A Study of Fairy Tales
on. This purpose may be any one of the elements of value which have been presented here under "The Worth of Fairy Tales." The teacher must consider, not only th
She may select her tale to develop habits in the child, to clarify his thinking, to give a habit of memory or to develop emotion or imagination. She may select her tale "just for fun," to give pure joy, or to teach a definite moral lesson, to make
habits of growth. This method of choice is the psychologic built up until, in the hands of the teacher who knows the subject, it becomes somewhat logical. It is the method which uses the ability of the individual teacher, alone and unaided. There is another method. The teacher may be furnished with a course of tales arranged by expert study of the full subject outlined in large units of a year's work, offering the literary heritage possible to the child of a given age. This is logical. From this logical course of tales she may select one which answers to the momentary need, she may use it according to its nature, to develop habits, to give opportunity for self-activity and self-expression, and to enter into the child'
s of the social life and customs of a primitive people. The best way to dwell on the life of the story, to realize it, is to compare these motifs with similar motifs in other tales. It has been said that we do not see anything clearly until we compare it with another; and associating individual motifs of the tales makes the incidents stand out most clearly. Henny Penny's walk appears more distinctly in association with that of Medio Pollito or that of Drakesbill or of the Foolis
the fairy tales have been classifie
room who transgress
; one leaves the oth
mpt to a
ghter of
t, by aid
from gian
ess of y
test, to pe
ateful
man and hi
re with Ogre
scent t
False
with anim
ceable in the fairy tales, which however would generally f
to a home; as in Three
and the Beast, by sprinkling with water, as in Beauty and the Beast or
rriage tests; a
, Paul, and Espen; questions
ep; as in Sle
uch; as in G
using royalty to lau
as in Jack and
shed; as in Bluebe
rsons rewarded; as
d The House
mals repaid; as in T
Whit
rded; as in Elves
ty rewarded; a
a venture; as in
ociation you get the whole, as may be seen by referring to Chanticleer and Partlet under the heading, "Setting," in the chapter on the "Short-Story." Or, if you follow the successive doings of the characters you get the whole, as may be observed in the story of Medio Pollito, described later in the "Animal Tale" in the chapter, "Classes of Tales." Or if you follow the successive happenings to the characters, the plot, you get the whole,
To discern that repose of centrality which the main theme of the tale gives, to follow it to its climax and to its conclusion, where poetic justice leaves the listener satisfied-this is the most fundamental work o
before one can give it. As the message is the chief worth of the tale, the message should dominate the telling and pervade its life. A complete realization of the message of the tal
squshy mud-cap," "Bi-Colored-Python-Rock-Snake," and "satiable curtiosity." No one could substitute other words in this tale; for contrasts of feeling and humor are so tied up with the words that other words would fail to tell the real story. If an interjection has seemed an insignificant part of speech, note the vision of tropical setting opened up by the exclamation, "O Bananas! Where did you learn that trick?" This is indeed a tale where the form is the matter, the form and the
aphs following, "after the lapse of many years there came a king's son into the country," easily may be re-written to preserve the same unity and simplicity which mark the rest of the tale. This individual retelling of an old tale demands a careful distinction between what is essential and internal and what may have been added, what is accidental and external. The clock-case in The Wolf and Seven Kids evidently is not a part of the original story, which arose before clocks were in use, and is a feature added in some German tellin