtuosity ; Causes of deafness ; Nature of his disease -- The mortal beloveds. Beethoven's virility ; Puritanism of biographers ; Attitude toward women ; Rudeness to servant and Countess Guicciardi ; Magdalena Willmann ; Therese Malfatti ; The Brunswicks ; Bettina Brentano ; Beethoven as a lover ; Sublimation and compensation ; Handicaps ; His loss, our gain -- "A fresh start." 1803, sonatas, op. 31 ; A new style ; "Read Shakespeare's Tempest" ; April 5, 1803, a Beethoven program ; Concert conditions then and now ; First performance of C minor concerto ; A terrible rehearsal ; Second symphony ; The Beethovenian Scherzo ; Thematic interlocking of movements ; The triad, a source-motive as well as a germ-motive ; The mount of olives ; The Gellert songs ; "Kreutzer" sonata ; May, 1803, first performance by Bridgetower, a mulatto ; Dedicated to the unappreciative Kreutzer -- Beethovenism. What are classicism and romanticism? ; Beethoven simultaneously embodies both ; Political revolution and romanticism ; The young aesthetic radicals ; Formlessness as the law of form ; Creators and the golden mean ; Beethoven harmonizes extremes ; Breadth of his interests -- Prometheus brings fire. Napoleon and the Eroica, 1803 ; Absurd poetic programs of early critics ; Beethoven on Napoleon's death ; His possible attitude towards the Scherzo ; The germinal Prometheus tune ; Bekker on the Prometheus idea ; Momentousness of the Eroica ; One gigantic set of variations ; The hero theme a germ-motive ; Derived from the Prometheus tune ; Resemblances in Mozart ; Other thematic liaison work ; Interlocking of movements deliberate ; Novelty of the Eroica ; The epoch-making Beethovenian Scherzo ; Finale inadequate ; Sonata-form freed ; The episode ; Burning his bridge-passages ; Sonata-form fused ; The symphony unified ; Press unfavourable -- The practical joker. Beethoven carries on the torch of freedom ; Psychological insight ; Allows consecutive fifths ; "I may do it, but not you" ; Rooms with Von Breuning, May, 1804 ; Illness ; Quarrel ; Reconciliation ; Von Breuning's letter to Wegeler, September, 1804 ; Beethoven enjoys shocking the reactionaries ; A musician's practical jokes ; Baton technic ; Confuses the orchestra ; Baits an angry oboist ; Plays pranks on singers ; A poor sportsman ; The Andante Favori and his revenge on Ries ; The first quartet concerts, 1804 ; Beethoven's disconcerting behaviour -- Beethoven's "Tempest." 1804, "Waldstein" and "Appassionata" ; A well-known source-motive ; Schindler asks meaning of "Appassionata" ; "Read Shakespeare's Tempest" ; Did the critics read the play? ; Growing popularity ; Visit form a nameless beauty ; His music massacred ; Origin of the joy theme -- Fidelio: round peg, square hole. Search for a libretto ; Bouilly's Leonora, or Conjugal Love ; The plot ; First production, November, 1805 ; Failure ; Compressed to two acts ; Second production, 1806 ; Second revision ; Third production, 1814 ; His genius unoperatic ; Thoughts too deep for words ; Lack of sympathy for vocal music ; His "Crown of martyrdom" ; Fidelio involved a loss to music ; Beethoven an introvert ; The opera's high lights ; Chances for self-expression ; Fidelio's influence ; The overtures ; Leonore no. 3 too overpowering ; Beethoven liberates the overture ; And the opera composer ; Catastrophe and courage -- Quartets "for a later age". 1806, Beethoven rebounds from misfortune ; Finds self-defense and escape in composition ; Therapeutic music ; Sustained quality of works 1804-1809 ; A happy period ; 1806, Count Rasoumowsky commissions three string quartets ; 1808, founds Schuppanzigh organization ; Lobkowitz and Rasoumowsky quartets contrasted ; Chief characteristic of op. 59 ; F major quartet ; Liberates sonata-form ; A new kind of Scherzo ; E minor quartet ; B-A-C-H anagram ; "Hero" quartet ; Hostile reception ; Beethoven's confidence in his future -- Peace, power, and plenty. Violin concerto, 1806 ; Fondness for rhythmic mottos ; G major piano concerto, composed 1805-1807 ; Beethoven abolishes opening Tutti ; Frees the concerto orchestra ; Aids evolution of piano ; Alternation of mood in his works ; Fourth symphony, 1806 ; Echo from his popular minuet -- The princely rabble. Takes Archduke Rudolph as pupil, about 1805 ; Smashes a bust of Prince Lichnowsky, 1806 ; Applies for subsidy as opera composer ; Loyal support of Viennese nobility ; Coriolanus, 1807 ; Universalizes the descriptive overture ; Reconciled to Clementi, 1807 ; Count Gleichenstein replaces Zmeskall as factotum ; The brothers ; Mass in C major, finished September, 1807 ; Pioneer in the emancipation of church music ; Prince Esterhazy disappointed ; Fancied insult by Hummel -- |
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Who knocks at the door?. Fifth symphony, composed 1805-1807 ; Compared with Eroica ; The Per Aspera ad Astra pattern ; Questionable origin of "Fate knocks at the door" ; Duping Schindler ; Many possible interpretations of the C minor ; Beethoven and the sea ; Self-determination for listeners ; Music's emancipation from literature ; The music of the C minor ; Sketch books ; Borrowings from Mozart ; The symphony and the listener -- Fate fumbles at the box office. 1808, threatened loss of finger ; Honours Haydn ; Material sources of inspiration ; In Questa Tomba ; 1808, "Ghost" and E flat trios, op. 70 ; First and second period compared ; Were these trios begun as piano sonatas? ; Friendship with Countess Erdody ; A major violoncello sonata, 1808 ; "Inter Lachrymas et Luctum" ; Bombardment of Vienna ; G minor phantasie ; Improvisation on a second violin part ; Memorable Beethoven concert, December 22, 1808 ; Criticisms of fifth symphony's debut ; Meagre receipts ; Performance botched ; Choral Fantasia, op. 80 ; Beethoven humiliates the orchestra -- "The princely rabble" is princely. Growing obsession of persecution ; Vienna an appropriate home for Beethoven ; Offer from court of Cassel, before November 1, 1808 ; Annuity from Viennese nobility, February 26, 1809 ; Irregular payments and depreciation ; Ries in trouble ; F sharp major sonata, October, 1809 ; "Adieu, absence, and reunion" sonata, 1809-1810 ; "Emperor" concerto, 1809 ; "Harp" quartet, 1809 ; Beethoven repels the old, attracts the young -- What fiction does to music. The goriest battlefield in aesthetics ; Music and meaning ; A test of music's infinitude ; Caging the phoenix ; Fiction the popularizer ; Effects of music and poetry on one another ; Music the last art to discard fiction ; Story of program music ; The epoch-making Pastoral symphony, 1808 -- Program music and the Pastoral. Pastoral symphony published 1809 ; "More expression of feeling than tone-painting" ; Beethoven struggles against realism ; Love of nature ; Fondness for water ; And animals ; Making nature natural ; Heiligenstadt ; First movement ; Scene by the brook ; The bird joke ; Enter Mr. Hyde ; A daring harmonic effect ; Beethoven relishes bad music ; Makes friends with tavern orchestra ; Jovial origin and humour of "Peasants" Merry-Making? ; Beethoven's theory of program music summarized ; Overtures, his best program music ; All music is program music ; Literature: music: the conscious: the unconscious ; "My realm is in the air" -- The immoral, immortal Bettina. Extraordinary productiveness 1800-1810 ; Sterility 1810-1820 ; The climacteric theory ; Woos Therese Malfatti, 1810 ; Enter Bettina Brentano, May 1, 1810 ; She takes him to dinner ; First to express his true greatness ; Was she reliable? ; Her letter to Goethe, May 28, 1810 ; "Music is a higher revelation than all wisdom and philosophy" ; Effect of Goethe's poetry on Beethoven's creative faculty ; The essence of music ; "I had a raptus" ; Automatisms ; Goethe's reply ; Controversy about Beethoven's letters to Bettina ; He slights Bettina ; Heals her sister-in-law with the music cure -- Egmont, the Serioso and the "Archduke". Egmont, 1810 ; Growing fame ; Quartett Serioso, 1810 ; Celestial music ; "Archduke" trio, 1811 ; At Teplitz, 1811 ; A circle of poets ; Amalie Sebald -- Beethoven's Isolde. Letter to the "Immortal beloved" ; Controversies about her identity ; Various names championed ; Sonneck's list of requirements ; Was Beethoven in love with two women at once? ; An unsolved but unimportant mystery ; The role of love in Beethoven's life -- Drunk with genius. 