Charles John Tibbitts' 1890 collection Folk-Lore and Legends: Scandinavian draws on the work of Thiele, Hylten-Cavallius and Stephens, and Asbjørnsen and Moe, as noted in the prefatory remarks. The volume presents tales that often hinge on encounters between humans and supernatural beings—dwarfs, giants, nisses, and sorceresses—with a narrative voice that shifts between matter-of-fact reporting and vivid, sensory description. The editor's choices in diction, dialogue, and descriptive detail reveal a deliberate effort to preserve the oral quality of the originals while shaping them for a Victorian readership.

Diction and the Supernatural

The opening of 'The Wonderful Plough' exemplifies a restrained, almost legalistic diction when describing the farmer's encounter with a dwarf. The insect on the stone cross is described as 'pretty, bright' and of 'such a brilliant hue,' yet the farmer's suspicion is phrased in a speculative, internal monologue: 'Would this now be one of the little black enchanters?' This blend of precise observation and cautious inference recurs throughout. In 'The Legend of Thorgunna,' the old giantess Guru speaks in conditional commands—'If you will in this matter comply with my wishes'—that mirror the contractual logic of folk bargains. The vocabulary is plain but carries weight: 'enchanters,' 'underground people,' 'evil conscience.' Tibbitts avoids archaic or overly poetic terms, instead using a direct, almost journalistic register that makes the supernatural feel plausible.

Dialogue as a Marker of Power

Dialogue in these tales often establishes hierarchies between humans and other beings. In 'The Wonderful Plough,' the farmer's internal questioning is the only 'dialogue' until the dwarf is captured; the creature itself never speaks in the excerpt. By contrast, Guru in 'The Legend of Thorgunna' delivers lengthy, authoritative speeches that dictate terms. Her warning—'beware of uttering in my presence the name of him whom no giant may hear of'—uses a circumlocution that underscores the taboo. The human characters, Orm and Aslog, respond with silence or compliance; their few words are not quoted. This asymmetry in dialogue reflects the power imbalance: supernatural beings command language, while humans listen and obey. Tibbitts preserves this dynamic by keeping human speech minimal and indirect.

Descriptive Patterns: Light and Movement

Descriptive passages in the excerpts rely on patterns of light and motion to signal the supernatural. In 'The Wonderful Plough,' the insect 'ran without ceasing backwards and forwards upon the cross, as if it was in pain.' The repetition of movement conveys unease. Later, in 'The Legend of Thorgunna,' the Christmas Eve scene is lit by 'countless blue lights, which moved about' over the islands. The color blue recurs in Guru's dress—'handsome blue dress'—and in the lights, creating a visual motif. Tibbitts uses such details sparingly but effectively: the 'last beams of the setting sun' and the 'morning sun' frame the humans' undisturbed sleep. These descriptions do not overwhelm the narrative but anchor the fantastic in sensory experience, making the invisible visible through careful, economical imagery.

Structure and the Framing of Wonder

The tales in this collection often begin with a mundane situation—a farmer at work, a couple seeking shelter—before introducing the supernatural. Tibbitts structures these transitions with a gradual buildup of detail. In 'The Wonderful Plough,' the farmer's daily prayer at the stone cross is established before the insect appears. The narrative then repeats the observation over two mornings, creating a rhythm that heightens anticipation. Similarly, 'The Legend of Thorgunna' describes Orm and Aslog's solitary summer in detail—'wild birds' eggs and the fish they caught yielded them provisions in abundance'—before the sudden apparition of Guru. This structural choice mirrors oral storytelling, where repetition and delay build suspense. The editor's arrangement of tales, from 'The Wonderful Plough' to 'The Legend of Thorgunna,' also moves from shorter, anecdotal pieces to longer, more developed narratives, offering a varied reading experience.

Readers approaching this collection will find that Tibbitts' editorial hand is light but deliberate. The tales reward attention to the precise wording of supernatural encounters, the asymmetry of dialogue, and the recurring imagery of light and movement. These patterns, traceable across the excerpts, suggest a coherent aesthetic: one that values clarity over ornamentation and lets the strangeness of the stories emerge through understatement. The volume serves as a useful entry point to Scandinavian folklore, preserving the narrative core while adapting it for a new audience.