The night before she had spoken out loud in her sleep just as Joern Uhl went by to his room. He had spoken of it directly as the action of the moonlight, which she of course contradicted; she had been lying awake and heard the calves break out.[19] Then she takes the following night, when the housekeeper, with whom she slept, was sitting up nursing an old farmer and the boy had gone courting again, to approach Joern Uhl on her part as a moon walker, who knew nothing of what she did and could not be held responsible. More than this her unconscious had a fitting speech ready, the calves had broken out again. [19] Has not the bringing in of these animals and of the word mooncalves a hidden closeness of meaning? The repetition twice of the same motive, the analogy with the case at the beginning which I analyzed, and at last the fact that Lena, when she looked at the stars, wanted to see a farmhouse where some one was just driving out the calves, all this gives food for thought. The breaking through of the motor impulse is also well grounded. Everything with Lena Tarn is joy in muscular activity, the restless, almost unappeasable desire for work and pleasurable "getting things done," "exerting herself," the constant singing, the easy giving way to anger. Work is the only thing which she can carry on earnestly because in that she lives out in part her sexuality, she meets every one else smilingly or angrily according to her mood. It is noteworthy too that her unquiet libido transforms itself toward Joern Uhl into anger and animosity and so much so that once in anger she addresses him as "thou" and acts as if she were his beloved.