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 ping into her lap? And how he wishes to be one of the young Greeks who go to meet death at Thermopylæ, fearless and merry as if going to dance? Their names are sacred, and Simonides in dying sings songs of praise from the top of Antelos.

"And all the old beautiful tales, symbols, and parables that will never grow old. Think of Orpheus and Eurydice—so simple; the faith of love conquers death even; a single instant of doubt and everything is lost. But in this country they know only that it is the book of an opera.

"The English and the French have used the old symbols in making new and living art. Abroad, in certain good periods, there were people born with instincts and feelings so highly cultivated that they could be developed into an ability to make the fate of the Atrides understood and moving as a reality. The Swedes, too, have living connections with the classics—but we have never had them. What kind of books do we read here—and write?—feminine novels about sexless fancy-figures in empire dress, and dirty Danish books, which do not interest any man above sixteen, unless he is obliged to wear an electric belt. Or about some green youth, prattling of the mysterious eternal feminine to a little chorus girl who is impertinent to him and deceives him, because he has not sense enough to understand that the riddle can be solved by means of a good caning."

Jenny laughed. Gunnar was walking up and down the door.

"Hjerrild, I think, is working at a book on the 'Sphinx' at present. As it happens, I also knew the lady once. It never went so far that I soiled my hands by giving her a thrashing, but I had been fond enough of her to feel it rather badly when I discovered her deceit. I have worked it off, you see. I don't think there is anything you cannot get over in time by your own effort."