Edward MacDowell . of anauthentic poet of to-day, Mr. Joseph Conrad : u To snatch in a moment of courage, from theremorseless rush of time, a passing phase of life, isonly the beginning of the task. The task, approachedin tenderness and faith, is to hold up inquestioningly,without choice and without fear, the rescued frag-ment before all eyes and in the light of a sinceremood. It is to show its vibration, its color, its form,and, through its movement, its form, and its color,reveal the substance of its truth—disclose its in-spiring secret: the stress and passion within thecore of each convinci
Edward MacDowell . of anauthentic poet of to-day, Mr. Joseph Conrad : u To snatch in a moment of courage, from theremorseless rush of time, a passing phase of life, isonly the beginning of the task. The task, approachedin tenderness and faith, is to hold up inquestioningly,without choice and without fear, the rescued frag-ment before all eyes and in the light of a sinceremood. It is to show its vibration, its color, its form,and, through its movement, its form, and its color,reveal the substance of its truth—disclose its in-spiring secret: the stress and passion within thecore of each convincing moment. In a single-minded attempt of that kind, if one be deserving andfortunate, one may perchance attain to such clear-ness of sincerity that at last the presented vision ofregret, of pity, of terror, of mirth, shall awaken inthe hearts of the beholders that feeling of unavoid-able solidarity—of the solidarity in mysteriousorigin, in toil, in joy, in hope, in uncertain fate,which binds men to each Photograph by Cox. New York MACDOWELL IN 1896 CHAPTER IV THE DEVELOPMENT OF A POET MacDowells impulse toward significant expressionwas not slow in declaring itself. The first modernsuite (opus 10), the earliest of his listed works,which at first glance seems to be merely a group ofcontrasted movements of innocently traditionalaspect, with the expected Prceludium, Presto, Inter-mezzo, Fugue, etc., contains, nevertheless, the germof the programmatic principle ; for at the head ofthe third movement (Andantino and Allegretto) onecomes upon a motto from Virgil— Per arnicasilentia lunae, and the Rhapsodie is introduced withthe sufficiently portentous Lasciate ogni speranzaVoi ch entrate of Dante. The Prceludium of the second pianosuite, opus 14 (written when he was twenty-one) issimilarly annotated, having been suggested by linesfrom Byrons Manfred. In the Zwei Fantasie-stucke, opus 17— Erzahlung and Hexentanz —but more particularly in the Wald-Idyilen ofopus 19—Wa
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