{"collection":"myth-cosmogony","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_13666/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_13666","id":"gutenberg_13666","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/13666","summary":null,"tags":["Category: Children & Young Adult Reading","Category: Mythology, Legends & Folklore","Category: Teaching & Education","Fairy tales -- History and criticism"],"text":"A STUDY OF FAIRY TALES\n\nby\n\nLAURA F. KREADY, B.S.\n\nWith an Introduction by Henry Suzzallo, Ph.D.\nPresident of the University of Washington, Seattle\n\n\n\n\n\n\n\nTO THE CHILDREN WHO, BECAUSE OF IT, MAY RECEIVE ANY GOOD.\n\n\n\n\nPREFACE\n\n\nOne of the problems of present-day education is to secure for the\nentire school system, from the kindergarten to the university, a\ncurriculum which shall have a proved and permanent value. In this\ncurriculum literature has established itself as a subject of\nunquestioned worth. But children's literature, as that distinct\nportion of the subject literature written especially for children or\nespecially suited to them, is only beginning to take shape and form.\nIt seems necessary at this time to work upon the content of children's\nliterature to see what is worthy of a permanent place in the child's\nEnglish, and to dwell upon its possibilities. A consideration of this\nsubject has convinced me of three points:\n\n     (1) that literature in the kindergarten and elementary\n     school should be taught as a distinct subject, accessory\n     neither to reading nor to any other subject of the\n     curriculum, though intimately related to them;\n\n     (2) that it takes training in the subject to teach\n     literature to little children;\n\n     (3) that the field of children's literature is largely\n     untilled, inviting laborers, embracing literature which\n     should be selected from past ages down to the present.\n\nA single _motif_ of this children's literature, _Fairy Tales_, is here\npresented, with the aim of organizing this small portion of the\ncurriculum for the child of five, six, or seven years, in the\nkindergarten and the first grade. The purpose has been to show this\nunit of literature in its varied connection with those subjects which\nbear an essential relation to it. This presentation incidentally may\nserve as an example of one method of giving to teachers a course in\nliterature by showing what training may be given in a single _motif,\nFairy Tales_. Incidentally also it may set forth a few theories of\neducation, not isolated from practice, but united to the everyday\nproblems where the teacher will recognize them with greatest\nimpression. In the selection of the subject no undue prominence is\nhereby advocated for fairy tales. We know fairy tales about which we\ncould agree with Maria Edgeworth when she said: \"Even if children do\nprefer fairy tales, is this a reason why their minds should be filled\nwith fantastic visions instead of useful knowledge?\" However, there is\nno danger that fairy tales will occupy more than a fair share of the\nchild's interest, much as he enjoys a tale; for the little child's\nmain interest is centered in the actual things of everyday life and\nhis direct contact with them. Yet there is a part of him untouched by\nthese practical activities of his real and immediate life; and it is\nthis which gives to literature its unique function, to minister to the\nspirit. Fairy tales, in contributing in their small way to this high\nservice, while they occupy a position of no undue prominence,\nnevertheless hold a place of no mean value in education.\n\nIn the study of fairy tales, as of any portion of the curriculum or as\nin any presentation of subject-matter, three main elements must unite\nto form one combined whole: the child, the subject, and the teaching\nof the subject. In behalf of the child I want to show how fairy tales\ncontain his interests and how they are means for the expression of his\ninstincts and for his development in purpose, in initiative, in\njudgment, in organization of ideas, and in the creative return\npossible to him. In behalf of the subject I want to show what fairy\ntales must possess as classics, as literature and composition, and as\nshort-stories; to trace their history, to classify the types, and to\nsupply the sources of material. In behalf of the teaching of fairy\ntales I want to describe the telling of the tale: the preparation it\ninvolves, the art required in its presentation, and the creative\nreturn to be expected from the child.\n\nIn the consideration of the subject the main purpose has been to\nrelate fairy tales to the large subjects, literature and composition.\nFrom the past those tales have come down to us which inherently\npossessed the qualities of true classics. In modern times so few\nchildren's tales have survived because they have been written mainly\nfrom the point of view of the subject and of the child without regard\nto the standards of literary criticism. In the school the teaching of\nliterature in the kindergarten and elementary grades has been\nconducted largely also from the point of view of the child and of the\nsubject without regard to the arts of literature and composition. In\nbookshops counters are filled with many books that lack literary value\nor artistic merit. The object in this book has been to preserve the\npoint of view of the child and of the subject and yet at the same time\nrelate the tale to the standards of literature and of composition. The\nobject has been to get the teacher, every time she selects or tells a\ntale, to apply practically the great underlying principles of\nliterature, of composition, and of the short-story, as well as those\nof child-psychology and of pedagogy.\n\nThis relating of the tale to literary standards will give to the\nteacher a greater respect for the material she is handling and a\nconsequent further understanding of its possibilities. It will reveal\nwhat there is in the tale to teach and also how to teach it. In\nteaching literature as also other art subject-matter in the\nkindergarten and first grade, the problem is to hold fast to the\nprinciples of the art and yet select, or let the child choose,\nmaterial adapted to his simplicity. As the little child uses analysis\nbut slightly, his best method of possessing a piece of literature is\nto do something with it.\n\nThe fairy tale is also related to life standards, for it presents to\nthe child a criticism of life. By bringing forward in high light the\ncharacter of the fairy, the fairy tale furnishes a unique contribution\nto life. Through its repeated impression of the idea of fairyhood it\nmay implant in the child a desire which may fructify into that pure,\ngenerous, disinterested kindness and love of the grown-up, which aims\nto play fairy to another, with sincere altruism to make appear before\nhis eyes his heart's desire, or in a twinkling to cause what hitherto\nseemed impossible. Fairy tales thus are harbingers of that helpfulness\nwhich would make a new earth, and as such afford a contribution to the\nreligion of life.\n\nIn stressing the history of fairy tales the purpose has been to\npresent fairy tales as an evolution. The kindergarten and first-grade\nteacher must therefore look to find her material anywhere in the whole\nfield and intimately related with the whole. Special attention has\nbeen placed upon the English fairy tale as the tale of our language.\nAs we claim an American literature since the days of Washington\nIrving, the gradual growth of the American fairy tale has been\nincluded, for which we gratefully acknowledge the courtesy of the\nLibrarian of the United States Bureau of Education and the\nBibliographer of the Library of Congress. A particular treatment of\nsome North American Indian folk-tales would also be desirable. But a\nstudy of these tales reveals but one unimportant _pourquois_ tale, of\nsufficient simplicity. This study of the natural history of the fairy\ntale as an art form is not necessary for the child. But for the\nteacher it reveals the nature of fairy tales and their meaning. It is\nan aid to that scholarly command of subject-matter which is the first\nessential for expertness in teaching. Only when we view the American\nfairy tale of to-day in the light of its past history can we obtain a\ncorrect standard by which to judge of its excellence or of its worth.\n\nIn the classification of fairy tales the purpose has been to organize\nthe entire field so that any tale may be studied through the type\nwhich emphasizes its distinguishing features. The source material\nendeavors to furnish a comprehensive treatment of fairy tales for the\nkindergarten and elementary school.\n\nIn the preparation of this book the author takes pleasure in\nexpressing an appreciation of the criticism and helpful suggestions\ngiven by the Editor, Dr. Henry Suzzallo, under whose counsel,\ncooperation, and incentive the work grew. The author wishes also to\nmake a general acknowledgment for the use of many books which of\nnecessity would be consulted in organizing and standardizing any unit\nof literature. Special acknowledgment should be made for the use of\n_Grimm's Household Tales_, edited by Margaret Hunt, containing\nvaluable notes and an introduction by Andrew Lang of _English Fairy\nTales_, _More English Fairy Tales_, _Indian Fairy Tales_, and _Reynard\nthe Fox_, and their scholarly introductions and notes, by Joseph\nJacobs; of _Norse Tales_ and its full introduction, by Sir George W.\nDasent; of _Tales of the Punjab_ and its Appendix, by Mrs. F.A. Steel;\nof the _Uncle Remus Books_, by J.C. Harris; of _Fairy Tales_, by Hans\nC. Andersen; of _Fairy Mythology_ and _Tales and Popular Fictions_, by\nThomas Keightley; of _Principles of Literary Criticism_, by Professor\nC.T. Winchester, for its standards of literature; of _English\nComposition_, by Professor Barrett Wendell, for its standards of\ncomposition; of Professor John Dewey's classification of the child's\ninstincts; and of the _Kindergarten Review_, containing many articles\nof current practice illustrating standards emphasized here.\n\nRecognition is gratefully given for the use of various collections of\nfairy tales and for the use of any particular fairy tale that has been\npresented in outline, descriptive narrative, criticism, or\ndramatization. Among collections special mention should be made of\n_The Fairy Library_, by Kate D. Wiggin and Nora A. Smith; the _Fairy\nBooks_, by Clifton Johnson; and the _Fairy Books_, by Andrew Lang.\nAmong tales, particular mention should be made for the use, in\nadaptation, made of _Oeyvind and Marit_, given in Whittier's _Child\nLife in Prose_; of _The Foolish Timid Rabbit_, given in _The Jataka\nTales_, by Ellen C. Babbit; of _The Sheep and the Pig_, in Miss\nBailey's _For the Children's Hour_; of _Drakesbill_, in _The Fairy\nRing_, by Wiggin and Smith; of _The Magpie's Nest_, in _English Fairy\nTales_, by Joseph Jacobs; of _How the Evergreen Trees Lose their\nLeaves_, in _The Book of Nature Myths_, by Miss Holbrook; of _The\nGood-Natured Bear_, described by Thackeray in \"On Some Illustrated\nChristmas Books\"; and of _The Hop-About-Man_, by Agnes Herbertson,\ngiven in _The Story-Teller's Book_, by Alice O'Grady (Moulton) and\nFrances Throop.\n\nThe author wishes also to express thanks to the many teachers and\nchildren whose work has in any way contributed to _A Study of Fairy\nTales_.\n\nLAURA F. KREADY\nLANCASTER, PENNSYLVANIA\nAugust, 1916\n\n\n\n\nCONTENTS\n\n\n\n     CHAPTER                                  PAGE\n\n     INTRODUCTION BY HENRY SUZZALLO             xv\n\n  I. THE WORTH OF FAIRY TALES                    1\n\n II. PRINCIPLES OF SELECTION FOR FAIRY TALES    13\n\nIII. THE TELLING OF FAIRY TALES                 90\n\n IV. THE HISTORY OF FAIRY TALES                158\n\n  V. CLASSES OF FAIRY TALES                    204\n\n VI. SOURCES OF MATERIAL FOR FAIRY TALES       245\n\n     APPENDIX                                  265\n\n     OUTLINE                                   291\n\n     INDEX                                     305\n\n\n\n\n\nINTRODUCTION\n\n\nThe fairy tale has a place in the training of children which common\nsense and a sympathetic attitude toward childhood will not deny. Some\nrigid philosophers, who see no more of life than is to be found in\nlogical science, condemn the imaginative tale. They regard the\nteaching of myths and stories as the telling of pleasant lies, which,\nif harmless, are wasteful. What the child acquires through them, he\nmust sooner or later forget or unlearn.\n\nSuch arguments carry conviction until one perceives that their authors\nare measuring the worth of all teaching in terms of strictly\nintellectual products. Life is more than precise information; it is\nimpulse and action. The fairy tale is a literary rather than a\nscientific achievement. Its realities are matters of feeling, in which\nthought is a mere skeleton to support the adventure. It matters little\nthat the facts alleged in the story never were and never can be. The\nvalues and ideals which enlist the child's sympathy are morally\nworthy, affording a practice to those fundamental prejudices toward\nright and wrong which are the earliest acquisitions of a young soul.\nThe other characteristics of the tale--the rhythmic, the grotesque,\nthe weird, and the droll--are mere recreation, the abundant\nplayfulness which children require to rest them from the dangers and\nterrors which fascinate them.\n\nThe fairy tale, like every other literary production, must be judged\nby the fitness of its emotional effects. Fairyland is the stage-world\nof childhood, a realm of vicarious living, more elemental and more\nfancy-free than the perfected dramas of sophisticated adults whose\ningrained acceptance of binding realities demands sterner stuff. The\ntales are classics of a particular kind; they are children's classics,\nartful adaptations of life and form which grip the imaginations of\nlittle folks.