A Study of Fairy Tales

. The aim of the oral presentation is to give the spiritual effect. This requires certain conditions of effectiveness-to speak with distinctness, to give the sense, and to cause

e total impression given. This results in that flexibility and lightsomeness of the voice, which is one of the most important features in the telling of the tale. The study of technique, when controlled by these principles of vocal expression, is not opposed to the art of story-telling

Open sounds are in harmony with joy, and very distinct emotional effects are produced by arrangements of consonants. The effect created by the use of the vowels and consonants in The Spider and the Flea has already been referred to under "Setting." The open vowels of "ón, little Drumikin! Tum-p?, tum-t[=oo]!" help to convey the impression of lightsome gaiety in Lambikin. The effect of power displayed by "Then I'll huff and I'll puff, and I'll blow your house in," is made largely by the sound of the consonant

when the structure of the story is realized in distinct episodes and the proper emphasis given mentally to the most important details of action, while less emphasis in thought is given to subordinate parts. Therefore, the study of the pause must be made, not artificially and externally, but internally through the elements of the story which produce the pause. Tone-color, which is to ordinary speech what melody is to music-those varied effects of intonation, inflection, and modulation-is to be sought, not as a result from an isolated study of technique, but from attention to those elements in association wi

ure. The body is one means of the mind's expression. There is the eloque

ech in proportion to the int

o some other agent of the body in proportion to th

to the body in gesture when in

all prominence to the story itself, relying for interest in the story alone." The schools have perhaps been misinterpreted. It is clear that only that personality is allowable which interprets truly the story's life. The listening child must be interested in the life of the story, not in the story-teller; and therefore gesture, tone, or sentiment th

of that personality which is to bring with it force in the telling of

t upon the things of life with intentness, a power of sympathy obtained from seeing the things of others as you meet them day by day; and a first-hand knowledge of the sights and sounds and beauties of Nature, a knowledge of bird and flower, tree and rock, their names and some of th

hen the teller seeks the fingers of the listeners to add force to the telling, seems an infringement upon the child's personal rights. A strong personality w

ole story of teaching. It must play so important a part because, as teacher and listener are both human beings, there must be between them a common bond of humanity. How do you wish to appear to this group of listeners? As a friend to be trusted, a brother or sister to give help, or as a good comrade to be played with; as "master, expert, leader, or servant"? If you wish to be as real and forceful as the characters in your story, you must do something which will cause the personal

you think M--'s big enough for all that?" and refused to tell a word. Then turning to the group before her, the student-teacher made the direct appeal. "But you are the biggest little people in the kindergarten, and you wouldn't treat a story like that, would you?" The children, through the personal picture of friendly story-telling with a little child, that paralleled their own situation somewhat, immediately felt at home with the teller; it was just as if they were the same intimate friends with her that the little girl portrayed to them was. The human bond of good comradeship and intimacy was est

and cleverness. It is the step which should speak comfort to the eager teacher of to-day, who is compelled to stand by, Montessori fashion, while many changing conceptions say to her: "Hands off! It is not what you do that helps the child develop; it is what he himself does!" Here at least is one of the teacher's chances to act. This step is the opening of the gateway so that the story you are

ilarity, asking several boys, as they walk across the room before the children, to imitate some animals they had seen at a circus, and getting the children to guess the animal represented until they hit upon the elephant, would put certain children in a spirit of fun that would be exactly the wide-awake brightness and good humor needed to receive the story of The Elephant's Child. You can get children best into the story-telling mood by calling up ideas in line with the story. In the case of the story cited above, under the establishment of the personal relation, the story, The Bremen Town Musici

teller plans, but spontaneously, as the child's own plan, answering to some felt need of his. But that does not prevent the story-teller from using her own imagination, and through it, from realizing what opportunities for growth the story presents, and what possible activities ought to be stimulated. A good guide will keep ahead of the children, know the possibilities of the material, and by knowledge and suggesti

telling must be in harmony with the tale you tell. You will tell it with joy; of course, if there is joy in it, or beauty, which is a "joy forever," or if you are giving joy to your listeners. Tell it, if possible, with a sense of bestowing a blessing, and a delicate perception of th

rten and early first grade, who analyzes but slightly, this results consciously in a clear notion of the story, which shows itself in the child's free re-telling of the story as a whole. He may want to tell the story or he may not. Usually he enjoys re-telling it after some lapse of time; perhaps he tells it to himself, meanwhile. With the older child, who analyzes more definitely, this results in a retelling which actually reproduces the teller's mode of thinking. If persisted in, it gives to one's mode of thinking, the story-mode, just as nature study gives to life the nature point of view. This mode of thinking is the mode of re-creation, of realization. It re-experiences

was illustrated in the telling of Andersen's Pr

to have the story told again, but this time in parts and by those who had listene

ming home again, sad at heart. Another student told the second part, beginning with the storm and ending with what the old Queen though

remember the exact description of the storm. A number of details were thus filled in, in the exact words of the author. After this intimate handling of the separate parts of the story, a final re-te

nting distinct pictures by means of vivid words, through suggestion rather than through illustration, together with the delicate humor that hovered about the tale, an

e who wanted a rea

rn h

one dark evening … t

ou

een did next morning

or

episodes, this telling in steps impresses the structure of the tale and is in harmony with the real literary mastery of the story.-The re-telling of each part drew attention to the visualization of that part. Each hesitation on behalf of a student telling a part, led the class to fill in the details for themselves, and impress

astery of the form, and the exact words of the author in the description of details embodied in that form, the story is possessed as the teller'

r repetition,-that the separation of the story-structure into parts for separate telling should always be in harmony with the divisions of the plot so that there may be no departure fr

a palm tree … to his mee

eer … to when the E

when he came to the Rabbit who first h

ue the earth is all breaking up,' … to end o

le to tell by this method because the theme is attractive, the plot is simple, the sequence a very evident movement, the characters distinctive, the setting pleasing and rather prominent

he King of the Beasts. One must feel clearly the message and make this message enter into every part of the telling: That the Lion showed his superior wisdom by m

his may be the case when the story is too long for a purpose, or if it contains matter which had b

ential story from a

ear sequence with

plicity of plot an

ng a long s

ate second

ate extra

e passages o

ate irrele

left out. But there is no reason why literature in the elementary school should be treated with mutilation. These stories are not suited to the kindergarten or first grade and may be reserved for the third and fourth grades where they may be used and enjoyed by the children as they are. Andersen's Thumbelina might be adapted for kindergarten chi

elina in

elina and

lina and t

and the Cockcha

ina and the

elina and

lina and t

a as Queen of

the story, and is an illustration of the sentimental, which must be omitted when we use Andersen. To omit this episode one would cut