The stromkarl, called in Norway _grim_ or _fosse-grim_ (force-grim), is a musical genius like the neck. He who has learned from him can play in such a masterly manner that the trees dance and waterfalls stop at his music. The merman is described as of a handsome form with green or black hair and beard. He dwells either in the bottom of the sea or in cliffs near the sea-shore, and is regarded as rather a good and beneficent kind of being. The mermaid (_haffrue_) is represented in the popular tradition sometimes as good, at other times as evil and treacherous. Her appearance is beautiful. Fishermen sometimes see her in the bright summer’s sun, when a thin mist hangs over the sea, sitting on the surface of the water, and combing her long golden hair with a golden comb, or driving up her snow-white cattle to feed on the strands or small islands. At other times she comes as a beautiful maiden, chilled and shivering with the cold of the night, to the fires the fishermen have kindled, hoping by this means to entice them to her love. Her appearance prognosticates both storm and ill success in their fishing. People that are drowned, and whose bodies are not found, are believed to be taken into the dwellings of the mermaids. It is the prevalent opinion among the common people of the North that all these various beings were once worsted in a conflict with superior powers, and condemned to remain until doomsday in certain assigned abodes. The rocks were given to the dwarfs; the groves and leafy trees to the elves; the caves and caverns to the hill-people; the sea, lakes and rivers to the merman, mermaids and necks; and the small forces (waterfalls) to the fossegrims. Both the Catholic and Protestant priests have tried to excite an aversion to these beings, but in vain. They still live and fill the fairy-tales and folk-lore with their strange characters, and are capable of furnishing a series of unrivaled subjects for the painter and sculptor. These weird stories are excellently adapted to adorn our epic and dramatic poetry as well as our historic novels. But they must be thoroughly understood first, not only by the poet, but also by his reader. Thomas Keightley, from whom we have given a short abstract, has given us an excellent work in English on Gothic fairy mythology, and we would recommend our readers to read his work in connection with Dr. Dasent’s _Tales from the Fjeld_. _We_ have to present the original mythology, not its offspring.