\n\nThe diet of babes cannot be determined by the needs of grown-ups. A\nspiritual malnutrition which starves would soon set in if adult wisdom\nwere imposed on children for their sustenance. The truth is amply\nillustrated by those pathetic objects of our acquaintance, the men and\nwomen who have never been boys and girls.\n\nTo cast out the fairy tale is to rob human beings of their childhood,\nthat transition period in which breadth and richness are given to\nhuman life so that it may be full and plastic enough to permit the\ncreation of those exacting efficiencies which increasing knowledge and\nresponsibility compel. We cannot omit the adventures of fairyland from\nour educational program. They are too well adapted to the restless,\nactive, and unrestrained life of childhood. They take the objects\nwhich little boys and girls know vividly and personify them so that\ninstinctive hopes and fears may play and be disciplined.\n\nWhile the fairy tales have no immediate purpose other than to amuse,\nthey leave a substantial by-product which has a moral significance. In\nevery reaction which the child has for distress or humor in the tale,\nhe deposits another layer of vicarious experience which sets his\ncharacter more firmly in the mould of right or wrong attitude. Every\nsympathy, every aversion helps to set the impulsive currents of his\nlife, and to give direction to his personality.\n\nBecause of the important aesthetic and ethical bearings of this form\nof literary experience, the fairy stories must be rightly chosen and\nartfully told. In no other way can their full worth in education be\nrealized. They are tools which require discrimination and skill. Out\nof the wisdom of one who knows both tales and children, and who holds\na thoughtful grasp on educational purpose, we offer this volume of\nunusually helpful counsel.--HENRY SUZZALLO.\n\n\n\n\n\nCHAPTER I\n\n\n\n\nTHE WORTH OF FAIRY TALES\n\n     In olde dayes of the kyng Arthour,\n     Of which that Britouns speken gret honour,\n     Al was this lond fulfilled of fayrie;\n     The elf-queen, with hir joly compaignye,\n     Daunced ful oft in many a grene mede.--CHAUCER.\n\n\nI. TWO PUBLIC TRIBUTES\n\n\nOnly a few years ago, in the gardens of the Tuileries, in Paris, a\nstatue was erected in memory of Charles Perrault, to be placed there\namong the sculptures of the never-to-be-forgotten fairy tales he had\ncreated,--_Red Riding Hood_, _Sleeping Beauty_, _Puss-in-Boots_,\n_Hop-o'-my-Thumb_, _Bluebeard_, and the rest,--so that the children\nwho roamed the gardens, and in their play gathered about the statues\nof their beloved fairy friends, might have with them also a reminder\nof the giver of all this joy, their friend Perrault. Two hundred years\nbefore, Perrault truly had been their friend, not only in making for\nthem fairy tales, but in successfully pleading in their behalf when he\nsaid, \"I am persuaded that the gardens of the King were made so great\nand spacious that all the children may walk in them.\"\n\nOnly in December, 1913, in Berlin, was completed the _M\u00e4rchen\nBrunnen_, or \"Fairy-Tale Fountain,\" at the entrance to Friedrichshain\nPark, in which the idea of the architect, Stadt-Baurat Ludwig\nHoffmann, wholly in harmony with the social spirit of the times, was\nto erect an artistic monument to give joy to multitudes of children.\nThis fairy entrance to the park is a decorative lay-out, a central\nground surrounded by a high, thick lodge of beeches. Toward this\ncentral ground--which has been transformed into a joyous fairy\nworld--many hedge walks lead; while in the sidewalks, to warn naughty\nchildren, are concealed fantastic figures. There is the huge\n_Menschen-fresser_, who grasps a tender infant in each Titan hand and\nbears on his head a huge basket of children too young to have known\nmuch wrong. A humorous touch, giving distinct charm to the whole\ncreation, pervades all. From lions' heads and vases, distributed at\nregular intervals in the semicircular arcade in the background, water\ngushes forth; while in the central basin, nine small water\nanimals--seven frogs and two larger animals--appear spouting great\njets of water. Clustered about the central fountain are the nine fairy\ncharacters of Professor Ignatius Taschner, among whom are Red Riding\nHood, Hansel and Grethel each riding a duck, Puss-in-Boots,\nCinderella, and Lucky Hans; and looking down upon them from the\nsurrounding balustrade are the animal figures by Joseph Rauch. In\nthese simple natural classic groups, fancy with what pleasure the\nchildren may look to find the friendly beasts and the favorite tales\nthey love!\n\nSuch is the tribute to fairy tales rendered by two great nations who\nhave recognized fairy tales as the joyous right of children. Any\neducation which claims to relate itself to present child life can\nhardly afford to omit what is acknowledged as part of the child's\neveryday life; nor can it afford to omit to hand on to the child those\nfairy tales which are a portion of his literary heritage.\n\n\n\nII. THE VALUE OF FAIRY TALES IN EDUCATION\n\n\nIn considering fairy tales for the little child, the first question\nwhich presents itself is, \"Why are fairy stories suited to the little\nchild, and what is their value for him?\"\n\nFairy tales bring joy into child life. The mission of joy has not been\nfully preached, but we know that joy works toward physical health,\nmental brightness, and moral virtue. In the education of the future,\nhappiness together with freedom will be recognized as the largest\nbeneficent powers that will permit the individual of four, from his\npristine, inexperienced self-activity, to become that final, matured,\nself-expressed, self-sufficient, social development--the educated man.\nJoy is the mission of art and fairy tales are art products. As such\nPater would say, \"For Art comes to you, proposing to give nothing but\nthe highest quality to your moments as they pass, and simply for those\nmoments' sake. Not the fruit of experience, but experience, is the\nend.\" Such quality came from the art of the fairy tale into the walk\nof a little girl, for whom even the much-tabooed topic of the weather\ntook on a new, fresh charm. In answer to a remark concerning the day\nshe replied, \"Yes, it's not too hot, and not too cold, but just\nright.\" All art, being a product of the creative imagination, has the\npower to stimulate the creative faculties. \"For Art, like Genius,\"\nsays Professor Woodberry, \"is common to all men, it is the stamp of\nthe soul in them.\" All are creatures of imitation and combination; and\nthe little child, in handling an art product, puts his thought through\nthe artist's mould and gains a touch of the artist's joy.\n\nFairy tales satisfy the play spirit of childhood. Folk-tales are the\nproduct of a people in a primitive stage when all the world is a\nwonder-sphere. Most of our popular tales date from days when the\nprimitive Aryan took his evening meal of yava and fermented mead, and\nthe dusky Sudra roamed the Punjab. \"All these fancies are pervaded\nwith that purity by which children seem to us so wonderful,\" said\nWilliam Grimm. \"They have the same blue-white, immaculate bright\neyes.\" Little children are in this same wonder-stage. They believe\nthat the world about throbs with life and is peopled with all manner\nof beautiful, powerful folk. All children are poets, and fairy tales\nare the poetic recording of the facts of life. In this day of\ncommercial enterprise, if we would fit children for life we must see\nto it that we do not blight the poets in them. In this day of emphasis\non vocational training we must remember there is a part of life unfed,\nunnurtured, and unexercised by industrial education. Moreover,\nwhatever will be accomplished in life will be the achievement of a\nfree and vigorous life of the imagination. Before it was realized,\neverything new had existed in some trained imagination, fertile with\nideas. The tale feeds the imagination, for the soul of it is a bit of\nplay. It suits the child because in it he is not bound by the law of\ncause and effect, nor by the necessary relations of actual life. He is\nentirely in sympathy with a world where events follow as one may\nchoose. He likes the mastership of the universe. And fairyland--where\nthere is no time; where troubles fade; where youth abides; where\nthings come out all right--is a pleasant place.\n\nFurthermore, fairy tales are play forms. \"Play,\" Bichter says, \"is the\nfirst creative utterance of man.\" \"It is the highest form in which the\nnative activity of childhood expresses itself,\" says Miss Blow. Fairy\ntales offer to the little child an opportunity for the exercise of\nthat self-active inner impulse which seeks expression in two kinds of\nplay, the symbolic activity of free play and the concrete presentation\nof types. The play, _The Light Bird_, and the tale, _The Bremen_ _Town\nMusicians_, both offer an opportunity for the child to express that\npursuit of a light afar off, a theme which appeals to childhood. The\nfairy tale, because it presents an organized form of human experience,\nhelps to organize the mind and gives to play the values of human life.\nBy contributing so largely to the play spirit, fairy tales contribute\nto that joy of activity, of achievement, of co\u00f6peration, and of\njudgment, which is the joy of all work. This habit of kindergarten\nplay, with its joy and freedom and initiative, is the highest goal to\nbe attained in the method of university work.\n\nFairy tales give the child a power of accurate observation. The habit\nof re-experiencing, of visualization, which they exercise, increases\nthe ability to see, and is the contribution literature offers to\nnature study. In childhood acquaintance with the natural objects of\neveryday life is the central interest; and in its turn it furnishes\nthose elements of experience upon which imagination builds. For this\nreason it is rather remarkable that the story, which is omitted from\nthe Montessori system of education, is perhaps the most valuable means\nof effecting that sense-training, freedom, self-initiated play,\nrepose, poise, and power of reflection, which are foundation stones of\nits structure.\n\nFairy tales strengthen the power of emotion, develop the power of\nimagination, train the memory, and exercise the reason. As emotion and\nimagination are considered in Chapter 11, in the section, \"The Fairy\nTale as Literature,\" and the training of the memory and the exercise\nof the reason in connection with the treatment of various other topics\nlater on, these subjects will be passed by for the present. Every day\nthe formation of habits of mind during the process of education is\nbeing looked upon with a higher estimate. The formation of habits of\nmind through the use of fairy tales will become evident during\nfollowing chapters.\n\nFairy tales extend and intensify the child's social relations. They\nappeal to the child by presenting aspects of family life. Through them\nhe realizes his relations to his own parents: their care, their\nguardianship, and their love. Through this he realizes different\nsituations and social relations, and gains clear, simple notions of\nright and wrong. His sympathies are active for kindness and fairness,\nespecially for the defenseless, and he feels deeply the calamity of\nthe poor or the suffering and hardship of the ill-treated. He is in\nsympathy with that poetic justice which desires immediate punishment\nof wrong, unfairness, injustice, cruelty, or deceit. Through fairy\ntales he gains a many-sided view of life. Through his dramas, with a\npower of sympathy which has seemed universal, Shakespeare has given\nthe adult world many types of character and conduct that are noble.\nBut fairy tales place in the hands of childhood all that the thousands\nand thousands of the universe for ages have found excellent in\ncharacter and conduct. They hold up for imitation all those cardinal\nvirtues of love and self-sacrifice,--which is the ultimate criterion\nof character,--of courage, loyalty, kindness, gentleness, fairness,\npity, endurance, bravery, industry, perseverance, and thrift. Thus\nfairy tales build up concepts of family life and of ethical standards,\nbroaden a child's social sense of duty, and teach him to reflect.\nBesides developing his feelings and judgments, they also enlarge his\nworld of experience.\n\nIn the school, the fairy tale as one form of the story is one part of\nthe largest means to unify the entire work or play of the child. In\nproportion as the work of art, nature-study, game, occupation, etc.,\nis fine, it will deal with some part of the child's everyday life. The\ngood tale parallels life. It is a record of a portion of the race\nreaction to its environment; and being a permanent record of\nliterature, it records experience which is universal and presents\nsituations most human. It is therefore material best suited to furnish\nthe child with real problems. As little children have their thoughts\nand observations directed mainly toward people and centered about the\nhome, the fairy tale rests secure as the intellectual counterpart to\nthose thoughts. As self-expression and self-activity are the great\nnatural instincts of the child, in giving opportunity to make a crown\nfor a princess, mould a clay bowl, decorate a tree, play a game, paint\nthe wood, cut paper animals, sing a lullaby, or trip a dance, the tale\naffords many problems exercising all the child's accomplishments in\nthe variety of his work. This does not make the story the central\ninterest, for actual contact with nature is the child's chief\ninterest. But it makes the story, because it is an organized\nexperience marked by the values of human life, the unity of the\nchild's return or reaction to his environment. The tale thus may bring\nabout that \"living union of thought and expression which dispels the\nisolation of studies and makes the child live in varied, concrete,\nactive relation to a common world.