There are thousands of songs which please superficial singers and audiences without awakening the least question as to the worth of the poem and its author. This is not true of Franz's songs, however, and never has a song writer succeeded better than he in doing his chosen poets and poems full justice. He did not use them simply to serve his musical purpose, but adapted himself to them in a way which might be called self-abnegation of the highest form. It is this characteristic, together with his use of the old contrapuntal and polyphonic art, that gives Franz's compositions a classic aspect. His aim and task was to find a formally clear, distinct expression for every kind of poetical sentiment, and one hardly errs in saying that Franz has outgrown the romanticist in himself and donned the superior garb of classical art. The musical construction of his songs is firm and perfectly developed, and allows no room for misunderstanding or individual conceptions. His ideas are expressed fully and clearly, and although the general impression produced may continue to move us, it is brought to a complete, satisfactory conclusion by the last note. One feels that here a superior artistic spirit, an eminent musical genius reigns; a genius drawing inspiration from the purest musical source, guided by high literary and æsthetic culture, scorning imitation and cheap, tawdry effects, but in each new song striving for strength, character and perfect harmony with the poet whose work his music honors.