17--"Erzaehlung" and "Hexentanz"-- but more particularly in the "Wald-Idyllen" of op.

19--"Waldesstille," "Spiel der Nymphen," "Traeumerei," and "Driadentanz,"-- a definite poetic concept is implied.

Here the formative influence of Raff is evident.

The works which follow--"Drei Poesien" ("Nachts am Meere," "Erzaehlung aus der Ritterzeit," "Ballade"), and the "Mondbilder," after Hans Christian Andersen--are of a similar kind.

The romanticism which pervades them is not of a very finely distilled quality: they are not, that is to say, the product of a clarified and wholly personal vision--of the vision which prompted the issue of such things as the "Woodland Sketches," the "Sea Pieces," and the "New England Idyls." In these earlier works one feels that the romantic view has been assumed somewhat vicariously--one can imagine the favourite pupil of Raff producing a group of "Wald-Idyllen" quite as a matter of course, and without interior conviction.