\"\n\nIn the home fairy tales employ leisure hours in a way that builds\ncharacter. Critical moments of decision will come into the lives of\nall when no amount of reason will be a sufficient guide. Mothers who\ncannot follow their sons to college, and fathers who cannot choose for\ntheir daughters, can help their children best to fortify their spirits\nfor such crises by feeding them with good literature. This, when they\nare yet little, will begin the rearing of a fortress of ideals which\nwill support true feeling and lead constantly to noble action. Then,\ntoo, in the home, the illustration of his tale may give the child much\npleasure. For this is the day of fairy-tale art; and the child's\nsatisfaction in the illustration of the well-known tale is limitless.\nIt will increase as he grows older, as he understands art better, and\nas he becomes familiar with the wealth of beautiful editions which are\nat his command.\n\nAnd finally, though not of least moment, fairy tales afford a vital\nbasis for language training and thereby take on a new importance in\nthe child's English. Through the fairy tale he learns the names of\nthings and the meanings of words. One English fairy tale, _The Master\nof all Masters_, is a ludicrous example of the tale built on this very\ntheme of names and meanings. Especially in the case of foreign\nchildren, in a tale of repetition, such as _The Cat and the Mouse_,\n_Teeny Tiny_, or _The Old Woman and Her Pig_, will the repetitive\npassages be an aid to verbal expression. The child learns to follow\nthe sequence of a story and gains a sense of order. He catches the\nnote of definiteness from the tale, which thereby clarifies his\nthinking. He gains the habit of reasoning to consequences, which is\none form of a perception of that universal law which rules the world,\nand which is one of the biggest things he will ever come upon in life.\nNever can he meet any critical situation where this habit of reasoning\nto consequences will not be his surest guide in a decision. Thus fairy\ntales, by their direct influence upon habits of thinking, effect\nlanguage training.\n\nFairy tales contribute to language training also by providing another\nform of that basic content which is furnished for reading. In the\nfuture the child will spend more time in the kindergarten and early\nfirst grade in acquiring this content, so that having enjoyed the real\nliterature, when he reads later on he will be eager to satisfy his own\ndesires. Then reading will take purpose for him and be accomplished\nalmost without drill and practically with no effort. The reading book\nwill gradually disappear as a portion of his literary heritage. In the\nkindergarten the child will learn the play forms, and in the first\ngrade the real beginnings, of phonics and of the form of words in the\napplied science of spelling. In music he will learn the beginnings of\nthe use of the voice. This will leave him free, when he begins reading\nlater, to give attention to the thought reality back of the symbols.\nWhen the elements combining to produce good oral reading are cared for\nin the kindergarten and in the first grade, in the subjects of which\nthey properly form a part, the child, when beginning to read, no\nlonger will be needlessly diverted, his literature will contribute to\nhis reading without interference, and his growth in language will\nbecome an improved, steady accomplishment.\n\n\n\nREFERENCES\n\n\n     Allison, Samuel; and Perdue, Avis: _The Story in Primary\n       Instruction_. Flanagan.\n\n     Blow, Susan; Hill, Patty; and Harrison, Elizabeth: _The\n       Kindergarten_. Houghton.\n\n     Blow, Susan: _Symbolic Education_. Appleton.\n\n     Chamberlain, Alexander: \"Folk-Lore in the Schools,\" _Pedagogical\n       Seminary_, vol. vii, pp. 347-56.\n\n     Chubb, Percival: \"Value and Place of Fairy Stories,\" _National\n       Education Association Report_, 1905.\n\n     Dewey, John: _The School and the Child_. Blackie & Sons.\n\n     _Ibid.: The School and Society_. University of Chicago Press.\n\n     \"Fairy Tales,\" _Public Libraries_, 1906, vol. 11, pp. 175-78.\n\n     Palmer, Luella: \"Standard for Kindergarten Training,\"\n       _Kindergarten Review_, June, 1914.\n\n     Welsh, Charles: _Right Reading for Children_. Heath.\n\n\n\n\nCHAPTER II\n\n\n\nPRINCIPLES OF SELECTION FOR FAIRY TALES\n\n     All our troubles come from doing that in which we have no\n     interest.--EPICTETUS.\n\n     That is useful for every man which is conformable to his own\n     constitution and nature.--MARCUS AURELIUS.\n\n     Genuine interest means that a person has identified himself\n     with, or found himself in, a certain course of activity. It\n     is obtained not by thinking about it and consciously aiming\n     at it, but by considering and aiming at the conditions that\n     lie back of it, and compel it.--JOHN DEWEY.\n\n\n\nI. THE INTERESTS OF CHILDREN\n\n\nNow that the value of fairy tales in education has been made clear,\nlet us consider some of those principles of selection which should\nguide the teacher, the mother, the father, and the librarian, in\nchoosing the tale for the little child.\n\nFairy tales must contain what interests children. It is a well-known\nprinciple that selective interest precedes voluntary attention;\ntherefore interest is fundamental. All that is accomplished of\npermanent good is a by-product of the enjoyment of the tale. The tale\nwill go home only as it brings joy, and it will bring joy when it\nsecures the child's interest. Now interest is the condition which\nrequires least mental effort. And fairy tales for little children must\nfollow that great law of composition pointed out by Herbert Spencer,\nwhich makes all language consider the audience and the economy of the\nhearer's attention. The first step, then, is to study the interests of\nthe child. We do not wish to give him just what he likes, but we want\nto give him a chance to choose from among those things which he ought\nto have and, as good and wise guardians, see that we offer what is in\nharmony with his interests. Any observation of the child's interest\nwill show that he loves the things he finds in his fairy tales. He\nenjoys--\n\n     _A sense of life_. This is the biggest thing in the fairy\n     tales, and the basis for their universal appeal. The little\n     child who is just entering life can no more escape its\n     attraction than can the aged veteran about to leave the\n     pathway. The little pig, Whitie, who with his briskly\n     curling tail goes eagerly down the road to secure, from the\n     man who carried a load of straw, a bit with which to build\n     his easily destructible house; Red Riding Hood taking a pot\n     of jam to her sick grandmother; Henny Penny starting out on\n     a walk, to meet with the surprise of a nut falling on her\n     head--the biggest charm of all this is that it is life.\n\n     _The familiar_. The child, limited in experience, loves to\n     come in touch with the things he knows about. It soothes his\n     tenderness, allays his fears, makes him feel at home in the\n     world,--and he hates to feel strange,--it calms his\n     timidity, and satisfies his heart. The home and the people\n     who live in it; the food, the clothing, and shelter of\n     everyday life; the garden, the plant in it, or the live ant\n     or toad; the friendly dog and cat, the road or street near\n     by, the brook, the hill, the sky--these are a part of his\n     world, and he feels them his own even in a story. The\n     presents which the Rabbit went to town to buy for the little\n     Rabbits, in _How Brother Rabbit Frightens his Neighbors_;\n     the distinct names, Miss Janey and Billy Malone, given to\n     the animals of _In Some Lady's Garden_, just as a child\n     would name her dolls; and the new shoes of the Dog which the\n     Rabbit managed to get in _Why Mr. Dog Runs after Brother\n     Rabbit_--these all bring up in the child's experience\n     delightful familiar associations. The tale which takes a\n     familiar experience, gives it more meaning, and organizes\n     it, such as _The Little Red Hen_, broadens, deepens, and\n     enriches the child's present life.\n\n     _The surprise_. While he loves the familiar, nothing more\n     quickly brings a smile than the surprise. Perhaps the most\n     essential of the fairy traits is the combination of the\n     familiar and the unfamiliar. The desire for the unknown,\n     that curiosity which brings upon itself surprise, is the\n     charm of childhood as well as the divine fire of the\n     scientist. The naughty little Elephant who asked \"a new,\n     fine question he had never asked before,\" and who went to\n     answer his own question of \"what the crocodile has for\n     dinner,\" met with many surprises which were spankings; and\n     as a result, he returned home with a trunk and experience.\n     He is a very good example of how delightful to the child\n     this surprise can be. The essence of the fairy tale is\n     natural life in a spiritual world, the usual child in the\n     unusual environment, or the unusual child in the natural\n     environment. This combination of the usual and unusual is\n     the chief charm of _Alice in Wonderland_, where a natural\n     child wanders through a changing environment that is\n     unusual. For an idle moment enjoy the task of seeing how\n     many ideas it contains which are the familiar ideas of\n     children, and how they all have been \"made different.\" All\n     children love a tea-party, but what child would not be\n     caught by having a tea-party with a Mad Hatter, a March\n     Hare, and a sleepy Dormouse, with nothing to eat and no tea!\n     Red Riding Hood was a dear little girl who set out to take a\n     basket to her grandmother. But in the wood, after she had\n     been gathering a nosegay and chasing butterflies, \"just as I\n     might do,\" any child might say, she met a wolf! And what\n     child's ears would not rise with curiosity? \"Now something's\n     going to happen!\" The Three Bears kept house. That was usual\n     enough; but everything was different, and the charm is in\n     giving the child a real surprise at every step. The house\n     was not like an ordinary house; it was in the wood, and more\n     like a play-house than a real one. There was a room, but not\n     much in it; a table, but there was not on it what is on your\n     table--only three bowls. What they contained was usual, but\n     unusually one bowl of porridge was big and hot, one was less\n     big and cold, and one was little and just right. There were\n     usual chairs, unusual in size and very unusual when\n     Goldilocks sat in them. Upstairs the bedroom was usual, but\n     the beds were unusual when Goldilocks lay upon them. The\n     Bears themselves were usual, but their talk and action was a\n     delightful mixture of the surprising and the comical.\n     Perhaps this love of surprise accounts for the perfect leap\n     of interest with which a child will follow the Cock in _The\n     Bremen Town Musicians_, as he saw from the top of the tree\n     on which he perched, a light, afar off through the wood.\n     Certainly the theme of a light in the distance has a charm\n     for children as it must have had for man long ago.\n\n     _Sense impression_. Good things to eat, beautiful flowers,\n     jewels, the beauties of sight, color, and sound, of odor and\n     of taste, all gratify a child's craving for sense\n     impression. This, in its height, is the charm of the\n     _Arabian Nights_. But in a lesser degree it appears in all\n     fairy tales. Cinderella's beautiful gowns at the ball and\n     the fine supper stimulate the sense of color, beauty, and\n     taste. The sugar-panes and gingerbread roof of the Witch's\n     House, in _Hansel and Grethel_, stir the child's kindred\n     taste for sweets and cookies. The Gingerbread Boy, with his\n     chocolate jacket, his cinnamon buttons, currant eyes,\n     rose-sugar mouth, orange-candy cap, and gingerbread shoes,\n     makes the same strong sense appeal. There is a natural\n     attraction for the child in the beautiful interior of\n     Sleeping Beauty's Castle, in the lovely perfume of roses in\n     the Beast's Rose-Garden, in the dance and song of the Elves,\n     and in the dance of the Goat and her seven Kids about the\n     well.\n\n     _The beautiful_. Closely related to this love of the\n     material is the sense of the beautiful. \"Beauty is pleasure\n     regarded as the quality of a thing,\" says Santayana.\n     Pleasures of the eye and ear, of the imagination and memory,\n     are those most easily objectified, and form the groundwork\n     on which all higher beauty rests. The green of the spring,\n     the odor of Red Riding Hood's flowers, the splendor of the\n     Prince's ball in _Cinderella_--these when perceived\n     distinctly are intelligible, and when perceived delightfully\n     are beautiful. Language is a kind of music, too; the mode of\n     speaking, the sound of letters, the inflection of the\n     voice--all are elements of beauty. But this material beauty\n     is tied up in close association with things \"eye hath not\n     seen nor ear heard,\" the moral beauty of the good and the\n     message of the true. The industry of the little Elves\n     reflects the worth of honest effort of the two aged\n     peasants, and the dance of the Goat and seven Kids reflects\n     the triumph of mother wit and the sharpness of love. The\n     good, the true, and the beautiful are inseparably linked in\n     the tale, just as they forever grow together in the life of\n     the child. The tales differ largely in the element of beauty\n     they present. Among those conspicuous for beauty may be\n     mentioned Andersen's _Thumbelina_; the Indian _How the Sun,\n     the Moon, and West Wind Went Out to Dinner_; the Japanese\n     _Mezumi, the Beautiful_; and the English _Robin's Christmas\n     Song. Little Two-Eyes_ stands out as one containing a large\n     element of beauty, and _Oeyvind and Marit_ represents in an\n     ideal way the possible union of the good, the true, and the\n     beautiful. This union of the good, the true, and the\n     beautiful has been expressed by an old Persian legend: \"In\n     the midst of the light is the beautiful, in the midst of the\n     beautiful is the good, in the midst of the good is God, the\n     Eternal One.