1811, King Stephen ; The Ruins of Athens ; Beethoven overreaches the London philharmonic ; Seventh symphony, 1811-1812 ; Poetic programs ; Repudiated by composer ; The "Unproblematic" symphony ; Development of introduction and coda forms ; The music of the seventh ; Beethoven's first musical expression of boisterous humour ; His rough wit in daily life ; The seventh's illusion of vastness -- "When two strong men." Returns to Teplitz, 1812 ; Meets Goethe ; Insults imperial court ; Friction with Goethe ; Scolds him for not applauding ; Goethe resents Beethoven's power ; Charming letter to little family ; Largeness of outlook ; Priggishness in letters ; Inconsistency of his acts -- The humorous symphony. Meddles in brother's love affair ; Eighth symphony, 1812 ; "Sinfonia Giocosa" ; Plays fast and loose with the pedants ; A genial conjuror ; Allegretto inspires Rossini? ; It originates in canon to Maelzel ; Minuet ; Finale ; Variety in inter-movement unity -- Part II. The man who freed music. When Beethoven laughed. Humour in Beethoven's music ; Becomes a creative force ; Musical slaps on the back ; False-start passages ; Practical jokes on players ; Baulked expectations ; Musical puns ; Elfin fun ; Infectious verbal felicity ; Violoncello humour ; Pun habit ; "Ears on his feet" ; Fantastic threats ; Pun in C sharp minor ; Horse-play with the Abbe Stadler ; Laughs at himself ; Irony -- The Beethovenate symphony. "Corkscrew" sonata, finished 1812 ; Shows consideration for Rode ; 1813, a bad year ; Poverty ; Maelzel's panharmonicon ; Battle pieces in fashion ; The "Battle" symphony ; First performance, December 8, 1813 ; Celebrities in the orchestra ; Popular success ; Defrauds Maelzel ; Repents of his folly ; His forward-looking mind ; Interest in invention: fountain pens, aviation, steam cannons, steamboats, lifts ; The Glorious Moment ; Polonaise, op. 89 ; E minor piano sonata, op. 90 ; Its program ; Last revision of Fidelio, 1814 ; The germ-motive ; The source-motive ; Marginalia ; "The mad muisician" ; "Man, help thyself!" -- "As good as lost". Last public appearance as pianist, 1814 ; Growing avarice ; Kindness to brother ; Karl dies, November 16, 1815 ; Beethoven joint guardian of nephew ; Litigation with sister-in-law ; Fervid love for nephew ; The "van" in his name ; A purely musical witticism ; Receives freedom of city, about December 1, 1815 ; Violoncello sonatas, C major and D major, 1815 ; Tentative beginning of third period ; Its characteristics ; A major sonata, op. 101 ; Song cycle, To the Distant Beloved, 1816 ; A milestone in musical history ; Marginalia, 1816-1817 ; Fish suppers at Nussdorf ; His favourite symphony ; Despair ; Offer from London philharmonic ; Hammerklavier sonata, 1818-1819 -- The emancipator emancipated. Present from Broadwood, 1818 ; Progress of deafness ; Suspicion and violence ; A musical bootjack ; The conversation books ; Irregular habits and exposure ; Failing health, 1818-1823 ; "A hearty, free word" ; Helplessness ; Creative freedom ; Inertia in starting ; New compositions ; 1820, E major sonata, op. 109 ; 1821, A flat sonata, op. 110 ; A memory sonata ; Simultaneous echoes of Haydn, Mozart, and Bach ; Souvenir of the Eroica ; Fugue-finale ; "Imagination claims its rights" ; 1822, C minor sonata, op. 111 ; Its difficulties for the listener ; Beethoven arrested as a vagabond, 1820 ; Present intelligence of Vienna police ; Beethoven's concentration ; Sir John Russell's description of him, 1821 ; Tricked into improvising ; Rossini calls, 1822 ; Fidelio revived, 1822 ; Beethoven fails as conductor ; The real tragedy of his deafness -- He frees the mass. Mass in D, begun 1818 ; Intended for Rudolph's enthronization ceremony, 1820 ; But not finished until 1823 ; An unecclesiastical and unvocal writer ; His personal creed ; His detachment from earth, 1819 ; Missa begun as an occasional work ; Music with a