Schumann is the most distinguished in the list of literary musicians. His early reactions to romantic tendencies in literature were intense, and when the time came for him to use his pen in defense of the music of the future he had an effective literary style at his command. It was the style of the time. Mere academic or technical criticism he despised, not because he despised scholarship, but because he felt it had no place in written criticism. He set himself to interpret the spirit of music. True to romantic ideals, he was subjective before all. He sent his soul out on adventures among the masterpieces--or, rather, his souls; for he possessed several. One he called ‘Florestan,’ fiery, imaginative, buoyant; another was ‘Eusebius,’ dreamy and contemplative. It was these two names which chiefly appeared beneath his articles. Then there was a third, which he used seldom, ‘Meister Raro,’ cool judgment and impersonal reserve. He set himself to ‘make war on the Philistines,’ namely, all persons who were stodgy, academic, and dry. He had a fanciful society of crusaders among his friends which he dubbed the _Davidsbund_. With this equipment of buoyant fancy he was the best exemplar of the romantic idealism of his time and race. The _Neue Zeitschrift für Musik_, organized in connection with enthusiastic friends, bravely battled for imagination and direct expression in music during the ten years of Schumann’s immediate editorship and during his contributing editorship thereafter. Schumann’s ‘announcement’ of Chopin in 1831, and of Brahms in 1853, have become famous. In most things his judgment was extraordinarily sound. Though he was frankly an apologist for one tendency, he appreciated many others, not excluding the reserved Mendelssohn, who was in many things his direct opposite. Sometimes, particularly in his prejudice against opera music, he disagreed with the tendencies of the time. After hearing ‘Tannhäuser’ in Dresden he could say nothing warmer than that on the whole he thought Wagner might some day be of importance to German opera. But, though Schumann was thus limited, he had the historical sense, and had scholarship behind his articles, if not in them. During a several months’ stay in Vienna he set himself to discovering forgotten manuscripts of Schubert, and the great C major symphony, first performed under Mendelssohn at the Gewandhaus concerts in 1839, owes its recovery to him.