\"\n\n     _Wonder, mystery, magic_. The spirit of wonder, like a\n     will-o'-the-wisp, leads on through a fairy tale, enticing\n     the child who follows, knowing that something will happen,\n     and wondering what. When magic comes in he is gratified\n     because some one becomes master of the universe--Cinderella,\n     when she plants the hazel bough, and later goes to the\n     wishing-tree; the fairy godmother, when with her wand she\n     transforms a pumpkin to a gilded coach and six mice to\n     beautiful gray horses; Little Two-Eyes, when she says,--\n\n          Little kid, bleat,\n          I wish to eat!\n\n     and immediately her little table set with food so\n     marvelously appears; or Hop-o'-my-Thumb when he steps into\n     his Seven-League Boots and goes like the wind.\n\n     _Adventure_. This is a form of curiosity. In the old tale,\n     as the wood was the place outside the usual habitation,\n     naturally it was the place where things happened. Often\n     there was a house in the wood, like the one \"amidst the\n     forest darkly green,\" where Snow White lived with the\n     Dwarfs. This adventure the little child loves for its own\n     sake. Later, when he is about eleven or twelve, he loves it\n     for its motive. This love of adventure is part of the charm\n     of _Red Riding Hood_, of the _Three Bears_, of the _Three\n     Pigs_, or of any good tale you might mention.\n\n     _Success_. The child likes the fairy tale to tell him of\n     some one who succeeds. He admires the little pig Speckle who\n     outwitted the Wolf in getting to the field of turnips first,\n     or in going to the apple tree at Merry-Garden, or to the\n     fair at Shanklin; who built his house of brick which would\n     defy assault; and whose cleverness ended the Wolf's life.\n     This observation of success teaches the child to admire\n     masterliness, to get the motto, _Age quod agis_, stamped\n     into his child life from the beginning. It influences\n     character to follow such conduct as that of the Little Red\n     Hen, who took a grain of wheat,--her little mite,--who\n     planted it, reaped it, made it into bread, and then ate it;\n     who, in spite of the Goose and the Duck, secured to herself\n     the reward of her labors.\n\n     _Action_. Akin to his love of running, skipping, and\n     jumping, to his enjoyment in making things go and in seeing\n     others make things go, is the child's desire for action in\n     his fairy tales; and this is just another way of saying he\n     wants his fairy tales to parallel life. Action is the\n     special charm of the Gingerbread Boy, who opened the oven\n     door and so marvelously ran along, outrunning an old Man, an\n     old Woman, a little Boy, two Well-Diggers, two\n     Ditch-Diggers, a Bear, and a Wolf, until he met the Fox\n     waiting by the corner of the fence. _Dame Wiggins of Lee and\n     Her Seven Wonderful Cats_--a humorous tale written by Mrs.\n     Sharp, a lady of ninety, edited by John Ruskin, who added\n     the third, fourth, eighth, and ninth stanzas, and\n     illustrated by Kate Greenaway--has this pleasing trait of\n     action to a unique degree. So also has _The Cock, the Mouse,\n     and the Little Red Hen_, a modern tale by F\u00e9licit\u00e9 Lef\u00e8vre.\n     This very popular tale among children is a retelling of two\n     old tales combined, _The Little Red Hen_ and the Irish\n     _Little Rid Hin_.\n\n     _Humor_. The child loves a joke, and the tale that is\n     humorous is his special delight. Humor is the source of\n     pleasure in _Billy Bobtail_, where the number of animals and\n     the noises they make fill the tale with hilarious fun. There\n     is most pleasing humor in _Lambikin_. Here the reckless hero\n     frolicked about on his little tottery legs. On his way to\n     Granny's house, as he met the Jackal, the Vulture, the\n     Tiger, and the Wolf, giving a little frisk, he said,--\n\n          To Granny's house I go,\n          Where I shall fatter grow,\n          Then you can eat me so!\n\n     Later, on returning, when the animals asked, \"Have you seen\n     Lambikin?\" cozily settled within his Drumikin, laughing and\n     singing to himself, he called out slyly--\n\n          Lost in the forest, and so are you,\n          On, little Drumikin! Tum-pa, turn-too!\n\n     Humor is the charm, too, of Andersen's _Snow Man_. Here the\n     child can identify himself with the Dog and thereby join in\n     the sport which the Dog makes at the Snow Man's expense,\n     just as if he himself were enlightening the Snow Man about\n     the Sun, the Moon, and the Stove. There is most delightful\n     humor in _The Cat and the Mouse in Partnership_, where the\n     Cat has the face to play upon the credulity of the poor\n     housekeeper Mouse, who always \"stayed at home and did not go\n     out into the daytime.\" Returning home from his ventures\n     abroad he named the first kitten Top-Off, the second one\n     Half-Out, and the third one All-Out; while instead of having\n     attended the christening of each, as he pretended, he\n     secretly had been visiting the jar of fat he had placed for\n     safe-keeping in the church.\n\n     _Poetic justice_. Emotional satisfaction and moral\n     satisfaction based on emotional instinct appeal to the\n     child. He pities the plight of the animals in the _Bremen\n     Town Musicians_, and he wants them to find a refuge, a safe\n     home. He is glad that the robbers are chased out, his sense\n     of right and wrong is satisfied. Poetic justice suits him.\n     This is one reason why fairy tales make a more definite\n     impression often than life--because in the tale the\n     retribution follows the act so swiftly that the child may\n     see it, while in life \"the mills of the gods grind slowly,\"\n     and even the adult who looks cannot see them grind. The\n     child wants Cinderella to gain the reward for her goodness;\n     and he wishes the worthy Shoemaker and his Wife, in the\n     _Elves and the Shoemaker_, to get the riches their industry\n     deserves.\n\n     _The imaginative_. Fairy tales satisfy the activity of the\n     child's imagination and stimulate his fancy. Some beautiful\n     spring day, perhaps, after he has enjoyed an excursion to a\n     field or meadow or wood, he will want to follow Andersen's\n     Thumbelina in her travels. He will follow her as she floats\n     on a lily pad, escapes a frog of a husband, rides on a\n     butterfly, lives in the house of a field-mouse, escapes a\n     mole of a husband, and then rides on the back of a friendly\n     swallow to reach the south land and to become queen of the\n     flowers. Here there is much play of fancy. But even when the\n     episodes are homely and the situations familiar, as in\n     _Little Red Hen_, the act of seeing them as distinct images\n     and of following them with interest feeds the imagination.\n     For while the elements are familiar, the combination is\n     unusual; and this nourishes the child's ability to remove\n     from the usual situation, which is the essential element in\n     all originality. By entering into the life of the characters\n     and identifying himself with them, he develops a large\n     sympathy and a sense of power, he gains insight into life,\n     and a care for the interests of the world. Thus imagination\n     grows \"in flexibility, in scope, and in sympathy, till the\n     life which the individual lives is informed with the life of\n     nature and of society,\" and acquires what Professor John\n     Dewey calls Culture.\n\n     _Animals_. Very few of the child's fairy tales contain no\n     animals. Southey said of a home: \"A house is never perfectly\n     furnished for enjoyment unless there is in it a child rising\n     three years old and a kitten rising six weeks; kitten is in\n     the animal world what a rose-bud is in a garden.\" In the\n     same way it might be said of fairy tales: No tale is quite\n     suited to the little child unless in it there is at least\n     one animal. Such animal tales are _The Bremen Town\n     Musicians, Henny Penny, Ludwig and Marleen_ and _The\n     Elephant's Child_. The episode of the hero or heroine and\n     the friendly animal, as we find it retained in Two-Eyes and\n     her little Goat, was probably a folk-lore convention--since\n     dropped--common to the beginning of many of the old tales.\n     It indicates how largely the friendly animal entered into\n     the old stories.\n\n     _A portrayal of human relations, especially with children_.\n     In _Cinderella_ the child is held by the unkind treatment\n     inflicted upon Cinderella by her Stepmother and the two\n     haughty Sisters. He notes the solicitude of the Mother of\n     the Seven Kids in guarding them from the Wolf. In the _Three\n     Bears_ he observes a picture of family life. A little child,\n     on listening to _The Three Pigs_ for the first time, was\n     overwhelmed by one thought and cried out, \"And didn't the\n     Mother come home any more?\" Naturally the child would be\n     interested especially in children, for he is like the older\n     boy, who, when looking at a picture-book, gleefully\n     exclaimed, \"That's me!\" He likes to put himself in the place\n     of others. He can do it most readily if the character is a\n     small individual like Red Riding Hood who should obey her\n     mother; or like Goldilocks who must not wander in the wood;\n     or like Henny Penny who went to take a walk and was accosted\n     by, \"Where are you going?\" In _Brother Rabbit and the Little\n     Girl_ the Little Girl takes the keenest enjoyment in putting\n     herself in the customary grown-up's place of granting\n     permission, while the Rabbit takes the usual child's place\n     of mentioning a request with much persuasion. The child is\n     interested, too, in the strange people he meets in the fairy\n     tales: the clever little elves who lived in the groves and\n     danced on the grass; the dwarfs who inhabited the\n     earth-rocks and the hills; the trolls who dwelt in the wild\n     pine forest or the rocky spurs, who ate men or porridge, and\n     who fled at the noise of bells; the fairies who pleased with\n     their red caps, green jackets, and sprightly ways; the\n     beautiful fairy godmother who waved her wonderful wand; or\n     those lovely fairy spirits who appeared at the moment when\n     most needed--just as all best friends do--and who could\n     grant, in a twinkling, the wish that was most desired.\n\n     _The diminutive_. This pleasure in the diminutive is found\n     in the interest in the fairy characters, Baby Bear, Little\n     Billy-Goat, Little Pig, the Little Elves, Teeny Tiny,\n     Thumbelina, and Tom Thumb, as well as in tiny objects. In\n     the _Tale of Tom Thumb_ the child is captivated by the\n     miniature chariot drawn by six small mice, the tiny\n     butterfly-wing shirt and chicken-skin boots worn by Tom, and\n     the small speech produced by him at court, when asked his\n     name:--\n\n          My name is Tom Thumb,\n          From the Fairies I come;\n          When King Arthur shone,\n          This court was my home.\n          In me he delighted,\n          By him I was knighted.\n          Did you never hear of\n          Sir Thomas Thumb?\n\n     _Doll i' the Grass_ contains a tiny chariot made from a\n     silver spoon and drawn by two white mice, and _Little\n     Two-Eyes_ gives a magic table. The child takes keen delight\n     in the fairy ship which could be folded up and put into a\n     pocket, and in the wonderful nut-shell that could bring\n     forth beautiful silver and gold dresses. The little wagon of\n     Chanticleer and Partlet that took them a trip up to the\n     hill, and the tiny mugs and beds, table and plates, of Snow\n     White's cottage in the wood--such as these all meet the\n     approval of child-nature.\n\n     _Rhythm and repetition_. The child at first loves sound;\n     later he loves sound and sense, or meaning. Repetition\n     pleases him because he has limited experience and is glad to\n     come upon something he has known before. He observes and he\n     wants to compare, but it is a job. Repetition saves him a\n     task and boldly proclaims, \"We are the same.\" Such is the\n     effect of the repetitive expressions which we find in _Teeny\n     Tiny_: as, \"Now when the teeny-tiny woman got home to her\n     teeny-tiny house, she was a teeny-tiny bit tired\"; or, in\n     _Little Jack Rollaround_, who cried out with such vigorous\n     persistence, \"Roll me around!\" and called to the moon, \"I\n     want the people to see me!\" In _The Little Rabbit Who Wanted\n     Red Wings_, one of the pleasantest tales for little\n     children, the White Rabbit said to his Mammy, \"Oh, Mammy, I\n     wish I had a long gray tail like Bushy Tail's; I wish I had\n     a back full of bristles like Mr. Porcupine's; I wish I had a\n     pair of red rubbers like Miss Puddleduck's.\" At last, when\n     he beheld the tiny red-bird at the Wishing-Pond, he said,\n     \"Oh, I wish I had a pair of little red wings!\" Then, after\n     getting his wings, when he came home at night and his Mammy\n     no longer knew him, he repeated to Mr. Bushy Tail, Miss\n     Puddleduck, and old Mr. Ground Hog, the same petition to\n     sleep all night, \"Please, kind Mr. Bushy Tail, may I sleep\n     in your house all night?\" etc. Repetition here aids the\n     child in following the characters, the story, and its\n     meaning. It is a distinct help to unity and to clearness.