The vernacular words and forms interwoven in the rhymes, as _tölas_ (9),
_Jonten_ (30), _skjutgammal_ (38), _drumlade_ (45), _stracklade_ (47),
add not a little to the bizarre humor of the rustic picture.
15, 17. The true colloquial use of the pronoun with its antecedent is
here shown. So also in _Vallarelåt_, line 3.
33-35. The lines probably refer to the driver, but if he is mentally
paying his respects to the old nag, the quotation which follows is a
retort in kind, lending savor to the situation.
Ur STRÖVTÅG I HEMBYGDEN.
7. _var mig hälsad!_ presents an old construction with the dative
(ethical dative) which is now obsolescent. Cf. Vol. I., STAGNELITUS,
_Flyttfåglarna_, 45, note.
17-20. See beginning of Fröding monograph.
24. _Alsterns dal_, cf., in monograph, _Alsters bruk_, the birthplace of
the poet.
Ur BIBLISKA FANTASIER.
_Hosiannah!_
A song in imitation of old Biblical style, hence the archaisms, _görer
(gören), statt (stå), ärones (ärans), låter (låten)_.
MlN STJÄRNAS SÅNGER.
The keynote of Fröding's psychological poems is probably struck in this
series of songs, forming an allegory in which the figure is consistently
maintained throughout. The Star Songs undoubtedly throw light upon
Fröding's philosophy of life and his personal attitude towards the
Creator of life. A comparison of TegnÊér's _Sång till solen_ (Vol. I.,
p. 64) and Fröding's _Min stjärnas sånger_ yields the impression that
the former is an impersonal, objective poetic pean, the latter a poet's
creed.