In these versions the last four bars appear to have been loosely attached to the rest of tune; at any rate, they are often found, apart from the first phrase, in Croatian carols and drinking songs. Again, among other districts there has been some rearrangement of the words, with corresponding changes in the music. Either the opening line is not repeated, which leads to the excision of the third bar, and a consequent alteration of cadence; _e.g._— (_d_) Variant from Kolnov (near Oedenburg)— [Music] or it is inserted again after the second, so as to give the stanza an alternation of masculine and feminine endings; _e.g._— (e) Variant from Čembe— [Music] The rest is easily divined. When in 1797 Haydn was commissioned to set the National Anthem, he must have had this tune before his eye, and have determined to use it as the pedestal of the _monumentum ære perennius_ which his loyalty erected.[31] And here a word may be said as to the manner in which the great tune appears to have been written. It was no momentary inspiration, no sudden impromptu that should come into existence at full growth; like most of Beethoven’s music, it was made carefully, and by deliberate weighing of alternatives. By a piece of singular good fortune, we are for once admitted to the master’s workshop, and allowed to take our lesson in melody by the observation of his practice. [31] There is no need to discuss here the question of Telemann’s Rondo. If its resemblance to Haydn’s tune be anything more than fortuitous, it is probably referable to the same source. See Josip Haydn, p. 81. Now the second strain of the folk-tune is too short to fit the second line of the poem; accordingly, Haydn began by extending its cadence, and instead of— [Music] wrote— [Music] following it with repeat-marks, after the common method of primary form. Two other changes explain themselves. The measure is dignified by the broader time-signature, and the accent shifted from arsis to thesis by the rearrangement of the bars. Otherwise, in the first half of the stanza the folk-tune remains unaltered. But for the second half it was manifestly insufficient. Both the possible variants are too trivial, and one too brief, to afford the requisite climax. As a natural consequence, Haydn discarded both, and proceeded to supply their place with two original strains, which in the Autograph sketch[32] run as follows:— [Music] [32] Preserved in the Museum of the Gesellschaft Library at Vienna. It is a small oblong sheet, similar to those on which Haydn wrote his “Canons,” and contains, first, the complete sketch of the melody— [Music] and below it the third strain amended— [Music] The improved version of the fourth strain is not there, but, curiously enough, Pohl notes an anticipation of it in the Mariazeller Mass. See Pohl’s Haydn, vol. ii. p. 333.