glorious Jenny Lind as Norma or the Daughter of the Regiment, or of Emily Högquist as the Maid of Orleans. When at times he did not feel like talking, he would ask Fru Lagerlöf or Mamselle Lovisa to read aloud from Tegnér. Anything more beautiful than "Fritiof's Saga" he thought had never been written. He would rather have been the Lund professor who sang of Fritiof's and Ingeborg's love, than Emperor of France or Tsar of Russia. He was also an admirer of Runeberg, whose tales of "Surgeon Stål" and epic poems he enjoyed hearing. But he did not like it if any one said the Finnish poet was greater than Tegnér.
Sometimes (and that was the best fun of all) he would sit down at the old piano and strike a few chords, then call out:
"Come, children, let's sing Bellman!"
The girls needed no coaxing, they were over by the piano in a jiffy. Then, with high glee, they let loose on Bellman! They always began with "Old Man Noah" and "Joachim of Babylon," then followed "Father Movitz" and "Mother at Tuppen," and they sang of "Dancing Master Mollberg, and His Misadventures in Rostock Tavern."
The Lieutenant pounded out the accompaniments, and hummed the air, to mark the time and carry the tune. But the children sang at the top of their voices, and could be heard all over the house. Here were indeed life and merriment for them after the day's work! They understood very little of what they sang,
