But then enters the tragic complication. For we hear a hunter’s horn, and the handsome young hunter descends upon the peaceful mill. The miller previsages the meaning of this. In the fifteenth song he is struggling between pride and jealousy. Then he is once more praising the dear color--green, which his sweetheart loves because it is like the fresh green of nature. And in the next song he is cursing the hateful color (the same green) because its wearer is no longer true to him. In the eighteenth song the miller’s daughter has given her love to the huntsman, and the young miller has lost hope. The dead flowers (for fall has come) express the state of his heart. These flowers must lie upon his grave. But--when the loved one passes by the grave let the flowers burst once more into fresh bloom. In the nineteenth song the miller holds a conversation with his beloved brook, which suggests to him the sweet suicide which was ultra-fashionable in all romantic literature of the time. And in the beautiful last song of the cycle the brook sings to sleep the dead man by its side. The poems are all truly lyrical, and invite musical setting. They rise to no marked poetic heights, but are thoroughly poetic and emotional in feeling. Though Schubert did not achieve a uniform standard of excellence throughout the series, the general average is high. The first song, ‘Wandering,’ has a memorable melody of a simple sort, and the second, which we have mentioned above, is one of his masterpieces. ‘Impatience,’ though formal and strophic in structure, has an unrestrained sweep of feeling which is rare in Schubert and looks forward to the later romanticists of music. The ‘Morning Greeting’ is a simple Italianate melody of great beauty, one which is likely to lead astray the singer who tries to give it overmuch ‘expression.’ ‘The Hunter’ is spirited, but has no great musical value. ‘Jealousy and Pride,’ though not very attractive musically, is interesting as an example of Schubert’s discriminating use of the simplest kind of accompaniment for precise emotional expression. _Die liebe Farbe_, however, is one of the masterpieces. It is almost French in its thread-like delicacy, but this will prove a pitfall for the singer who has not attained full control of the niceties of vocal expression. The formal daintiness of the song is like the allegretto of some toy symphony. And at the same time it is neatly expressive of the playful mood of the words. The contrast of the companion song, _Die böse Farbe_, of course offers a problem to the interpretive singer.