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sive grandeur of his countenance. The impetus of his superb imagination imparted an inconceivable dignity to every lineament, to his capacious forehead, to his broad and distended nostrils, to the fierce protrusion of his under-lip, to the mobile and generous expression of his mouth, to the tawny yellow of his complexion, to the brown depths of his noble and dilated eyes. There was something in unison with the glorious sounds that reverberated through the chamber, even in the enormous contour of his head and the gray disorder of his hair. He seemed to exult in the torrent of melody as it gushed from the piano and streamed out upon the dusk of the evening. While Cagliostro was listening in an ecstasy of admiration, he was startled by a sudden clangour among the bass-notes--the music seemed to be jumbled into confusion, and the ear was stunned by a painful and intolerable dissonance. On looking more intently, he perceived that the composer had let one hand fall abstractedly upon the key-board, while the other executed, by itself, a passage of extraordinary difficulty and involution. Then, for the first time, the thought struck him that the musician was deaf.[17] Alas! the supposition was too true: Beethoven was cursed with the loss of his most precious faculty. Those who appreciate the full splendour of his gigantic genius, those who conceive, with a distinguished composer now living, that "Beethoven began where Haydn and Mozart left off;" those who coincide with an eminent critic, in saying that "the discords of Beethoven are better than the harmonies of all other musicians;" those, in fine, who worship his memory with the devotion inspired by his compositions, can sympathise in that terrible deprivation of the powers of hearing, by which his art was rendered a blank, and the latter years of his life were imbittered. They will remember with gratitude the joys they have derived from the effusions of his fruitful intellect; they will call to their recollection the joyous chorus of the prisoners in _Fidelio_,--the sublime and adoring hymn of the "Alleluia" in _The Mount of Olives_,--the matchless pomp of the _Sinfonia Eroica_,--the passionate beauty of the sentiment of _Adelaida_,--the aerial grace of his quartets and waltzes,--the thrilling and almost awful pathos of the dirge written for six trombones,--but, above all, they will recall to mind the noblest work ever conceived and perfected by composer, one of the greatest a
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