Rarely one meets with a long cantilena, in Schumann's earlier works, the material generally having a short, somewhat fragmentary character, often consisting of but a few notes, though treated with a wealth of rhythmical or harmonical combinations. There is also a great variety of moods, and the contrasts are not only very distinct, but often unexpected and sudden. As a dreamer full of sweetest or saddest thoughts he is not less touching than as a musical knight of the most chivalrous spirit or as a humorist such as Beethoven. Nowhere can one find a finer exhibition of that peculiar German humor which "laughs through tears," than in Schumann's charming "Humoreske" (Op. 20). The arrangements of the Paganini caprices and studies have a more pedagogic purpose, while the great Toccata (Op. 7) and the Allegro (Op. 8) may be called Schumann's noblest contributions to the literature of bravoura-pieces. More characteristic of his individuality, however, are those works with which his name as a musical poet will always remain especially connected--"Papillons," "Carnival," "Davidsbündlertänze," "Phantasiestücke," "Scenes from Childhood," "Kreisleriana" and "Noveletten." Distinct pictures of his poetical imagination form their object, yet it is well to remember the composer's emphatic declaration, that the music originated in his mind and was written down before he even thought of the title, which he afterward gave the composition. Yet so wonderfully appropriate are many of these titles, that it is often impossible not to perceive their meaning in the music. What an inexhaustible wealth of musical ideas is hidden in all these productions, how many new rhythmical combinations, how many "sweetest discords"! Who has ever understood how to show so much depth of feeling and originality of thought, such a rich imagination within such narrow limits as has Schumann, particularly in the "Papillons" and "Carnival"! One feels that much of his own life's experience, much of the romance of his heart is embodied in this music. Thus the "Davidsbündlertänze" are by no means "dances," but the Davidites' knightly fights against the Philistines, nor are the "Kreisleriana" a portrayal of the eccentric Capellmeister in E. T. A. Hoffmann's tale, but the expression of Schumann's own enthusiastic, romantic, many-sided nature and of the ever-varying moods of his soul. In the Novelettes he tells us, in a most pleasing and spirited language, the story of his struggle for Clara's heart. The Phantasiestücke contain veritable gems among modern pianoforte music, such as "Evenings," "Why," "Traumeswirren" and "Aufschwung." The utmost delicacy of sentiment and fineness of musical expression are found in the "Scenes from Childhood," which are not meant as compositions for children, but as musical genre pictures from the children's life. Other fine pieces such as "Arabeske," "Blumenstück," "Nachtstücke," may be only mentioned, though each deserves a detailed analysis.