\n\n     _The Elephant's Child_ is an example of how the literary\n     artist has used this element of repetition, and used it so\n     wonderfully that the form is the matter and the tale cannot\n     be told without the artist's words. \"'Satiable curtiosity,\"\n     \"the banks of the great, grey-green, greasy, Limpopo River,\n     all set about with fever-trees,\" and \"'Scuse me,\" are but a\n     few of those expressions for which the child will watch as\n     eagerly as one does for a signal light known to be due. The\n     repetition of the one word, \"curtiosity,\" throughout the\n     tale, simply makes the point of the whole story and makes\n     that point delightfully impressive.\n\n     Rhythm and repetition also make a bodily appeal, they appeal\n     to the child's motor sense and instinctively get into his\n     muscles. This is very evident in _Brother Rabbit's\n     Riddle_:--\n\n          De big bird bob en little bird sing;\n          De big bee zoon en little bee sting,\n          De little man lead en big hoss foller--\n          Kin you tell wat 's good fer a head in a holler?\n\n     The song in _Brother Rabbit and the Little Girl_ appeals\n     also to the child's sense of sound:--\n\n          De jay-bird hunt de sparrer-nes;\n          De bee-martin sail all 'roun';\n          De squer'l, he holler from de top er de tree,\n          Mr. Mole, he stay in de ground;\n          He hide en he stay twel de dark drap down--\n          Mr. Mole, he hide in de groun'.\n\n     _The simple and the sincere_. The child's taste for the\n     simple and the sincere is one reason for the appeal which\n     Andersen's tales make. In using his stories it is to be\n     remembered that, although Andersen lacked manliness in being\n     sentimental, he preserved the child's point of view and gave\n     his thought in the true nursery story's mode of expression.\n     Since real sentiment places the emphasis on the object which\n     arouses feeling and the sentimental places the emphasis on\n     the feeling, sincerity demands that in using Andersen's\n     tales, one lessen the sentimental when it occurs by omitting\n     to give prominence to the feeling. Andersen's tales reflect\n     what is elementary in human nature, childlike fancy, and\n     emotion. His speech is characterized by the simplest words\n     and conceptions, an avoidance of the abstract, the use of\n     direct language, and a na\u00efve poetic expression adapted to\n     general comprehension. He is not to be equaled in child\n     conversations. The world of the fairy tale must be simple\n     like the world Andersen has given us. It must be a world of\n     genuine people and honest occupations in order to form a\n     suitable background for the supernatural. Only fairy tales\n     possessing simplicity are suited to the oldest kindergarten\n     child of five or six years. To the degree that the child is\n     younger than five years, he should be given fewer and fewer\n     fairy tales. Those given should be largely realistic stories\n     of extreme simplicity.\n\n     _Unity of effect_. The little child likes the short tale,\n     for it is a unity he can grasp. If you have ever listened to\n     a child of five spontaneously attempting to tell you a long\n     tale he has not grasped, and have observed how the units of\n     the tale have become confused in the mind that has not held\n     the central theme, you then realize how harmful it is to\n     give a child too long a story. Unity demands that there be\n     no heaping up of sensations, but neat, orderly, essential\n     incidents, held together by one central idea. The tale must\n     go to the climax directly. It must close according to Uncle\n     Remus's idea when he says, \"De tale ain't persoon atter em\n     no furder don de place whar dey [the characters] make der\n     disappear'nce.\" It will say what it has to say and lose no\n     time in saying it; and often it will attempt to say only one\n     thing. It will be remarkable as well for what it omits as\n     for what it tells. The Norse _Doll i' the Grass_ well\n     illustrates this unity. Boots set out to find a wife and\n     found a charming little lassie who could spin and weave a\n     shirt in one day, though of course the shirt was tiny. He\n     took her home and then celebrated his wedding with the\n     pleasure of the king. This unity, which is violated in\n     Grimm's complicated _Golden Bird_, appears pleasantly in\n     _The Little Pine Tree that Wished for New Leaves_. Here one\n     feeling dominates the tale, the Pine Tree was no longer\n     contented. So she wished, first for gold leaves, next for\n     glass leaves, and then for leaves like those of the oaks and\n     maples. But the robber who stole her gold leaves, the storm\n     that shattered her glass leaves, and the goat that ate her\n     broad green leaves, changed her feeling of discontent, until\n     she wished at last to have back her slender needles, green\n     and fair, and awoke next morning, happy and contented.\n\nFairy tales for little children must avoid certain elements opposed to\nthe interests of the very young child. Temperaments vary and one must\nbe guided by the characteristics of the individual child. But while\nthe little girl with unusual power of visualization, who weeps on\nhearing of Thumbling's travels down the cow's mouth in company with\nthe hay, may be the exception, she proves the rule: the little child\ngenerally should not have the tale that creates an emotion of horror\nor deep feeling of pain. This standard would determine what tales\nshould not be given to the child of kindergarten age:--\n\n     _The tale of the witch_. The witch is too strange and too\n     fearful for the child who has not learned to distinguish the\n     true from the imaginative. This would move _Hansel and\n     Grethel_ into the second-grade work and _Sleeping Beauty_\n     preferably into the work of the first grade. The child soon\n     gains sufficient experience so that later the story\n     impresses, not the strangeness.\n\n     _The tale of the dragon_. This would eliminate _Siegfried\n     and the Dragon_. A dragon is too fearful a beast and\n     produces terror in the heart of the child. Tales of heroic\n     adventure with the sword are not suited to his strength. He\n     has not yet entered the realm of bold adventure where\n     Perseus and Theseus and Hercules display their powers. The\n     fact that hero-tales abound in delightful literature is not\n     adequate reason for crowding the _Rhinegold Legends, Wagner\n     Stories_, and _Tales of King Arthur_, into the kindergarten.\n     Their beauty and charm do not make it less criminal to\n     present to little children such a variety of images as\n     knighthood carries with it. These tales are not sufficiently\n     simple for the little child, and must produce a mental\n     confusion and the crudest of returns.\n\n     _Giant tales_. This would omit _Jack and the Beanstalk, Jack\n     the Giant-Killer_, and _Tom Hickathrift_, moving them up\n     into the primary field. A little girl, when eating tongue,\n     confidingly asked, \"Whose tongue?\" and when told, \"A cow's,\"\n     immediately questioned with tenderness, \"Don't he feel it?\"\n     Thereafter she insisted that she didn't like tongue. To a\n     child of such sensibilities the cutting off of heads is\n     savage and gruesome and should not be given a chance to\n     impress so prominently. Life cannot be without its strife\n     and struggle, but the little child need not meet everything\n     in life at once. This does not mean that absolutely no giant\n     tale would be used at this time. The tale of _Mr. Miacca_,\n     in which \"little Tommy couldn't always be good and one day\n     went round the corner,\" is a giant tale which could be used\n     with young children because it is full of delightful humor.\n     Because of the simplicity of Tommy's language and his sweet\n     childishness it appeals to the child's desire to identify\n     himself with the character. Tommy is so clever and inventive\n     and his lively surprises so brimful of fun that the final\n     effect is entirely pleasing.\n\n     _Some tales of transformation_. The little child is not\n     pleased but shocked by the transformation of men into\n     animals. A little girl, on looking at an illustration of\n     _Little Brother and Sister_, remarked, \"If my Sister would\n     turn into a fawn I would cry.\" When the animals are\n     terrifying, the transformation contains horror for the\n     child. This, together with the length and complexity of the\n     story, would move _Beauty and the Beast_ up into the second\n     grade where the same transformation becomes an element of\n     pleasure. A simple tale of transformation, such as _The\n     Little Lamb and the Little Fish_, in which Gretchen becomes\n     a lamb and Peterkin a little fish, is interesting but not\n     horrible, and could be used. So also could a tale such as\n     Grimm's _Fundevogel_, in which the brother and sister escape\n     the pursuit of the witch by becoming, one a rosebush and the\n     other a rose; later, one a church and the other a steeple;\n     and a third time, one a pond and the other a duck. In both\n     these tales we have the witch and transformation, but the\n     effect contains no horror.\n\n     _The tale of strange animal relations and strange creatures.\n     Tom Tit Tot_, which Jacobs considers the most delightful of\n     all fairy tales, is brimful of humor for the older child,\n     but here the tailed man is not suited to the faith and\n     understanding of six years. _Rumpelstiltskin_, its parallel,\n     must also be excluded. _The House in the Wood_, and its\n     Norse parallel, _The Two Step-Sisters_, are both very\n     beautiful, but are more suited to the second grade. In the\n     kindergarten it is much better to present the tale which\n     emphasizes goodness, rather than the two just mentioned,\n     which present the good and the bad and show what happens to\n     both. Besides there is a certain elation resulting from the\n     superior reward won by the good child which crowds out any\n     pity for the erring child. Such elation is a form of\n     selfishness and ought not to be emphasized. _Snow White and\n     Rose Red_ contains the strange dwarf, but it is a tale so\n     full of love and goodness and home life that in spite of its\n     length it could be used in the first grade.\n\n     _Unhappy tales_. The very little child pities, and its\n     tender heart must be protected from depressing sadness as\n     unrelieved as we find it in _The Little Match Girl_. The\n     image of suffering impressed on a child, who cannot forget\n     the sight of a cripple for days, is too intense to be\n     healthful. The sorrow of the poor is one of the elements of\n     life that even the very little child meets, and it is\n     legitimate that his literature should include tales that\n     call for compassion. But in a year or two, when he develops\n     less impressionability and more poise, he is better prepared\n     to meet such situations, as he must meet them in life.\n\n     _The tale of capture_. This would eliminate _Proserpine_. No\n     more beautiful myth exists than this one of the springtime,\n     but its beauty and its symbolism do not make it suitable for\n     the kindergarten. It is more suited to the elementary child\n     of the fourth grade. In fact, very few myths of any sort\n     find a legitimate place in the kindergarten, perhaps only a\n     few of the simpler _pourquois_ tales. _The Legend of the\n     Pied Piper of Hamelin_, which is very beautiful, and appeals\n     to little children because of the piping and of the children\n     following after, should be omitted from the kindergarten\n     because the capture at the close--the disappearance of the\n     children in the hill--is tragic in pathos. It is better to\n     leave the literature as it is and offer it later when the\n     child reaches the second grade. The effect of this tragic\n     end has been realized by Josephine Scribner Gates, who (_St.\n     Nicholas_, November, 1914) has given to the children, \"And\n     Piped Those Children Back Again.\" This is a modern\n     completion of _The Pied Piper_. It most happily makes the\n     little lame boy who was left in Hamelin when the Piper\n     closed the door of the mountain, the means of the\n     restoration of the other children to their parents.\n\n     _The very long tale_. This would omit _The Ugly Duckling.\n     The Ugly Duckling_ is a most artistic tale and one that is\n     very true to life. Its characters are the animals of the\n     barn-yard, the hens and ducks familiar to the little child's\n     experience. But the theme and emotional interest working out\n     at length through varied scenes, make it much better adapted\n     to the capacities of a third-grade child. _The White Cat_, a\n     feminine counterpart of _Puss-in-Boots_--which gives a most\n     charming picture of how a White Cat, a transformed princess,\n     helped a youth, and re-transformed became his bride--because\n     of its length, is better used in the first grade at the same\n     time with _Puss-in-Boots_. The same holds true of _Peter,\n     Paul, and Espen_, or its parallel, Laboulaye's _Poucinet_.\n     This is a fine tale telling how the youngest of three sons\n     succeeded in winning the king's favor and finally the\n     princess and half the kingdom. First, Espen had to cut down\n     the giant oak that shadowed the palace and dig a well in the\n     courtyard of the castle deep enough to furnish water the\n     entire year. But after winning in these tests, he is\n     required to conquer a great Ogre who dwells in the forest,\n     and later to prove himself cleverer in intellect than the\n     princess by telling the greater falsehood. It is evident\n     that not only the subject-matter but the working out of the\n     long plot are much beyond kindergarten children.