As a single instance, I may allege the run in eighth-notes which encumbers the setting of the second syllable of the word "again," in the fourth bar of "Springtide" (op.

60).

Such infelicities are difficult to account for in the work of a musician so exceedingly sensitive in matters of poetic fitness as he.

It may be that his acute sense of dramatic and emotional values operated perfectly only when he was unhampered by the thought of the voice.
I have dwelt upon this point because it should be noted in any candid study of his traits as a song writer.

Yet it is not a defect which weighs heavily against him when one considers the musical quality of his songs as a whole.