As regards structure, Dvořák is felicitous but eccentric. He does not lay out his plans with the careful prevision of one to whom balance and symmetry are vital. His scheme is not foreordered, it is sketched currently. Thus, for example, his modulation is singularly radical, impulsive and haphazard. He loves to descend unexpectedly upon the most remote keys, never knows where he will turn next, and when he gets too far from home returns over fences and through no-thoroughfares. Often, with him, a change of key seems dictated merely by a desire for a particular patch of color; he wishes to brighten the tonal background with sharps or mollify it with flats, and plump he comes to his key, little caring how he gets there or where he is going next. His use of contrasts of tonality is thus characteristic of his love of color-effects for themselves and his willingness to subordinate to them purity of line. Again, it is probably not forcing the point to see in his use of uneven rhythms, such as five and seven bar periods, another instance of the same tendency to license. Undoubtedly in part a legacy from Bohemian folk-song, which is particularly rich in them, his uneven rhythms seem to be also in part due to a certain fortuitousness of mind. It is as if he closed his phrase, without regard to strict symmetry, wherever a good chance offered. The theme of the Symphonic Variations, opus 78, is an example. It is interesting to contrast this rhythmic trait of Dvořák's with Grieg's accurate and sometimes almost wearisome precision of outline. Both men derive from folk-music a love of incisive meter--their music has a strong pulse; but Grieg, who is precise, lyrical, sensitive to perfection of detail, is really finical in his unfaltering devotion to square-cut sections, while Dvořák, more wayward, less perfect and exquisite, strays into all sorts of odd periods. His somewhat arbitrary treatment of tonality relations and of rhythm is thus illustrative of a general laxity of method highly characteristic of the man. In contrast with a jealously accurate artist like Grieg, he is felicitous more by force of genius than by wisdom of intent.