\n\n     _The complicated or the insincere tale_. This would\n     eliminate a tale of complicated structure, such as Grimm's\n     _Golden Bird_; and many of the modern fairy tales, which\n     will be dealt with later on.\n\nThe fairy tales mentioned above are all important tales which the\nchild should receive at a later time when he is ready for them. They\nare mentioned because they all have been suggested for kindergarten\nuse. The whole field of children's literature is largely unclassified\nand ungraded as yet, and such arrangements as we possess show slight\nrespect for standards. There is abundant material for the youngest,\nand much will be gained by omitting to give the very young what they\nwill enjoy a little later, much better and with freshness. It is true\nthat a few classics are well-suited to the child at any age, such as\n_Alice in Wonderland_, _The Jungle Books_, and _Uncle Remus Tales_. In\nregard to this grading of the classics, Lamb in _Mackery End_,\nspeaking of his sister's education, said, \"She was tumbled early, by\naccident or design, into a spacious closet of good old English\nreading, without much selection or prohibition, and browsed at will\nupon that fair and wholesome pasturage. Had I twenty girls they should\nbe brought up exactly in this fashion.\" Lamb would have argued: Set\nthe child free in the library and let him choose for himself, and feed\non great literature, those stories which give general types of\nsituation and character, which give the simplest pictures of a people\nat different epochs. But with all due respect to Lamb it must be said\nthat Lamb is not living in this scientific day of discovery of the\nchild's personality and of accurate attention to the child's needs.\nBecause the _Odyssey_ is a great book and will give much to any child\ndoes not prove at all that the same child would not be better off by\nreading it when his interests reach its life. This outlook on the\nproblem would eliminate the necessity of having the classics rewritten\nfrom a new moral viewpoint, which is becoming a custom now-a-days, and\nwhich is to be frowned upon, for it deprives the literature of much of\nits vigor and force.\n\n\n\nII. THE FAIRY TALE AS LITERATURE\n\n\nFrom the point of view of the child, we have seen that in a subjective\nsense, fairy tales must contain the interests of children. In an\nobjective sense, rather from the point of view of literature, let us\nnow consider what fairy tales must contain, what are the main\nstandards which determine the value of fairy tales as literature, and\nas such, subject-matter of real worth to the child.\n\nThe old tale will not always be perfect literature; often it will be\nimperfect, especially in form. Yet the tale should be selected with\nthe standards of literature guiding in the estimate of its worth and\nin the emphasis to be placed upon its content. Such relating of the\ntale to literary standards would make it quite impossible later in the\nprimary grades when teaching the reading of _Three Pigs_, to put the\nmain stress on a mere external like the expression of the voice. A\nstudy of the story as literature would have centered the attention on\nthe situation, the characters, and the plot. If the voice is receiving\ntraining in music and in the phonics of spelling, then when the\nreading of the tale is undertaken it will be a willing servant to the\nmind which is concentrating on the reality, and will express what the\nthought compels.\n\nThe fairy tale first must be a classic in reality even if it lacks the\ncrowning touch of perfect form given through the re-treatment of a\nliterary artist. In _Reynard the Fox_ we have an exact example of the\nfolk-tale that has been elevated into literature. But this was\npossible only because the tales originally possessed the qualities of\na true classic. \"A true classic,\" Sainte-Beuve has said, \"is one which\nenriches the human mind, has increased its treasure and caused it to\nadvance a step, which has discovered some moral and unequivocal truth\nor revealed some eternal passion in that heart where all seemed known\nand discovered; which is an expression of thought, observation, or\ninvention, in no matter what form, only provided it be broad and\ngreat, refined and sensible, sane and beautiful in itself; which\nspeaks in its own peculiar style which is found to be also that of the\nwhole world, a style new and old, easily contemporary with all time.\"\nImmediately some of the great fairy tales stand out as answering to\nthis test--_Red Riding Hood, Sleeping Beauty, Jack and the Beanstalk,\nCinderella, Jack the Giant-Killer_,--which has been said to be the\nepitome of the whole life of man--_Beauty and the Beast_, and a crowd\nof others. Any fairy tale which answers to the test of a real classic\nmust, like these, show itself to contain for the child a permanent\nenrichment of the mind.\n\nFairy tales must have certain qualities which belong to all literature\nas a fine art, whether it is the literature of knowledge or the\nliterature of power. Literature is not the book nor is it life; but\nliterature is the sense of life, whose artist is the author, and the\nmedium he uses is words, language. It is good art when his sense of\nlife is truth, and fine art when there is beauty in that truth. The\none essential beauty of literature is in its essence and does not\ndepend upon any decoration. As words are the medium, literature will\ndistinguish carefully among them and use them as the painter, for\nparticular lights and shades. According to Pater literature must have\ntwo qualities, mind and soul. Literature will have mind when it has\nthat architectural sense of structure which foresees the end in the\nbeginning and keeps all the parts related in a harmonious unity. It\nwill have soul when it has that \"vagrant sympathy\" which makes it come\nhome to us and which makes it suggest what it does not say. Test the\n_Tale of Cinderella_ by this standard. As to mind, it makes one think\nof a bridge in which the very keystone of the structure is the\ncondition that Cinderella return from the ball by the stroke of\ntwelve. And its \"vagrant sympathy\" is quite definite enough to reach a\nmaid of five, who remarked: \"If I'd have been Cinderella, I wouldn't\nhave helped those ugly sisters, would you?\"\n\nIf the fairy tale stands the test of literature it must have proved\nitself, not only a genuine classic according to Sainte-Beuve's\nstandard, and a tale possessing qualities of mind and soul according\nto Pater's _Style_, but it must have shown itself also a work owning\ncertain features distinguishing it as literature. These particular\nliterary marks which differentiate the literary tale from the ordinary\nprose tale have been pointed out by Professor Winchester in his\n_Principles of Literary Criticism_. They apply to the old tale of\nprimitive peoples just as well as to the modern tale of to-day. As\nliterature the tale must have:\n\n     (1) a power to appeal to the emotions;\n\n     (2) a power to appeal to the imagination;\n\n     (3) a basis of truth; and\n\n     (4) a form more or less perfect.\n\n(1) A power to appeal to the emotions. This appeal to the emotions is\nits unique distinguishing literary trait. Literature appeals, not to\nthe personal emotions but to the universal ones. For this reason,\nthrough literature the child may come in time to develop a power of\nuniversal sympathy, which is not the least value literature has to\nbestow upon him, for this sympathy will become a benediction to all\nthose with whom he may have to deal. In order that emotion in the\ntales may be literary--make a permanent appeal--according to Professor\nWinchester's standards, it must have justness given by a deep and\nworthy cause; vividness so that it may enlarge and thrill; a certain\nsteadiness produced by everything in the tale contributing to the main\nemotion; a variety resulting from contrasts of character; and a high\nquality obtained through its sympathy with life and its relation to\nthe conduct of life, so that the feeling for the material beauty of\nmere sights and sounds is closely related to the deepest suggestions\nof moral beauty. The best literary tales will possess emotion having\nall five characteristics. Many tales will exhibit one or more of these\ntraits conspicuously. No tale that is literature will be found which\ndoes not lay claim to some one of these qualities which appeal to the\nbroadly human emotions.\n\nApplying the test of emotion to fairy tales, _Cinderella_ possesses a\njust emotion, Cinderella's cause is the cause of goodness and kindness\nand love, and deserves a just reward. _The Town Musicians of Bremen_\nexhibits vivid emotion, for all four characters are in the same\ndesperate danger of losing life, all four unite to save it, and to\nfind a home. Andersen's _Steadfast Tin Soldier_ is a good example of\nsteadiness of emotion, as it maintains throughout its message of\ncourage. The Tin Soldier remained steadfast, whether on the table just\nescaped from the toy-box, or in the street after a frightful fall from\nthe window, or spinning in a paper boat that bobbed, or sailing under\nthe crossing, or lying at full length within the fish that swallowed\nhim, or at last melting in the full glare of the hearth fire. It is a\nvery good example, too, of vividness of emotion. _The Little Elves_\nillustrates steadiness of emotion, it is pervaded by the one feeling,\nthat industry deserves reward. The French tale, _Drakesbill_, is\nespecially delightful and humorous because \"Bill Drake\" perseveres in\nhis happy, fresh vivacity, at the end of every rebuff of fortune, and\ntriumphantly continues his one cry of, \"Quack, quack, quack! When\nshall I get my money back?\" _Lambikin_ leaves the one distinct\nimpression of light gaiety and happy-heartedness; and _The Foolish,\nTimid Rabbit_ preserves steadily the one effect of the credulity of\nthe animals, made all the more prominent by contrast to the wisdom of\nthe Lion. Variety of emotion appears in tales such as _Cinderella,\nLittle Two-Eyes, Sleeping Beauty_, and _Three Pigs_, where the various\ncharacters are drawn distinctly and their contrasting traits produce\nvaried emotional effects. All the great fairy tales appeal to emotion\nof a high moral quality and it is this which is the source of their\nuniversal appeal. It is this high moral quality of the spiritual\ntruth, which is the center of the tale's unity, holding together all\nthe parts under one emotional theme. This is the source of the\nperennial freshness of the old tale; for while the immortal truth it\npresents is old, the personality of the child that meets it is new.\nFor the child, the tale is new because he discovers in it a bit of\nhimself he had not known before, and it retains for him a lasting\ncharm so that he longs to hear it again and again. The beauty of\ntruth, the reward of goodness, and the duty of fairness, give a high\nemotional quality to _Little Two-Eyes_; and _Sleeping Beauty_\nillustrates the blighting power of hatred to impose a curse and the\nsaving power of love to overcome the works of hatred.\n\nConsidering folk-tales from the standpoint of emotion, if asked to\nsuggest what author's work would rank in the same class, one is rather\nsurprised to find, that for high moral quality, variety, and worthy\ncause, the author who comes to mind is none other than Shakespeare.\nPerhaps, with all due respect to literature's idol, one might even\nventure to question which receives honor by the comparison,\nShakespeare or the folk-tales? It might be rather a pleasant task to\ndiscover who is the Cordelia, the Othello, the Rosalind, and the\nPortia of the folk-tales; or who the Beauty, the Bluebeard, the\nCinderella, the Puss-in-Boots, and the Hop-o'-my-Thumb, of\nShakespeare.\n\nThe little child is open to emotional appeal, his heart is tender and\nhe is impressionable. If he feels with the characters in his tales he\ndevelops a power of emotion. In Andersen's _Snow Man_ it is hard to\nsay which seems more human to him or which makes more of an emotional\nappeal, the Snow Man or the Dog. He is sorry for the poor Shoemaker in\n_The Little Elves_, glad when he grows rich, delighted for the Elves\nwhen they receive their presents, and satisfied at the happy end.\nSince literature depicts life and character in order to awaken noble\nemotions, it follows that one must omit to present what awakens\nrepulsive or degrading emotions. And it is for this reason, as has\nbeen mentioned under the heading \"Elements to be avoided,\" that the\ntales of the witch and the dragon must be excluded, not for all time,\nbut for the earliest years, when they awaken horror.\n\nThrough fairy tales we have seen that the emotional power of the child\nis strengthened. This has been effected because, in the tale just as\ntruly as in life, action is presented in real situations; and back of\nevery action is the motive force of emotion. This cumulative power of\nemotion, secured by the child through the handling of tales, will\nserve daily a present need. It will be the dynamic force which he will\nrequire for anything he wishes to accomplish in life. It will give the\nchild the ability to use it in any situation similar to that in which\nit was acquired. It will make a difference in his speech; he will not\nhave to say so much, for what he does say will produce results. This\ngrowing power of emotion will carry over into feelings of relation and\nthus lead to judgment of values. This evaluation is the basis of\nreasoning and answers to the child's daily call to think from causes\nto consequences. This increasing power of emotion develops into the\n\u00e6sthetic sensibilities and so results in a cultivation of taste and an\nunderstanding of life. Emotion therefore leads to appreciation, which,\nwhen logically developed, becomes expression. Fairy tales, thus, in\nconducting emotional capacity through this varied growth and toward\nthis high development, hold an educational value of no mean order.