printed directions.

He was always profoundly absorbed when at work, though not to the
extent of being able to compose amid noise or disturbance. He needed
to isolate himself as much as possible; although, when it could not be
avoided, he contrived to work effectively under obstructive
conditions; the Largo of the "Sonata Tragica," for example, was
written in Boston when he was harassed by drudgery and care. During
the earlier days at Peterboro he composed in a music room which was
joined to the main body of the house by a covered passage; in this way
he could hear nothing of the household workings, and was unaware of
the chance caller. No one was ever allowed to intrude upon him, save
his wife. Yet certain outside noises were still apparent; so the log
cabin in the woods was built. There he used to go nearly every
morning, coming home when he felt disposed, and usually going to the
golf grounds for a game before dinner, which he always had at night.
He kept a piano in the music room as well as at the log cabin; so if
he felt like working in the evening he could do so; and when he was
especially engrossed he often worked into the small hours. His
unselfishness made it easy for his wife, when she deemed a change and
rest essential, to make the excuse that _she_ needed it. After a
preliminary protest he would usually give in, and they would leave
Peterboro for a few days' excursion.

He knew discouragement in an extreme form. Many weeks, even months,
had to pass before his discontent over the last child of his
imagination would become normal. Particularly was this so with the
larger works; though each one was started in a fever of inspiration, a
longing to reduce to actual form the impossible. He was always
disheartened when a work was finished, but he was too sane in his