And with it, as a corollary to it, came one thing more, a thing which is the second great message of Goethe’s ‘Faust’--the idea that truth must be personally experienced, that while it is abstract it is non-existent. Faust could not know love except by being young and falling in love. He could not achieve his redemption by understanding the beauty of service; he must redeem himself by actually serving his fellowmen. And so in the nineteenth century men came to feel that beautiful music cannot be merely contemplated and admired, but must be lived with and felt. Accordingly composers of this period emphasized continually the sensuous in their music, developing orchestral colors, dazzling masses of tone, intense harmonies and biting dissonances, delicate half-lights of modulation, and the deep magic of human song. The change in attitude from music as a thing to be admired to music as a thing to be felt is perhaps the chief musical fact of the early nineteenth century. II Let us now consider the great romantic composers as men living amid the stress and turmoil of revolution. All but Schubert were more or less closely in touch with it. All but him and Mendelssohn were distinctly revolutionists, skilled as composers and hardly less skilled to defend in impassioned prose the music they had written. As champions of the ‘new’ in music they are best studied against the background of young Europe in arms and exultant. But in the case of Franz Schubert we can almost dispense with the background. His determining influences, so far as they affected his peculiar contributions to music, were almost wholly literary. He was an ideal example of what we call the ‘pure musician.’ There is nothing to indicate that he was interested in anything but his art. He lived in or near Vienna during all the Napoleonic invasions, but was concerned only with escaping military service. Schubert was the last of the musical specialists. From the time when his schoolmaster father first directed his musical inclinations he had only one interest in the world, outside of the ordinary amusements of his Bohemian life. If Bach was dominated by his Protestant piety and Handel by the lure of outward success, Schubert worked for no other reason than his love of the beautiful sounds which he created (and of which he heard few enough in his short lifetime).