More picturesque and graceful than the Finnish are the Swedish, Norwegian and Danish folk-dances. Grieg, Svendsen, Gade, Hartmann and the modern Scandinavian composers have made successful use of the old folk-themes for their individual orchestral compositions. Though simple in step, the Scandinavian folk-dances are complicated in figure, lively and gay in manner, and rich in pantomime. They seem to have a strong predilection to square figures and sharp lines. The Swedish dancers are fond of arabesques, minuet grace and dainty poses. The Norwegian dance is more rugged and imaginary, the Danish and Swedish more refined and delicate. While the Norwegian is a naturally gifted singer, the Swede is a born dancer. There is a strong feeling in Sweden for reviving their old _Skralat_, _Vafva Vadna_, and other old national dances. The latter is a weaver dance and imitates the action of the loom. The girl, representing the movements of the shuttle, flashes back and forth through the lines of other performers, who are imitating the stretched threads. It is a clever piece of folk-art showing the vivid and quick temperament of the race. There are quite a few such symbolic country dances in Sweden, of which the harvest dances take the first place. The _Daldans_ and _Vingakersdans_ are pantomimic dances of humorous character, both themes dealing with the social-sexual relations in a rather satirical way. In the latter two women are endeavoring to gain the affection of a man. The favored one seats herself a moment on the man’s knee and finishes the number by waltzing with him, while the other bites her nails with vexation. In Sweden, as in France, the sexual elements play a conspicuous rôle in the folk-dance and render it sweetly graceful, seductive and sensuous by turns.