\n\n(2) The power to appeal to the imagination. Emotion can be aroused by\nshowing the objects which excite emotion. Imagination is this power to\nsee and show things in the concrete. Curry says, \"Whenever the soul\ncomes vividly in contact with any fact, truth, etc., whenever it takes\nthem home to itself with more than common intensity, out of that\nmeeting of the soul and its object there arises a thrill of joy, a\nglow of feeling. It is the faculty that can create ideal presence.\"\nWhen through imagination we select spontaneously from the elements of\nexperience and combine into new wholes, we call it creative\nimagination.--The creative imagination will be viewed here as it\nappears in action in the creative return given by the child to his\nfairy tales.--When we emphasize a similarity seen in mere external or\naccidental relations or follow suggestions not of an essential nature\nin the object, we call it fancy. Ruskin, in his _Modern Painters_,\nvol. I, part III, _Of the Imaginative Faculty_, would distinguish\nthree classes of the imagination:--\n\n(a) _The associative imagination_. This is the power of imagination by\nwhich we call into association other images that tend to produce the\nsame or allied emotion. When this association has no common ground of\nemotion it is fancy. The test for the associative imagination, which\nhas the power to combine ideas to form a conception, is that if one\npart is taken away the rest of the combination goes to pieces. It\nrequires intense simplicity, harmony, and absolute truth. Andersen's\n_Fairy Tales_ are a perfect drill for the associative imagination.\nLiterature parallels life and what is presented calls up individual\nexperience. Any child will feel a thrill of kinship with the\nexperiences given in _The Tin Soldier_--a little boy's birthday, the\nopening of the box, the counting of the soldiers, and the setting of\nthem upon the table. And because here Andersen has transformed this\nusual experience with a vivacity and charm, the tale ranks high as a\ntale of imagination. _Little Ida's Flowers_ and _Thumbelina_ are tales\nof pure fancy. Grimm's _The Straw, the Coal, and the Bean_ and _The\nSpindle, the Shuttle, and the Needle_ rank in the same class, as also\ndo the Norse _The Doll i' the Grass_ and the English _Tom Thumb_.\n\n(b) _The penetrative imagination_. This power of imagination shows the\nreal character of a thing and describes it by its spiritual effects.\nIt sees the heart and inner nature of things. Through fancy the child\ncannot reach this central viewpoint since fancy deals only with\nexternals. Through the exercise of this power the child develops\ninsight, intuition, and a perception of spiritual values, and gains a\nlove of the ideal truth and a perpetual thirst for it. He develops\ngenuineness, one of the chief virtues of originality. He will tend not\nto have respect for sayings or opinions but will seek the truth, be\ngoverned by its laws, and hold a passion for perfection. This power of\nimagination makes of him a continual seeker, \"a pilgrim upon earth.\"\nThrough the penetrative imagination the child forgets himself and\nenters into the things about him, into the doings of Three Pigs or the\nadventures of Henny Penny.\n\n(c) _The contemplative imagination_. This is that special phase of the\nimagination that gives to abstract being consistency and reality.\nThrough the contemplative imagination the child gains the significance\nof meaning and discerns the true message of the tale. When merely\nexternal resemblance is caught, when the likeness is forced, and the\nimage created believed in, we have fancy. The contemplative\nimagination interprets the past in the tale and relates it to the\nfuture. It shows what is felt by indicating some aspect of what is\nseen. Through the exercise of this power the child develops the\ncapacity to see. This capacity has received a high estimate from\nRuskin, who said, \"Hundreds of people can talk for one who can think,\nthousands can think for one who can see.\" For language-training the\ncapacity to see gives that ability to image words which results in\nmental growth.\n\nThe labor of the spirit seeking the full message of the fairy tale,\noften is rewarded with bits of philosophy which are the essence of its\npersonal wisdom. Even the Woman Suffragists of our day might be amused\nto find, in _The Cat and Mouse in Partnership_, this side-light on one\nof their claims. The Mouse said she did not know what to think of the\ncurious names, Top-off, Half-Out, and All-Out, which the Cat had\nchosen. To which the Cat replied, \"That is because you always stay at\nhome. You sit here in your soft gray coat and long tail, and these\nfoolish whims get into your head. It is always the way when one does\nnot go out in the daytime.\" Sometimes the philosophy of the tale is\nexpressed not at all directly. This is the case in Andersen's _The\nEmperor's New Suit_, a gem in story-telling art--more suited to the\nsecond grade--where the purpose of the story is veiled, and the satire\nor humor is conveyed through a very telling word or two.--\"'I will\nsend my _old, honest_ minister to the weavers,' thought the Emperor.\nAnd the old, honest minister went to the room where the two swindlers\nsat working at empty looms. 'Heaven preserve me!' thought the old\nminister, opening his eyes wide. 'Why, I cannot see anything!'--But he\ndid not say so.\" The entire tale is a concrete representation of one\npoint; and the concreteness is so explicit that at the close of the\nstory its philosophy easily forms itself into the implied message of\nworldly wisdom: People are afraid to speak truth concerning much\nthrough cowardice or through fear of acting otherwise than all the\nworld. The philosophy underlying _The Steadfast Tin Soldier_ is even\nfiner as a bit of truth than the perfect art of the literary story:\nThat what happens in life does not matter so much as the way you take\nit. The Tin Soldier always remained steadfast, no matter what\nhappened. Kipling's _Elephant's Child_ is more charming than ever when\nlooked at from the standpoint of its philosophy. It might be\ninterpreted as an allegory answering the question, \"How should one get\nexperience?\" a theme which cannot be said to lack universal appeal.\n_The Ugly Duckling_ is full of sayings of philosophy that contribute\nto its complete message. The Cat and the Hen to whom the duckling\ncrept for refuge said, \"We and the world,\" and could not bear a\ndifference of opinion. \"You may believe me,\" said the Hen, \"because I\ntell you the truth. That is the way to tell your friends.\" Their\ntreatment of the Duckling expressed the philosophy: \"If you can't do\nwhat I can you're no good.\" The Hen said to him, \"You have nothing to\ndo, that's why you have such strange ideas.\" The Duckling expressed\nhis philosophy by saying quietly, \"You don't understand me.\"\n\nThese bits of philosophy often become compressed into expressions\nwhich to-day we recognize as proverbs. The words of the Mother Duck,\n\"Into the water he goes if I have to kick him in,\" became a\nScandinavian proverb. \"A little bird told it,\" a common saying of\nto-day, appears in Andersen's _Nightingale_ and in _Thumbelina_. But\nthis saying is traceable at least to the third story of the fourth\nnight in Straparola, translated by Keightley, _The Dancing Water, the\nSinging Apple, and the Beautiful Green Bird_, in which the bird tells\nthe King that his three guests are his own children. \"Even a cat may\nlook at a king,\" is probably traceable to some fairy tale if not to\n_Puss-in-Boots_. The philosophy in the fairy tales and the proverbs\nthat have arisen in them, are subjects which offer to the adult much\npleasure and fruitfulness.\n\nBut one must ask, \"Does this philosophy appeal to the child? Is it not\nadult wisdom foreign to his immaturity?\" The old folk-tales are the\nproducts of adult minds; but the adults were grown-ups that looked\nupon the world with the eyes of children, and their philosophy often\nwas the philosophy of childhood. For childhood has its philosophy; but\nbecause it meets with repression on so many sides it usually keeps it\nto itself. When given freedom and self-activity and self-expression,\nthe child's philosophy appears also. And it is the inner truth of the\ntale rather than the outer forms of sense and shapes of beauty which,\nwhen suited to the little child, appeals to this child-philosophy and\nmakes the deepest impression upon him.\n\nIn the literary fairy tale there often appears a philosophy which is\ndidactic and above and beyond the child's knowledge of the world. It\nremains a question how much this adult philosophy appeals to him.\nAlthough his tales were written for his grandchildren, so finished a\ntelling of the tale as we find in Laboulaye, with its delightful hits\nof satire, appeals more to the grown-up versed in the ways of the\nworld. But the sage remarks of worldly wisdom of Uncle Remus could not\nfail to impress a little boy: \"Go where you will and when you may, and\nstay long ez you choosen ter stay, en right dar en den you'll sholy\nfin' dat folks what git full er consate en proudness is gwine ter git\nit tuck out 'm um.\"--Uncle Remus treated the little boy as if he was\n\"pestered with sense, like grown-ups,\" and surely the little boy\ngained much amusement from sayings such as these: \"If you know the man\nthab would refuse to take care of himself, I'd like mighty well if\nyou'd point him out.\"--\"Well, well,\" said Uncle Remus soothingly, \"in\ndeze low groun's er sorrer, you des got to lean back en make\nallowances fer all sorts er folks. You got ter low fer dem dat knows\ntoo much same ez dem what knows too little. A heap er sayin's en a\nheap er doin's in dis roun' worl' got ter be tuck on trus'.\"--The\nchild does not get the full force of the philosophy but he gets what\nhe can and that much sinks in.\n\nIt is through the contemplative imagination that the child realizes\nthe meaning of particular tales. He learns: that _Cinderella_ means\nthat goodness brings its own reward; that _Three Pigs_ means that the\nwise build with care and caution, with foresight; that _Star Dollars_\nmeans compassion for others and kindness to them; and that _Red Riding\nHood_ means obedience.\n\nThe power of the contemplative imagination is based on the\nindistinctness of the image. It suggests, too, the relation between\ncause and effect, which reason afterwards proves; and therefore it is\na direct aid to science. In the tales there are expressed facts of\ntruth symbolically clothed which science since then has discovered.\nAnd now that folk-lore is being studied seriously to unfold all it\ngives of an earlier life, perhaps this new study may reveal some new\ntruths of science hidden in its depths. The marvels of modern shoe\nmanufacture were prophesied in _The Little Elves_, and the power of\nelectricity to hold fast was foretold in _Dummling and his Golden\nGoose_. The wonders of modern machinery appeared in the magic axe of\nEspen that hit at every stroke; and the miracle of modern canals sees\na counterpart in the spring which Espen brought to the giant's\nboiling-pot in the wood. The magic sleep from which there was an\nawakening, even after a hundred years, may have typified hypnotism and\nits strange power upon man. These are realizations of some of the\nwonders of fairyland. But there may be found lurking in its depths\nmany truths as yet undiscovered by science. Perhaps the dreams of\nprimitive man may suggest to the present-day scientist new\npossibilities.--What primitive man has done in fancy present-day man\ncan do in reality.\n\n(3) A basis of truth. All fine emotional effects arise from truth. The\ntale must hold the mirror and show an image of life. It must select\nand combine facts which will suggest emotion but the facts must be a\ntrue expression of human nature. The tale, whether it is realistic in\nemphasizing the familiar, the commonplace, and the present, or\nromantic in emphasizing the strange, the heroic, and the remote, must\nbe idealistic to interpret truly the facts of life by high ideals. If\nthe tale has this basis of truth the child will gain, through his\nhandling of it, a body of facts. This increases his knowledge and\nstrengthens his intellect. And it is to be remembered that, for the\nchild's all-round development, the appeal of literature to the\nintellect is a value to be emphasized equally with the appeal to the\nemotions and to the imagination. Speaking of the nature of the\nintellect in his essay on _Intellect_, Emerson has said: \"We do not\ndetermine what we will think. We only open our senses, clear away as\nwe can all obstruction from the fact, and suffer the intellect to\nsee.\" Attention to the intellectual element in literature gives a\npower of thought. The consideration of the truth of the fairy tale\naids the child to clear, definite thinking because the experience of\nthe tale is ordered from a beginning, through a development, to a\nclimax, and to a conclusion. It assists him to form conclusions\nbecause it presents results of circumstances and consequences of\nconduct. Continued attention to the facts, knowledge, and truth\npresented in the tales, helps the child to grow a sincerity of spirit.\nThis leads to that love of actual truth, which is one of the armors of\nmiddle life, against which false opinion falls harmless.\n\n(4) A form, more or less perfect. Form is the union of all the means\nwhich the writer employs to convey his thought and emotion to the\nreader. Flaubert has said, \"Among all the expressions of the world\nthere is but _one_, one form, one mode, to express what I want to\nsay.\"--\"Say what you have to say, what you have a will to say, in the\nsimplest, the most direct and exact manner possible, with no\nsurplusage,\" Walter Pater has spoken. Then the form and the matter\nwill fit each other so perfectly there will be no unnecessary\nadornment.