from the "Sea Pieces"; in "To a Water-lily," from the "Woodland
Sketches"; in the "Winter" and "In Deep Woods" from the "New England
Idyls"; in the "Marionettes" ("Soubrette," "Lover," "Witch," "Clown,"
"Villain," "Sweetheart"); in the Raff-like orchestral suite, op. 42
("In a Haunted Forest," "Summer Idyll," "The Shepherdess' Song,"
"Forest Spirits"), and in the later and far more important "Indian"
suite for orchestra ("Legend," "Love Song," "In War-time," "Dirge,"
"Village Festival").

[8] That MacDowell came later to realise the disadvantages, no less
than the inconsistency, of writing programme-music based upon a
detailed and definite programme and then withholding the programme, is
indicated by this passage from a lecture on Beethoven which he
delivered at Columbia: "If it [Beethoven's music] is absolute music,
according to the accepted meaning of the term, either it must be
beautiful music in itself,--that is, composed of beautiful sounds,--or
its excuse for _not_ being beautiful must rest upon its power of
expressing emotions and ideas that demand other than merely beautiful
tones for their utterance. Music, for instance, that would give us the
emotion--if I may call it that--of a series of exploding bombshells
could hardly be called 'absolute music'; yet that is exactly what the
opening of the last movement of the so-called 'Moonlight' Sonata meant
to Miss Thackeray, who speaks of it in her story, 'Beauty and the
Beast.'... If this is abstract music, it is bad. We know, however,
that Beethoven had some poetic idea in his mind as he wrote this; but
as he never gave the clew to the world, the music has been swallowed
as 'absolute music' by the modern formalists"--a comment which would
apply almost word for word, with a change of names and titles, to a
certain tumultuous and "unbeautiful" passage in MacDowell's "Lancelot
and Elaine." This passage is intended to express the rage and jealousy