Dvořák's childlike spontaneity is in no way better exemplified than by his attitude toward folk-music, and here again he may profitably be contrasted with Grieg. Both devotees of local color have enriched art with unfamiliar lineaments and unused resources, yet their modes of procedure have been quite different. Grieg, traversing the usual mill of German musical education, turned consciously to Norwegian folk-song to find a note of individuality. Struck with the freshness of the native dances, he transplanted them bodily into his academic flower-pots. His courtship of the national Muse was conscious, sophisticated, and his style is in a sense the result of excogitation. Dvořák, on the contrary, growing up in his small Bohemian village, unable to get classic scores, assiduously fiddling throughout his youth at village fêtes where the peasants must have a scrap of tune to dance by, became thoroughly saturated with the rude music. It moved in his veins like blood; it was his other language. Thus the two men were at quite polar standpoints in relation to nationalism. With Dvořák it was a point of departure, with Grieg it was a goal of pilgrimage. And so, while the Norwegian has tended to immure himself in idiosyncrasy, the Bohemian has rubbed off provincialisms without losing his inheritance. His music, while retaining the sensuous plenitude, the individual flavor, the florid coloring, with which his youth endowed it, has acquired, with years and experience, a scope of expression, a maturity of style, and a universality of appeal that make it as justly admired as it is instinctively enjoyed. Imperceptibly we have passed from technical analysis into personal inventory. And indeed, all Dvořák's peculiarities of style may be viewed as the inevitable manifestations of a nature at once rich and naïve. His music makes a delightfully frank appeal. It is never somber, never crabbed, never even profound. It breathes not passion, but sentiment. It is too happily sensuous to be tragic, too busy with an immediate charm to trouble about a remote meaning. Even when he is moving, as in the Largo of the New World Symphony, is it not with a gentle, half-sensuous pathos, a wistfulness more than half assuaged by the wooing sweetness of the sounds that fill our ears? To him music is primarily sweet sound, and we shall misconceive his aim and service if in looking for something deep in him we miss what is, after all, very accessible and delightful for itself--the simple charm of his combinations of tone.