People find it hard to remember that she is Madame Sintram. Everybody calls her Mamselle Dillner. She wants the polka tune to express her sorrow for the vanity which tempted her to seek for married honors. Old Ulrika plays as if she would break the strings. There is so much to drown: the lamentations of the poor peasants, the curses of overworked cottagers, the sneers of insolent servants, and, first and last, the shame,—the shame of being the wife of a bad man. To those notes Gösta Berling has led young Countess Dohna to the dance. Marianne Sinclair and her many admirers have danced to them, and the major’s wife at Ekeby has moved to their measure when Altringer was still alive. She can see them, couple after couple, in their youth and beauty, whirl by. There was a stream of gayety from them to her, from her to them. It was her polka which made their cheeks glow, their eyes shine. She is parted from all that now. Let the polka resound,—so many memories, so many tender memories to drown! She plays to deaden her anguish. Her heart is ready to burst with terror when she sees the black dog, when she hears the servants whispering of the black bulls. She plays the polka over and over again to deaden her anguish. Then she perceives that her husband has come home. She hears that he comes into the room and sits down in the rocking-chair. She knows so well the sound as the rockers creak on the deal floor that she does not even look round. All the time she is playing the rocking continues; she soon hears the music no longer, only the rocking. Poor old Ulrika, so tortured, so lonely, so helpless, astray in a hostile country, without a friend to complain to, without any consoler but a cracked piano, which answers her with a polka. It is like loud laughter at a funeral, a drinking song in a church. While the rocking-chair is still rocking she hears suddenly how the piano is laughing at her sorrows, and she stops in the middle of a bar. She rises and turns to the rocking-chair. But the next instant she is lying in a swoon on the floor. It was not her husband who sat in the rocking-chair, but another,—he to whom little children do not dare to give a name, he who would frighten them to death if they should meet him in the deserted attic. * * * * *