Schubert reveals the folk genius in being able to achieve the highest beauty within the smallest compass. Such a snatch of melody as the first line of the ‘Litany’ is a work of pure genius. They say that the test of a picture is its ability to be ‘lived with.’ The same is true of a melody. The first line of the ‘Litany,’ as well as the whole of it, can be sung each day and never lose its charm. It has all the suave grace of a tune out of Italian opera. It might become cloying and sentimental. But it does not. It remains dignified and sincere. It reveals ever new beauties and adorable traits of character which could not be suspected at first glance. This kind of genius is beyond the analytical powers of the musical theorist to explain. The greatness of large forms--for instance, a symphony by Beethoven--can in part be explained, just as a very correct symphony can be written by a man without talent. But to write greatly within half a dozen bars--this is a miracle. Only the folk-composer and the highest conscious genius can achieve it. We see the same genius in the final measures of ‘Death and the Maiden.’ The Maiden sees Death approaching, and begs him to pass by. He replies that he has not come to cause her pain. He is a friend and will give her peace and joy. And the music, a succession of the simplest chords, glides gradually into a major that seems to wring the tears by main force from the eyes. Every now and then Schubert introduces unexpectedly such a musical phrase, which seems to concentrate into half a dozen notes all the sincerity of the German genius. We find it in the ‘Second Harper’s Song’ of the Mignon series, on the words: _Ihr lässt den Armen schuldig werden_: [Illustration: Music score] Ihr lässt Armen schulig werden or in the ‘Praise of Tears’: [Illustration: Music score] aler lenza und Jugendlust or in _Der Lindenbaum_: [Illustration: Music score] so manches liebe Wort