all the gay and witty self-consciousness of a quite young man. The ideas at the back of this music are not, then, purely musical ones, but the various themes are expressive of a company of fantastic figures, all well-known personages translated into a private world of whimsy which Schumann had constructed for his own amusement and convenience. Here were a set of characters ready made for the ballet—Florestan and Eusebius (the one representing a stormy, the other a dreamy side of Schumann's temperament), Pierrot, Harlequin, Papillon, Columbine, Chiarina, and the rest—the most adorable collection of puppets, tender, grave and gay, that have ever been gathered together on a stage.
The method of the ballet's action is simple enough. The music is left to tell the story, and, punctual to the commence-
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