^{page 122 note 1} For example, a piece of ‘background’ to the Eroica Symphony is that Beethoven first dedicated it to Napoleon, then changed his mind about Napoleon and dedicated it to Prince Lichnovsky. What has this to do with the music? Absolutely nothing. A classical case of muddle between external background and criticism of the absolute work of art is Mark Pattison on Samson Agonistes. He might actually have criticised better with less information.

^{page 123 note 1} With a reference to Rose on the Παλα<òν Πένθоς Greek Poetry and Life, p. 79 ff.Google Scholar