c unity; in fact, the principle of
restatement after contrast is at the foundation of any large work, and
supplies the connecting link between the structure of the Folk-Song
and that of the most elaborate modern music. A convincing illustration
of the use of Transposition may be found in Schumann's _Arabesque_,

[Music]

and in the opening theme of Beethoven's _Waldstein Sonata_, op. 53.

[Music]

It was a favorite device of Beethoven to impress the main theme upon
the hearer by definite repetitions on various degrees of the
scale.[18] For an elaborate example of Transposition nothing can
surpass the opening movement of Cesar Franck's _D Minor Symphony_, the
entire first part of which consists of a literal repetition in F minor
of what has been previously announced in D minor.

[Footnote 18: Another well-known example is the first theme of the
first movement of the _Sonata in F minor_ (_Appassionata_) op. 57.
This the student can look up for himself.]

Pieces of music which embody the principle of _Restatement after
Contrast_ are so numerous that the question is merely one of selecting
the clearest examples. In the Folk-Songs of every nation, as soon as
they had passed beyond the stage of a monotonous reiteration of some
phrase which pleased the fancy, _e.g._

[Music: _ad infinitum!_]

we find hardly one in which there is not a similarity between the
closing measures and something which had gone before. (See Supplement,
Example No. 5.) For the most elementary artistic experience would
establish the fact that the only way to avoid a monotonous repetition
of the same theme is to change to a different one. And the next step
is equally axiomatic--that, presupposing the first theme gives
pleasure on its initial appearance, it will be heard with heightened
pleasure at its reappearance after intervening contrast. A
psychological principle is herein involved which cannot be proved but
which is self-justified by its own reasonableness and is further
exemplified by many experiences in daily life. Sweet things taste the
sweeter after a contrast with something acid; we like to revisit old
scenes and to return home after a vacation. No delight is keener than
the _renewal_ of some aesthetic experience after its temporary
effacement through a change of appeal.[19] This practice is associated
with the inherent demand, spoken of above, for Variety in Unity. No
theme is of sufficient import to bear constant repetition; in fact,