and in the dance of the Goat and her seven Kids about the
well.

_The beautiful_. Closely related to this love of the
material is the sense of the beautiful. "Beauty is pleasure
regarded as the quality of a thing," says Santayana.
Pleasures of the eye and ear, of the imagination and memory,
are those most easily objectified, and form the groundwork
on which all higher beauty rests. The green of the spring,
the odor of Red Riding Hood's flowers, the splendor of the
Prince's ball in _Cinderella_--these when perceived
distinctly are intelligible, and when perceived delightfully
are beautiful. Language is a kind of music, too; the mode of
speaking, the sound of letters, the inflection of the
voice--all are elements of beauty. But this material beauty
is tied up in close association with things "eye hath not
seen nor ear heard," the moral beauty of the good and the
message of the true. The industry of the little Elves
reflects the worth of honest effort of the two aged
peasants, and the dance of the Goat and seven Kids reflects
the triumph of mother wit and the sharpness of love. The
good, the true, and the beautiful are inseparably linked in
the tale, just as they forever grow together in the life of
the child. The tales differ largely in the element of beauty
they present. Among those conspicuous for beauty may be
mentioned Andersen's _Thumbelina_; the Indian _How the Sun,
the Moon, and West Wind Went Out to Dinner_; the Japanese
_Mezumi, the Beautiful_; and the English _Robin's Christmas
Song. Little Two-Eyes_ stands out as one containing a large
element of beauty, and _Oeyvind and Marit_ represents in an