but to protect heaven and earth, so the naked desert and the impenetrable forest exist only to remind us of the incorruptible vital force of nature, safe against all attacks. The imperishableness of nature appears more strikingly in the stupendous mountains and gigantic forests than in the fertile, cultivated and protected parts of the earth. Now let us again ask: Is there nothing here for the poet or artist? Has the Norse mythology nothing that can be elaborated and clothed with beautiful forms and colors? Does this mythology not contain germs that art can develop into fragrant leaves, swelling buds and radiant blossoms? Does not this our Gothic inheritance deserve a place with the handmaids of literature? Will not our poets, public speakers, lecturers, essayists, and writers of elegant literature generally, who make so many quaint allusions to, and borrow so many elegant and suggestive illustrations from, Greek mythology; will they not, we say, do their own ancestors the honor to dip their pen occasionally into the mythology of the Gothic race? It is bad practice to borrow when we can get along without it, besides the products of the south thrive not well in our northern Gothic soil and climate. Ygdrasil grows better here, and that is a tree large enough and fruitful enough to sustain the Gothic race with enthusiasm and inspiration for centuries yet to come, and to supply a a whole race of future bards and poets and artists with a precious and animating elixir. Our next generation will comprehend this.
