Dasent's translation of Asbjørnsen and Moe's collection preserves the rhythmic cadence of oral storytelling, where repeated phrases and triadic structures anchor the narratives. In 'Why the Sea is Salt,' a mill that grinds salt at the bottom of the sea explains the ocean's salinity, while 'East o' the Sun and West o' the Moon' follows a quest structured around three tasks. These tales often hinge on a character's cleverness or a magical object, with settings shifting from humble cottages to troll-haunted mountains.

The volume's 58 tales, supplemented by an appendix of 13 additional stories, are framed by Dasent's introductory essay on the origin and diffusion of folktales. Readers encounter a world where animals speak, princesses are rescued, and the line between the mundane and the supernatural is thin.

Triadic Structures and Repetition

Many tales in this collection rely on a pattern of three: three brothers, three tasks, or three attempts. In 'The Three Billy-Goats Gruff,' each goat crosses the bridge in sequence, with the troll's repeated challenge building tension. 'Boots Who Ate a Match with the Troll' features three encounters where the hero outwits the troll through escalating tricks. This triadic structure, common in oral tradition, allows listeners to anticipate the rhythm while variations in detail keep the narrative fresh. Dasent's translation retains the repetition of phrases like 'who's that tripping over my bridge?' which reinforces the folkloric cadence.

Journeys and Threshold Crossings

Movement between worlds is a central motif. In 'East o' the Sun and West o' the Moon,' the heroine travels to a castle beyond the known world, aided by magical animals. 'The Mastermaid' involves a hero who must cross a sea and climb a glass hill to free a princess. These journeys often begin with a departure from home—a poor lad setting out to seek his fortune—and end with a return transformed. The threshold between the human and supernatural is frequently marked by a physical boundary: a bridge, a forest, or a mountain. The tales' settings shift abruptly from domestic interiors to wild landscapes, emphasizing the peril and promise of crossing into the unknown.

Recurring Images: Salt, Glass, and Hair

Certain images recur across the collection. Salt appears in 'Why the Sea is Salt' as a magical commodity that, once set in motion, cannot be stopped. Glass mountains feature in 'Princess on the Glass Hill' and 'The Mastermaid,' where the hero must climb a slippery surface to win a bride. Hair—often from a horse's tail—is used as a deceptive prop in 'Big Peter and Little Peter,' where a trickster ties hair to a birch to fake a miracle. These concrete, tactile images ground the fantastical elements in sensory detail. They also serve as mnemonic devices, helping listeners recall the tale's key moments. Dasent's translation preserves the vividness of these images, making them stand out in the narrative flow.

The Role of the Trickster and the Fool

Many tales feature a trickster figure—often a 'Boots' (the youngest son) or a clever animal—who outwits trolls, kings, or rivals. In 'The Master Thief,' the hero uses disguise and deception to steal from the rich. 'Boots Who Made the Princess Say, That's a Story' relies on the hero's ability to spin a tall tale that traps the princess into speaking. Conversely, tales like 'Gudbrand on the Hill-Side' celebrate a 'fool' whose naive honesty inadvertently leads to success. These characters embody a folk wisdom that values wit over strength, and their exploits often involve a reversal of social order. The trickster's success is never guaranteed, and the tales sometimes end with a moral about the limits of cleverness.

Readers approaching this collection should attend to the interplay between the familiar and the strange. While many tales share motifs with other European traditions, the Norwegian setting—with its fjords, trolls, and harsh winters—gives them a distinct flavor. Dasent's translation, though Victorian in style, retains the oral quality of the originals. For a deeper understanding, compare the tales to the introductory essay, which traces their diffusion across cultures. The appendix of African and Caribbean tales offers a surprising counterpoint, highlighting the universal patterns beneath local variations.