[239] See the [Mémoires] for a rhapsodic account of his state of mind at this time—"basking in the warm rays of Shakespeare's imagination and believing it in his power to arrive at the marvellous island where rises the temple of pure Art."
[240] For extended comments and a long citation of the actual music see the Sixth Volume of the Oxford History of Music.
[241] For valuable analytical comments on Berlioz's orchestral style see Vol. VIII, Chapter X, of the Art of Music (César Saerchinger, N.Y.), and for biographical details and matters of general import, Vol. II, Chap. IX.
[242] The best biographies in English are the one by Huneker and that in Vol. 2 of Grove's Dictionary.
[243] For a lively description of his influence as a pianoforte teacher see Music Study in Germany by Amy Fay.
[244] For a most entertaining description of this work see the Huneker Biography, pp. 64-70.
[245] For stimulating comments see The Symphony since Beethoven by Weingartner, pp. 71-86.
[246] An enlightening and comprehensive account of each of these may be found in Niecks's Programme Music already referred to. See also Chapter VII, pp. 141-155 in Vol. VI of the Oxford History for what is perhaps a rather biased point of view. There is an excellent tabulation of the themes from Les Préludes in Mason's Romantic Composers.
[247] An allegation often brought against Liszt's work by those whose conception of "form" is that of a cast-iron mould.
[248] Translated as follows by Bayard Taylor:—