It is by no means the melody of the drawing-room. The dainty, snobbish grace of the French _bergerette_ is foreign to Schubert. He seems anxious to sing with everybody. It is recorded that one of his favorite pastimes was walking out with a friend on a Sunday afternoon to one of the villages in the neighborhood of Vienna, and watching the peasants dance and hearing them sing their songs. This popular sense persists in all Schubert’s music, however delicate may be his delineation of mood. He had nothing of the aristocrat in him. The son of a schoolmaster, accustomed to poverty, and accustomed to teach in an almost menial capacity in the house of Count Esterhazy, he acquired none of the tastes of the aristocrat and was content to take his pleasures as other people did. Besides, the whole tradition of German music has been remarkably close to the people. Even Mozart, the most polished of composers, wrote in ‘The Magic Flute’ music that would have delighted any peasant. So we are not surprised to find in Schubert’s lyrics a strain of folk-song, especially in the cadences and progressions which the Germans love so well. Take, for instance, the continually recurring cadence of the song _Sei mir gegrüsst_, or that of ‘Praise of Tears.’ It sets the spirit for the whole of the song. And it is taken from the very bone and sinew of German music. Or take the short middle section of ‘The Wanderer,’--in which the Wanderer cries out, ‘Where art thou, Where art thou, My beloved land!’--or the first of the Erl King’s songs in the ballad ‘The Erl King’; or the whole strophic tune of ‘The Fisher.’ Hum these over two or three times. Then take at random two or three German folk-songs--_Ach du lieber Augustin_ and _Immer langsam voran_, or what not, and hum these. And then two or three French _bergerettes_. The relationship of Schubert will then be quite clear. These matters of musical analogy are subtle and slippery. They cannot be established by analysis. But they can always be proved or disproved by the sympathetic ear.