Since Schubert’s time, the text of a song had become a factor of growing importance. Musicians began to recognize that it should be regarded as equal in value to the music. And along with this recognition arose a remarkable group of poets, as we have seen in the last chapter--a group which have supplied German poetry with one of its most brilliant periods. This group we have described as representing the period of disillusionment following the shattering of the dreams of German unity. For a time the hopes of the people had been directed toward the political and social field; what the best literature had expressed was the feelings and aspirations which were common to men. Now that all the fair dreams had been shattered by the selfishness of the courts and the bickerings of politicians, men asked, ‘What is the use?’ Turning inward to examine their own souls, they produced a delicate lyric poetry which contained just what the art-song of the time needed--the intimate and personal. No grand emotions ring in this period. In the whole list of Schumann’s songs there is hardly one whose words could be put into the mouth of a hero. By far the greater portion are pessimistic. What the poet remembers is a beguiling hour in the shade of a tree. What he looks forward to is a smile from his sweetheart. Every man tries to snatch his own small portion of happiness from this life--and generally makes a poor job of it. Nevertheless, a man usually tells more of the truth about himself when he is discouraged than when he is self-satisfied. And in the lyric poetry of the time we get charming and truthful analyses of human emotions and moods. The literary standard is perhaps higher than at any previous period (excepting, of course, the work of the giants like Goethe and Schiller). Versification is smoother, form is more pleasing, and words are used with more regard for their suggestive connotations. In short, men are looking at details in this romantic poetry, even as in romantic music.