Finally, there is the quite free or _durchkomponierte_ form. The examples of this are innumerable in Schubert’s works: we recall easily the famous _Aufenthalt_ (‘Abode’) and _Doppelgänger_ (‘The Double’),[21] _Der Wanderer_, and _Das Wirtshaus_. In these songs there is every variation from a deceptive strophic form to the utmost dissimilarity, and yet there remains always a _sense_ of unity which is the work of a master. Besides the pure lyrics Schubert wrote ballads and scenas. The former are simply stories told in verse. Unlike the lyric, the ballad is highly objective, seeing the characters as things apart and as acting for themselves; yet like the lyric it is highly sympathetic with emotions, and sometimes identifies itself alternately with one character and another as completely as though it were a lyric. This is because of the dramatic quality implicit in every story,--a quality which is particularly attractive to the primitive imagination. The ballad, in short, is a miniature drama, in which the characters speak in their own words with each other, and in which rapid and vigorous action is abundant. Examples of this form in Schubert’s songs are Schiller’s ‘The Diver,’ and of course ‘The Erl King.’ We should also distinguish a third class of songs--the _scena_. This is a combination of the lyric and the ballad; it is essentially an emotional utterance, but it usually pictures the characters and the scene, and often involves some sort of dramatic action. The Ossian Songs partake of the nature of the _scena_, but the best example is Schiller’s _Erwartung_, in which the singer is waiting for his sweetheart to come to him, and is beguiled by various noises of the night into thinking it is she.