58); "Fair Springtide" (op.

60); in "Lancelot and Elaine"; in "Told at Sunset," from the "Woodland Sketches"; in "An Old Love Story," from "Fireside Tales": in this music the emotion is the distinctive emotion of sex; but it is the sexual emotion known to Burns rather than to Rossetti, to Schubert rather than to Wagner.
He had the rapt and transfiguring imagination, in the presence of nature, which is the special possession of the Celt.

Yet he was more than a mere landscape painter.

The human drama was for him a continually moving spectacle; he was most sensitively attuned to its tragedy and its comedy,--he was never more potent, more influential, indeed, than in celebrating its events.

He is at the summit of his powers, for example, in the superb pageant of heroic grief and equally heroic love which is comprised within the four movements of the "Keltic" sonata, and in the piercing sadness and the transporting tenderness of the "Dirge" in the "Indian" suite.
In its general aspect his later music is not German, or French, or Italian--its spiritual antecedents are Northern, both Celtic and Scandinavian.