poetic transformations, and
the notable works in this form of Brahms, Tchaikowsky, Franck and
d'Indy are only freer manifestations of Beethoven's method. Upon two
last features, his use of titles and his individualizing of the
orchestral instruments, we cannot dwell in detail. Although program
music in its literal sense dates back several centuries,
Beethoven--far more than was customary before--used external
suggestions or incidents, often intimate subjective experiences, as
the quickening impulse to his imagination. We know from his own words
that, while composing, he generally had some mental picture before
him. Very often we are not given the clue to his thoughts, but the
titles, familiar to every one, which he did use, such as the _Heroic_
and _Pastoral_ Symphonies, the _Coriolanus_ and _Egmont_ Overtures,
those to several of the Sonatas, are full of import and show clearly
that he was engaged in no mere abstract music making for its own sake.
These works are the point of departure for the significant development
of modern music along this path. With Beethoven the orchestra began to
assume its present importance, and the instruments are no longer
treated as mere producers of sound and rhythm, but often as living
beings. How eloquent is the message of the Horns in the Trio to the
Scherzo of the _Heroic_! Berlioz compares the double basses in the
Fifth Symphony to the gambols of sportive elephants, and instances
might be multiplied. But words are futile in describing the wonders of
Beethoven. A striking tribute is that of Professor John K. Paine. "In
instrumental music Beethoven is pre-eminent, from all points of view,
formally, aesthetically and spiritually. Like Shakespeare's, his
creations are distinguished by great diversity of character; each is a
type by itself. Beethoven is the least of a mannerist of all
composers. His compositions are genuine poems, which tell their
meaning to the true listener clearly and unmistakably in the language
of tones, a language however which cannot be translated into mere
words."

[Footnote 135: The derivation of the word is worthy of note; it means
moisture, juice, something not dry. Humor is certainly the juice of
human nature.]

We are now in a position to approach intelligently, enthusiastically
and reverently the mighty works of Beethoven which, though built upon
the foundations of Haydn and Mozart, yet take us into an entirely new
world of power and fancy. For illustrati