Among all the emotional relations of life is there any that is finer, more sensitive, and more fervent than the exquisitely modest love of one boy for another boy? It is a love that never speaks and never dares to vent itself in a caress or a look, a seeing love that grieves bitterly over every fault in the loved one, a love made up of longing and admiration and self-forgetfulness, of pride and humility and calmly breathing happiness.
Erik stayed at Lönborggaard only a little over a year. It happened that Lyhne, on a visit to Copenhagen, took occasion to speak about the boy to one of the leading sculptors there, and showed him some of Erik’s sketches, whereupon Mikkelsen, the sculptor, declared that this was talent, and further studying was a waste of time. It did not require much classical education to find a Greek name for a nude figure. So it was settled that Erik was to be sent at once to the city to attend the Academy and work in Mikkelsen’s studio.
On the last afternoon, Niels and Erik were sitting in their room, Niels looking at the pictures in a penny magazine, Erik deep in Spengler’s critical catalogue of the art collection at Christiansborg. How often he had turned the leaves of this book and tried to form a conception of the pictures from its naïve description! Sometimes he would get almost sick with longing to behold all this art and beauty with his own eyes, to grasp it in very truth and make that glory of line and color his own by the mere strength of his enthusiasm. And how often, too, he had closed the book, weary of gazing into that drifting, fantastic mist of words which refused to solidify and take shape, refused to give forth anything, but went on in a vague and confused shifting—flowing and slipping away—flowing and slipping away.
But to-day it was all different. Now he had the certainty that the shapes he read about would not be shadows from dreamland much longer, and he felt rich in the promise of the book. The pictures rose before him as never before, flashing out like brilliant, many-colored suns from a mist that was golden and dancing with gold.
“What are you looking at?” he asked Niels.
Niels pointed to a portrait in his book representing Lassen, the hero of the Second of April.
“How ugly he is!” commented Erik.
“Ugly! Why, he was a hero—would you call him ugly, too?” Niels turned the leaves back to the picture of a great poet.
“Awfully ugly!” replied Erik decisively, making a grimace. “What a nose! And look at the mouth, and the eyes, and those tufts around his head!”
Then Niels saw that he was ugly, and he was silenced. It had never occurred to him that greatness was not always cast in a mould of beauty.