On the other hand, the impressive peculiarity of his emotional nature is its normality. Emotionally he was typical rather than personal, centred in the common interests and instincts rather than eccentric to them, conservative and conventional rather than radical and individual. This is doubtless the meaning of that somewhat stolid jaw, that firm and vigorous, but rather insensitive mouth, that sane but unimaginative configuration of the whole lower face, the expressive seat of the will and the feelings. Beethoven is interesting largely for his departure from the average human norm, his highly developed selfhood, his inexorable individuality; Haydn, on the contrary, compels our study just because he is so like other men, so amply representative of them within their own limitations. The traits that stand out in him are traits “in widest commonalty spread”; a brisk and busy vivacity, finding itself much at home in this world, with plenty to do and to inquire into; connected with that, a half-childlike shrewdness in affairs, a canny ability to take care of himself, practical talent, worldly skill; on a higher plane, a sunny kindliness and good cheer that make him one of the most genial of men, a kind of simple human warmth and happiness and joy; finally, on the highest plane of all, though but a projection of the human cheer, an ardent piety, a wholehearted faith in God, an earnest and yet quite simple religious devotion. These are traits not exclusively Haydnish, so to speak, as mystical devotion and resolute idealism are Beethovenish, but common to all humanity. Now, these two fundamental qualities of Haydn’s nature as a man, his emotional normality and his mental efficiency, deserve the especial attention we have been giving them, not only on account of their intrinsic human interest, but also because they determined the quality of his work as a musician. His wide sympathy with ordinary men, his practical sense and shrewdness, his brisk good cheer, his childlike and wholly unmetaphysical piety--all these traits made his music, in its expressive aspect, far more catholic, far more universal, than the austere and ethereal music of mysticism. At the same time, his practical and systematic mind took firm grasp upon these novel elements of expression, and wrought them into a clear and easily comprehensible scheme. He stamped the naïve and fragmentary utterances of folk-feeling with the careful, purposeful orderliness of art; and by so doing, launched music upon a new period of development.