Among his verses had been delightful “Cradle Songs”; he had written, also, juvenile stories. He was asked by the Swedish educational authorities to write a Reader for school use. He calls this “a work of love.” Without the originality and glamour of Miss Lagerlöf’s books, _The Wonderful Adventures of Nils_ and its sequel, this Reader contains some absorbing tales of heroism, and poems and scenes of descriptive merit. For older youths and adults he has embodied poetic legends with modern teachings in two plays, translated into English by Karoline M. Knudsen, _The Soothsayer_ and _The Birth of God_ (Boston, 1919, 1920). The first play is located upon “An Arcadian Plain” with Apollo, the Soothsayer, the Fates, and Erigone, wife of the Soothsayer, as leading characters. There are sentences of subtle humor about “a man in love,” and more serious counsel of Apollo, with modern meaning: Son of dust! Thou didst try to serve two gods; therefore, thy power became thy doom! _The Birth of God_ is founded upon Egyptian mythology, with symbolism in the words of Dyskolus, an Ancient, to a modern merchant, A Stranger, comparing “the altar-fire and the sacred hymn,” when “divine destiny had not been forgotten,” with humanity of less pure standards. _The Tree of the Folkungs_, translated from the Swedish into English by Arthur J. Chater (New York, 1925), is a romance, mingling history, sagas, fantasy, pageantry, action, and modern interpretation of some of the deeds and ideals of the Vikings. It has been compared to _Peer Gynt_. Two distinctive parts of the book, welded into one story, are “Folke Filbyter” and “The Bellbo Heritage.” The elemental character that gives title to the first part is Earl Birger, sacrificing to all gods in adversity and pulling down all altars in days of prosperity. He opposes the dynasty of the Folkungs but he ends his days in squalor and piteous craving for the love denied him by his sons and grandsons, a lesson to moderns of the futility of material miserliness. The second section of the strange, impressive tale deals with the fortunes of the Folkungs two hundred years later and the conflict between two brothers and their differing standards, King Valdemar and Junker Magnus. The latter considers his older brother a “good-hearted, sunny-eyed fool,” compared with his own masterful ways. This legendary romance-pageant has scenes of dramatic power--the battle between Valdemar and Magnus, the love of the minstrel for an outcast maiden, and many customs of historical and imaginative past. It is an elaborate, well constructed revelation of Heidenstam’s imaginative insight and vigor, united with his skill in interpreting the _past_, in history and sagas, to the problems of the _present hour_. He is, in truth, “the herald of a new epoch in our literature.” HENRIK PONTOPPIDAN The prize of 1917 has been awarded one half to: