covered her face with both hands, and sat peeping at him
through her fingers.

The imagination is appealed to continually through the simple concrete
expressions which present an image; as, "He grew hot all over, looked
around about, and called, 'Killy-killy-killy-goat!'"

The emotional element is distinct and pleasing and contributes to the
total impression of admiration for the characters. We admire Oeyvind
for his fondness for the goat and for his pain at losing it; for his
dissatisfaction in keeping it after Marit returned it, though she
wanted it; for his delight in his Mother's stories; and for his
pleasure in Marit's friendship at school. We admire Marit for her
appreciation of the beautiful goat; for her obedience to her
Grandfather; for her sorrow at giving up the goat; for her generosity
in giving the neck-chain with it; and for the childish comradeship she
gave to Oeyvind. We admire the goat for his loyalty to his little
master. We trust the Grandfather who trained Marit to be fair and
courteous; who guarded her from the cliff; and who bought for her
another goat. We have faith in the Mother who had feeling for the
little goat her son bartered for a cake; and who had the wisdom to
sing for her little boy and tell him stories when he was sorrowful and
needed new interests.

Undoubtedly _Oeyvind and Marit_ is a tale which conveys its thought
clearly and makes you feel its feeling, and therefore may be said to
possess style in a broad sense. In a particular sense, because its
form is marked by the four general qualities: precision, energy,
delicacy, and personality; and its elements are controlled by the
principles of composition: sincerity, unity, mass, and coherence, it