In the melody, the motif expresses through its changes and disguises the course of development of the human character in a manifold musical form.
In classical composition, the melody logically represents the reasonable inner process of development of the individual, and it is the lively description of the development of his character.

During the expansion of the motif, i.e. during the structuring of the melody, an interlacing of motif transformations takes place to the extent that the parts, the individual motif-faces, the individual qualities of the character, become less prominent, and the integrated wholeness of the comprehensive picture of the human character, in the form of the melody, becomes more prominent in the musical event.

Contrary to conventional notion, it is not the purpose of the melody to describe something particularly pleasant.

The melody describes the truth of the formation of character.

Therefore, it is not at all “sweet” as we know it in exaggerated form from the entertainment music.

In classical music, it was never the purpose of the melody to flatly lull someone, or to inebriate him, but it was meant to lead the listener, by way of its inner unfoldment, directly to the cognition of more comprehensive human values - thereby to greater personal inner purity, to greater personal inner beauty, to greater personal inner power.

Just as a man, at different times, allows one of his manifold characteristics to dominate (his fellowmen would say he is always changing, showing a different face), likewise the motif presents itself in its various transformations and thus appears as the melody in the musical process.
Owing to the impulse of the creative power within the melody, the inner-human qualities rush outwards into the world of the sound-space, and bring about the changing musical picture of the acting traits of character of individuals, of human beings, of the world.