purpose ; Handicaps to composition ; Comparative failure of Kyrie, Gloria, and part of Sanctus ; Power and beauty of Credo, Benedictus, and Agnus Dei ; A barefaced plagiarism ; Hints of military music ; The finest melody in the Missa ; Evaluation as a whole ; Defensive rationalization ; Beethoven frees the mass -- Mr. Hyde and the hell-hounds. Bad faith with publishers ; Palliations ; Did Beethoven have a higher private moral code? ; Weak case for the defense ; Solicits private subscriptions for Missa ; Misrepresentations to Zelter ; Letter to Goethe, February 8, 1823, unanswered ; Schindler established as factotum, 1822 ; Liszt's debut, 1823 ; Diabelli variations, 1823 -- The Choral symphony. Choral symphony, begun before 1817, finished 1823 ; Long incubation period ; 1818, memorandum for ninth and tenth symphonies ; Fusion of the two schemes ; Echoes ; Initial difficulty in composing ; The program question ; Beethoven's three most original contributions ; First movement ; Scherzo ; The kettledrum joke ; Origin of first subject ; Adagio-Andante ; Choral finale ; Skill in selecting words ; Merits and defects of Hymn to Joy -- He embraces the amateurs. February, 1824, an address to Beethoven ; His indecision ; Conspiracy of friends ; Announcement of concert ; Rehearsal ; Concert May 7, 1824 ; Deaf to applause ; A financial failure ; Accuses supper guests of dishonesty ; Breaks faith with London philharmonic ; Word portrait by Rochlitz -- |
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"La Gaiete". 1824, first Galitzin quartet, E flat ; Its emotional unity ; Suggestion of the Pathetique ; And of the Missa ; Inspires Schumann and Brahms ; An impish passage ; First performance, 1825 ; Two shabby tricks ; Failure of Schuppanzigh ; Replaced by Boehm ; Holz supplants Schindler ; Domestic troubles ; Furious letter to copyist Wolanek ; Minerva and the sow ; Beethoven not to be judged by ordinary standards -- The A minor quartet. Illness ; 1825, second Galitzin quartet, A minor ; Mottos of slow movement ; Programs ; Echo of Arioso Dolente ; Defect of first movement ; Economy in Allegro ma non Tanto ; Harmonic syncopation ; High lights -- Less lack of fancy. 1825, word portrait by Rellstab ; Beethoven complains of neglect ; Relations with nephew ; Loneliness ; Premonitions of death ; Karl runs away ; 1825, third Galitzin quartet, B flat ; "Quartetto Scherzoso" ; Beethoven's "Leibquartett" ; Cavatina cost him tears ; Modesty ; Contrapuntal miracles in first movement ; Influences Wagner ; Fairy music in Andante con moto ; The great fugue ; Writes a new Finale -- "Spangy" in the black Spaniard's house. 1825, moves to black Spaniard's house ; Renews intimacy with Von Breunings ; "Trouser button" ; Relics ; Frau von Breuning ; An embarrassing escort ; Unconsciousness of discord -- The master's masterpiece. C sharp minor quartet completed, 1826 ; Its preeminence ; Sketches ; "Cribbed," yet "Spanking new" ; The author's own reaction ; "Twenty minutes of reality" ; From heaven to earth ; The opening fugue ; "Consciousness surpassing our own" ; An expressionistic Allegretto ; A mighty compensation -- The "Madman" at Gneixendorf. Karl goes from bad to worse ; Lays hands on his uncle ; Attempts suicide ; Decides to be a soldier ; Beethoven takes him to Gneixendorf, September, 1826 ; A trying guest ; Homely brother Johann ; Beethoven's habits of composition too much for cook ; The vine-dresser valet's account ; What the natives thought of him ; "A Bissel Stada!" ; Friction -- Retrospect in F major. October 30, 1826, last quartet finished ; Reason for its brevity ; The Merchant of Venice ; Op. 135, a retrospect ; "The Midway" forecast ; Origin of "Muss es sein?" ; The housekeeper theory ; Dembscher and the canon -- The divine comedy is finished. Return to Vienna, December 2, 1826 ; Last illness ; Brave wit during operation ; Sick-room conditions ; Enjoys gift of Handel's works ; Confident of posterity's verdict ; Tries to learn arithmetic ; Representations of poverty ; Gift of 100 [pounds] from philharmonic, February 28, 1827 ; Was it obtained