The modern sonata consists, as a rule, of four movements, contrasted in character and in key, but combining to form a rational and complete whole. In expression, the movements conform deftly to the natural requirements of human nature. The first is energetic, vigorous, and complex. The second is sentimental, melancholy, noble, or profound. The third affords relief from the emotional concentration of the second; it is a dance, full of vivacity, humor, fantasy, and whimsical impulse; with Beethoven it becomes a consummate embodiment of the spirit of comedy, which is quite as essential a part of human nature as that of tragedy and earnest emotion. The fourth and last movement is again vigorous and dashing, but in a less intellectual way than the first; it ends the whole composition in a mood of simple and happy animation. As regards structure, moreover, the movements differ in conformity with the needs of the situation. The first, which is to be heard when the mind is most attentive and unfatigued, is by far the most complex,--is indeed often the only one in what is technically called “sonata-form.” The second, the interest of which is more emotional than intellectual, is usually of fairly primitive structure. The third, a dance, is in the simplest of ternary dance-forms, that of the minuet, and, as written by Haydn and Mozart, might almost be taken bodily out of a suite. The final movement is also usually of simple, obvious structure. It is clear, then, that of all the movements of the sonata, the minuet is the nearest, in structure, to those more primitive types embodied in the suite.[28] It makes a link bridging the gap between the older form and its more highly-developed supplanter. A glance at its construction will show how near it is to those simple ternary forms already described in connection with the suite. The symphonic minuet of Haydn is built up out of phrases, welded together in the manner now so familiar to us. [Music: score] [Illustration: FIGURE XIII. THEME OF MINUET, IN HAYDN’S “SURPRISE” SYMPHONY.]