THE ARTS AND RELIGION 271 



through the beautiful, to the generosity, the pity, and 

 the affection of human beings. Beethoven's genius 

 has a wider range, a greater inclusiveness than that 

 of Bach. In the Missa Solemnis it exhibits a lofty 

 devotional spirit not inferior to Bach's purest offer- 

 ings to the humanitarian spirit of Christianity. 

 The Third Symphony utters an appeal for the lib- 

 erties of man that has never been equaled in force, 

 passion, or nobility. In his love music a still dif- 

 ferent and exquisite phase of Beethoven's power is 

 revealed. If history speak truly, the naive and 

 simple song which bears the name of Adelaide was 

 the vehicle by which the great musician expressed 

 a deep personal attachment. In this song, as in 

 others, Beethoven shows us how seriously, with what 

 romantic idealism, he regarded the attachments that 

 spring up between the sexes. His music, though 

 full of sentiment and tenderness and often tinged 

 with the deepest pathos, is never morbid or depress- 

 ing, but rather joyful and stimulating to unselfish 

 acts. This healthful tone was caught also by 

 Schubert and is recorded in that astonishingly long 

 series of songs devoted to themes of love that flowed 

 so spontaneously from his pen. Robert Schumann, 

 inspired by both Beethoven and Schubert, mingled 

 with the qualities which he derived from his masters 

 an exquisitely refined and beautiful pain sense, which, 

 though verging at times on the psychological, is, 

 upon the whole, healthful in tendency. This com- 

 plex aesthetic quality, so essentially modern in its 



