Misprints in clues spelt “Dot one’s Is and cross one’s Ts” and “Iddy-umpty” (see the table below), hinting at reading Is as Morse code dots and Ts as dashes in the normal clues. This yielded “Must it be?” and “Muss es sein?”, a question posed by Beethoven in his Quartet in F major, Op 135. The penultimate element in the first version (B = –•••), and three elements with identical material (L = •–••, F = ••–•, and V = •••–) are all described by “paeon” (a foot of four syllables, any one long, three short). B, L, F and V each occurred once in the grid, and all needed to be highlighted along with (the current entry) “major”, spelling out LVB (representing Ludwig van Beethoven) and F major. The element V suggested taking the fifth letter of the fifth word in each normal clue to give “diametric exchanges” which, when applied to “paeon” (and the diametrically opposed letters in the grid), resulted in “dit, dit, dit, dah”, the opening notes of “The Fifth (Symphony)”, and the Morse code for V. Finally F major needed to be changed to C minor, the key of “The Fifth”. The title referred to Beethoven’s answer to his question: “It must be”.
Listener Crossword No 238 (October 3, 1934) was headed by a single stave of music (from Beethoven’s Op 135), with the inscription “Muss es sein? Es muss sein! Es muss sein!”
Conventions: * = anagram, < = reversal
No | Misprint/Morse | Count of 5 | Answer | Explanation |
---|---|---|---|---|
Across | ||||
1 | ten(D)er | WEAK SPOT | WE + ASK * + POT | |
8 | c(O)ver | DRAPE | RAPE after D | |
13 | Ho(T)els | INNS | N(ot) in INS. | |
14 | m(O)th | LIVE-BOX | EVIL < + B + OX | |
15 | ma(N) | STATUA | SA about TATU | |
16 | grav(E) | INEARTH | IN [fashionable] + EAR + T + H | |
19 | eight(S) | OARY | (YR + O) < about (monoplegi)A | |
20 | ch(I)nk | RIME | Two definitions | |
22 | bu(S)hels | HOMER | HOME [in] + R | |
23 | b(A)ttle | FONE | F + ONE | |
24 | spoo(N)-shaped | CURET | CURE + T’ | |
26 | vi(D)eo | TAPE RECORDING | (ECO + (bi)RD) in TAPERING | |
31 | (C)lapped | NAPOO | NAP + OO | |
34 | Pou(R) | TEEM | M after TEE | |
36 | Gr(O)tty | TACKY | (s)TACKY(ard); sard = silica | |
38 | (S)ly | ARCH | CATHEDRAL IS * – DETAILS * | |
39 | (S)tem | EDDO | E(vening) + ’D + DO | |
43 | chican(O) | NORTEÑO | (R(ace) + T(ake) + E(njoyment)) in NO-NO | |
44 | ma(N) | ANYONE | (NY + ON) in AE | |
45 | l(E)af-cutter | ERGATES | GREATES(t) * | |
46 | Pre(S)ence | MIEN | I in MEN [chess] | |
47 | (T)ime | DIOTA | D(ecompose) + IOTA | |
48 | tart(S) | DESSERTS | STRESSED < | |
Down | ||||
1 | mag(I) | WISDOM | WIS + MOD < | |
2 | bo(D)s | ENTIA | IN TEA * | |
3 | see(D) | ANATROPY | A + N(erve) + ATROPHY – H | |
4 | fog(Y) | SQUARE | QU in (SAR + E) | |
5 | TT → –– = M | clou(D)y | PHAEIC | PHASE – S + I + C [cloudy] |
6 | IIT → ••– = U | flay(I)ng | OLIO | FOLIO – F |
7 | III → ••• = S | anor(A)k | TINNER | TIN + NER(d) |
9 | T → – = T | drea(M) | READ | DREA(m) * |
10 | II → •• = I | expr(E)sses | ABRAM | ABRAHAM – AH |
11 | T → – = T | depo(T) | POTHEEN | Hidden |
12 | TIII → –••• = B | powe(R)ful | EXHORT | EX + R in HOT |
17 | I → – = E | read(I)ng | ETHER | ETHE + R(eading) |
18 | h(U)nger | PYNE | Hidden | |
21 | (M)ould | MUCOR | MOR about UC [upper case] | |
25 | (P)errier | PIED NOIR | PIED + I in NOR | |
27 | grea(T)er | A MAJORI | A + J in MAORI | |
28 | (Y)ears | RAYNE | Y in RANEE – E | |
29 | TT → –– = M | Fran(C)h | DEED | DE + DE < |
30 | IIT → ••– = U | cann(E)d | STONED | Two definitions |
32 | III → ••• = S | inde(X) | PAINED | (PAY INDEX – Y – X) * |
33 | III → ••• = S | unlo(C)king | OCTANS | OCTANES – E |
34 | I → – = E | neig(H)bour | THINKS | THIN + KS; reference Kansas, Oklahoma = OK |
35 | III → ••• = S | embr(A)cing | DOZENS | D’ + OS about ZEN |
37 | III → ••• = S | adva(N)ce | CARGO | CAR + GO |
40 | I → – = E | usin(G) | DONET | D + ON + ET |
41 | II → •• = I | valu(E)less | ÉTAT | E + TAT |
42 | TI → –• = N | drug(S) | DOSE | DOES * |