under false pretenses? ; Rationalization ; "A stormy flood" ; Karl leaves Vienna ; Mental confusion ; Schubert's visit ; Last handwriting, March 23 ; "Applaud, friends" ; Last words, March 24 ; Delirium ; Death, March 26, 1827 ; Cause of death ; Finding the secret drawer ; Philharmonic's handsome action ; Burial, March 29 ; Reburial, 1872 ; Tomb -- How Beethoven freed music. A versatile emancipator ; Established composer on professional basis ; Democratized and universalized music ; No disparagement of Bach implied ; Cultivated nuance ; Developed the continental concert ; Matured the art ; Freed form ; Helped to liberate harmony ; Created new technic for keyboard instruments ; Emancipated modulation ; Took music out-of-doors ; Freed it from cloistered outlook ; The Luther of church music ; And of the dramatic overture ; Rid music of exhibitionism ; Fought venality ; Developed mechanism of piano ; And of orchestra ; Dissolved time-honoured identity of composer and interpreter ; Made music more self-contained ; Encouraged rise of creative listening ; Beethoven the chief of many liberators -- What Beethoven means to us. A supreme master of construction ; Novel architectonic method ; Made forms "Internal" ; Developed them ; Closely knit structures ; Lengthened sonata and symphony ; Multiplied movements ; The germ-motive ; The source-motive ; Modified the rondo ; And the fugue ; Three greatest contributions ; The titanic Allegro ; The Scherzo ; The mystical Adagio ; Treatment of variation form ; Originality ; Dramatic power ; Unexpectedness ; Lavish vitality ; Economy ; Concentration ; Large calibre ; The Beethoven religion ; Beethoven as physician ; Conscientious idealism ; Trough and crest ; Fluctuations of fashion -- Part III. Beethoven's workshop. The borrowing alchemist. Prospecting adventures in Beethoven ; True value of such researches ; Beauty in the making ; Plagiarism vs. genial appropriation ; Choice of subject matter for Part II ; Beethoven borrows from Haydn ; And Mozart ; From himself ; Foreign folk tunes ; From himself ; The rust imposture ; Mozart fathers the joy tune ; Echoes in the last quartets -- Beethoven invents the germ-motive. Germ-motive vs. source-motive ; New meaning of the word "Idea" ; Beethoven feels his way ; A consciously used device ; Treatment of germ-motive in Part I ; Progenitor of Leitmotif ; Early experimentation ; First elaborate use in Pathetique ; C minor quartet ; Violin sonatas A minor and F major ; Second symphony ; "Kreutzer" sonata ; Eroica ; "Appassionata" ; C minor symphony ; Serioso quartet ; B flat trio ; Eighth symphony ; A masterpiece of camouflage ; Beethoven describes his own creative processes ; Initial germ-motive in last sonatas ; Choral symphony ; Last quartets -- Some source-motives. Source-motives in part I ; Thrift and resource ; "Certain musical pets" ; Pathetique source-motive ; Its modern uses ; Four quarters and a dotted half ; A motive from op. 14, no. 2 ; Joy source-motive ; Great fugue motive ; Adelaide motive ; Triad habit -- A chief source-motive of Beethoven. Economy of material ; Variety in unity ; Originality and uniqueness not claimed for motive ; Fertility of creative resources ; Relative frequency of motive in his symphonies, sonatas, etc. ; Was its use conscious? ; Devices for concealment ; The formula stated ; Traced through entire life work ; Its protean nature ; Conscious employment ; Beethoven as an improvisator ; Improvises on this motive ; Inter-resemblance of certain uses ; Newman's three notes ; His theory of Beethoven's unconsciousness ; Employment of source-motive by other composers ; Objects of this chapter ; The anagram idea ; Implications -- Appendix. How to know Beethoven through automatic instruments ; Glossary; some technical terms every music lover should know. |
| General note | In abridged form part one of this book has appeared serially in 'The Outlook and Independent'. |
| General note | "A list of Beethoven's printed works": pages 642-660. |
| Bibliography note | Includes bibliographical references (pages 636-641) and index. |
