been able to do in Germany with his earlier symphonic works, and
he was not altogether certain of its effect. He, however,
published his two later suites for orchestra, Ops. 42 and 48,
with confidence.

The chief demerit of _Lamia_ is that it is obviously influenced
by the music of Wagner, and has but little of MacDowell's
customary individual expression. Apart from this defect, however,
it is undoubtedly effective, strongly and well written, and
interestingly scored. MacDowell himself considered it at least
the equal of his two earlier symphonic poems, _Hamlet and
Ophelia, Op. 22_, and _Lancelot and Elaine, Op. 25_, and intended
revising it. The work was published after his death by friends
who were anxious to provide against any future doubt as to its
authenticity. The composer dedicated it to Henry T. Finck, the
distinguished American musical critic, who was one of the first
to recognise the significance of MacDowell's music.

_Lamia_ has its poetic basis in the romantic, legendary poem by
John Keats. An introductory note by the composer in the full
score briefly outlines the meaning of the music:--

_Lamia, an enchantress in the form of a serpent, loves Lycius, a
young Corinthian. In order to win him she prays to Hermes, who
answers her appeal by transforming her into a lovely maiden.
Lycius meets her in the wood, is smitten with love for her and
goes with her to her enchanted palace, where the wedding is
celebrated with great splendour. But suddenly Apollonius the
magician appears; he reveals the magic. Lamia again assumes the
form of a serpent, the enchanted palace vanishes, and Lycius is