\n\nIn regard to form it is to be remembered that feeling is best awakened\nincidentally by suggestion. Words are the instruments, the medium of\nthe writer. Words have two powers: the power to name what they mean,\nor denotation; and the power to suggest what they imply, or\nconnotation. Words have the power of connotation in two ways: They may\nmean more than they say or they may produce emotional effect not only\nfrom meaning but also from sound. To make these two suggestive powers\nof words work together is the perfect art of Milton. Pope describes\nfor us the relation of sound to sense in a few lines which themselves\nillustrate the point:--\n\n     Soft is the strain when zephyr gently blows,\n     And the smooth stream in smoother numbers flows.\n     But when loud surges lash the sounding shore,\n     The hoarse, rough verse, should like the torrent roar.\n     When Ajax strives some rock's vast weight to throw.\n     The line too labors, and the words move slow:\n     Not so when swift Camilla scours the plain,\n     Flies o'er the unbending corn and skims along the main.\n\nWhen a kindergarten child, the most timid one of a group, on listening\nto the telling of _The Bremen Town Musicians_, at the description of\nthe Donkey and the Dog coming to the Cat, sitting in the road with a\nface \"dismal as three rainy Sundays,\" chuckled with humor at the word\n\"dismal,\" it was not because she knew the meaning of the word or the\nsignificance of \"three rainy Sundays,\" but because the sounds of the\nwords and the facial expression of the story-teller conveyed the\nemotional effect, which she sensed.\n\nThe connection between sound and action appears in _Little Spider's\nFirst Web_: The Fly said, \"Then I will _buzz_\"; the Bee said, \"Then I\nwill _hum_\"; the Cricket said, \"Then I will _chirp_\"; the Ant said,\n\"Then I will _run_ to and fro\"; the Butterfly said, \"Then I will\n_fly_\"; and the Bird said, \"Then I will _sing_.\" The effect is\nproduced here because the words selected are concrete ones which\nvisualize. Repetitive passages in the tales often contribute this\neffect of sound upon meaning, as we find in _The Three Billy-Goats\nGruff_: \"Trip, trap; trip, trap! went the bridge as the youngest\nBilly-Goat Gruff came to cross the bridge.\" The sound of the words in\nthis entire tale contributes largely to the meaning. The Troll roared\nand said, \"Now I'm coming to gobble you up!\" Usually the bits of rhyme\ninterspersed throughout the tales, illustrate this contribution of\nsound to meaning; as in the _Three Pigs_:--\n\n     Then I'll huff,\n     And I'll puff,\n     And I'll blow your house in!\n\nEspecially is this the case in tales dignified by the cante-fable\nform; such as Grimm's _Cinderella_:--\n\n     Rustle and shake yourself, dear tree,\n     And silver and gold throw down to me!\n\nOr in _Little Two-Eyes_:--\n\n     Little kid, bleat,\n     I wish to eat!\n\nOr in _The Little Lamb and the Little Fish_:--\n\n     Ah, my brother, in the wood\n     A Iamb, now I must search for food!\n\nThe suggestive power of words to convey more than they mean, is\nproduced, not only by the sounds contained in the words themselves,\nbut also largely by the arrangement of the words and by the\nspeech-tunes of the voice in speaking them. Kipling's _Elephant's\nChild_ is a living example of the suggestive power of words. The \"new,\nfine question\" suggests that the Elephant's Child had a habit of\nasking questions which had not been received as if they were fine.\n\"Wait-a-bit thorn-bush,\" suggests the Kolokolo Bird sitting alone on\nthe bush in placid quiet. \"And _still_ I want to know what the\ncrocodile has for dinner\" implies that there had been enough spankings\nto have killed the curiosity, but contrary to what one would expect,\nit was living and active. When Kolokolo Bird said with a _mournful_\ncry, \"Go to the banks of the great, grey-green, greasy Limpopo River,\"\netc., the implication of _mournful_ is, that there the Elephant's\nChild would have a sorry time of it. The expression, \"dear families,\"\nwhich occurs so often, is full of delightful irony and suggests the\nvigorous treatment, anything but dear, which had come to the\nElephant's Child from them.\n\nPerfect form consists in the \"ability to convey thought and emotion\nwith perfect fidelity.\" The general qualities characteristic of\nperfect form, which have been outlined by Professor Winchester, in his\n_Principles of Literary Criticism_, are: (1) precision or clearness;\n(2) energy or force; (3) delicacy or emotional harmony; and (4)\npersonality. Precision or clearness demands the precise value and\nmeaning of words. It requires that words have the power of denotation.\nIt appeals to the intellect of the reader or listener and demands that\nlanguage be neither vague nor ambiguous nor obscure. Energy or force\ndemands that perfect form have the quality of emotion. It requires\nthat words have especially the power of connotation. It appeals to the\nemotions of the reader or listener and has the power to hold the\nattention. It demands of language that sympathy which will imply what\nit would suggest. Delicacy or emotional harmony demands that perfect\nform please the taste. It requires that an emotional harmony be\nsecured by a selection and arrangement of the melody of words and of\nthe emotional associations which, together with the meanings, are tied\nup in words. It demands that words have the power of perfect\nadaptation to the thought and feeling they express, that words have\nboth the power of denotation and of connotation. It appeals to the\n\u00e6sthetic sense of the reader or listener, it gives to form beauty and\ncharm. Personality is the influence of the author, the charm of\nindividuality, and suggests the character of the writer.\n\nAt the same time that perfect form is characterized by the general\nqualities of precision, energy, delicacy, and personality, as\ncomposition consisting of words, sentences, paragraphs, or large\nwholes, its elements must be controlled by certain main principles,\nwhich have been presented by Professor Barrett Wendell in _English\nComposition_. Perfect form cannot possess the four general qualities\nabove mentioned unless its elements are controlled by these main\nprinciples. These are: (1) the principle of sincerity; (2) the\nprinciple of unity; (3) the principle of mass; and (4) the principle\nof coherence. Sincerity demands of perfect form that it be a just\nexpression. Unity demands that every composition should group itself\nabout a central idea. There must be one story, all incidents\nsubordinated, one main course of action, one main group of characters,\nand one tone of feeling to produce an emotional effect. Variety of\naction must lead to one definite result and variety of feeling to one\ntotal impression. Unity demands that the tale must have a plan that is\ncomplete, with no irrelevant material, and that there must be a\nlogical order and a climax. Mass demands that the chief parts of every\ncomposition should readily catch the eye. It maintains a harmonious\nproportion of all the parts. Coherence demands of any composition that\nthe relation of each part to its neighbors should be unmistakable, and\nthat the order, forms, and connections of the parts preserve this\nrelation.\n\nWhen form secures a perfect adaptation of the language to the thought\nand feeling expressed, it may be said to possess style, in a broad\nsense of the word. In a more detailed sense, when form is\ncharacterized by precision, energy, delicacy, and personality, and at\nthe same time has the elements of its composition controlled by the\nprinciples of sincerity, unity, mass, and coherence, it is said to\npossess style. The fairy tale which is a classic characterized by that\nperfect form called style, will possess the general qualities of\nprecision, energy, delicacy, and personality; and the elements of its\nstructure, its words, its sentences, its paragraphs, will display a\ncontrol of the principles of sincerity, unity, mass, and coherence.\n\nA tale which well illustrates the literary form possible to the\nchild's tale, which may be said to possess that perfection of form we\ncall style, and which may be used with the distinct aim to improve the\nchild's English and perfect his language expression, is the modern\nrealistic fairy tale, _Oeyvind and Marit_.\n\n_Oeyvind and Marit_ is so entirely realistic as to be excluded here,\nbut the talking rhymes which the Mother sings to Oeyvind bring in the\nfairy element of the talking animals. In the form of this tale, the\nperfect fidelity with which the words fit the meaning is\napparent--nothing seems superfluous. When Oeyvind asked Marit who she\nwas, she replied:--\n\n\"I am Marit, mother's little one, father's fiddle, the elf in the\nhouse, granddaughter of Ole Nordistuen of the Heidi farms, four years\nold in the autumn, two days after the frost nights, I!\"\n\nAnd Oeyvind replied:--\n\n     \"Are you really?\"--and drew a long breath which he had not\n     dared to do so long as she was speaking.\n\nThe story is full of instances illustrating precision, energy, and\ndelicacy. In fact, almost any passage exemplifies the general\nqualities of form and the qualities of composition. The personality of\nthe writer has given to the tale a poetic and dramatic charm of\nsimplicity. Note the precision and delicacy displayed in the opening\nparagraph:--\n\n     Oeyvind was his name. A low barren cliff overhung the house\n     in which he was born; fir and birch looked down on the roof,\n     and wild cherry strewed flowers over it. Upon this roof\n     there walked about a little goat, which belonged to Oeyvind.\n     He was kept there that he might not go astray; and Oeyvind\n     carried leaves and grass up to him. One fine day the goat\n     leaped down, and away to the cliff; he went straight up and\n     came where he never had been before.\n\nEnergy is apparent in the following passage:--\n\n     \"Is it yours, this goat?\" asked the girl again.\n\n     \"Yes,\" he said, and looked up.\n\n     \"I have taken such a fancy to the goat. You will not give it\n     to me?\"\n\n     \"No, that I won't.\"\n\n     She lay kicking her legs and looking down at him, and then\n     she said, \"But if I give you a butter-cake for the goat, can\n     I have him then?\"\n\nThe justness of expression, the sincerity, is especially impressive\nwhen Oeyvind's Mother came out and sat down by his side when the goat\nno longer satisfied him and he wanted to hear stories of what was far\naway. There is emotional harmony too, because the words suggest the\nfree freshness of the mountain air and the landscape which rose round\nabout the Boy and his Mother.\n\n     So she told him how once everything could talk: \"The\n     mountain talked to the stream, and the stream to the river,\n     the river to the sea, and the sea to the sky.\"--But then he\n     asked if the sky did not talk to any one: \"And the sky\n     talked to the clouds, the clouds to the trees, the trees to\n     the grass, the grass to the flies, the flies to the animals,\n     the animals to the children, the children to the grown-up\n     people....\" Oeyvind looked at the mountain, the trees, and\n     the sky and had never seen them before.\n\nThere is delicacy or emotional harmony also in the Mother's song. When\nOeyvind asked, \"What does the Cat say?\" his Mother sang:--\n\n     At evening softly shines the sun.\n     The cat lies lazy on the stone.\n     Two small mice,\n     Cream, thick and nice,\n     Four bits of fish,\n     1 stole behind a dish,\n     And am so lazy and tired,\n     Because so well I have fared.\n\nThe unity is maintained through the central interest of the two\nChildren and the goat.\n\nThe tale is characterized by fairly good mass. As the story aims to\nportray a natural picture of child life, obviously it could not\nmaintain a style of too great solidity and force, but rather would\nseek one of ease and naturalness. Mass, as shown in _Oeyvind and\nMarit_, appears in the following description of Oeyvind's play with\nthe goat, after he first realized its return:--\n\n     He jumped up, took it by the two fore-legs, and danced with\n     it as if it were a brother; he pulled its beard, and he was\n     just going in to his mother with it, when he heard someone\n     behind him; and looking, saw the girl sitting on the\n     greensward by his side. Now he understood it all, and let go\n     the goat.\n\nThe story of child-friendship is told in distinct little episodes\nwhich naturally connect. That unmistakable relation of the parts which\nis essential to coherence, appears in the following outline of the\nstory:--\n\n     1. A new acquaintance; Oeyvind and Marit meet. The exchange of a\n        goat for a cake. The departure of the goat. Marit sings to the\n        goat. The return of the goat. Marit accompanies the goat.\n\n     2. New interests. The stories of what the animals say, told to\n        Oeyvind by his Mother. The first day of school.\n\n     3. An old acquaintance renewed: Oeyvind again meets Marit at\n        School.\n\nThe Children's love of the goat, the comradeship of Oeyvind and Marit,\nof Oeyvind and his Mother, and of Marit and her Grandfather, are\nelements which assist in producing coherence. The songs of Marit, and\nthe songs and stories of Oeyvind's Mother, especially preserve the\nrelation of parts. In the following paragraphs, which give distinct\npictures, note the coherence secured internally largely by the\nsuccession of verbs denoting action and also by the denotation of the\nwords.\n\n     When he came in, there sat as many children round a table as\n     he had ever seen at church; others were sitting on their\n     luncheon-boxes, which were ranged round the walls; some\n     stood in small groups round a large printed card; the\n     school-master, an old gray-haired man, was sitting on a\n     stool by the chimney-corner, filling his pipe. They all\n     looked up as Oeyvind and his mother entered, and the\n     mill-hum ceased as if the water had suddenly been turned\n     off....\n\n     As he was going to find his seat, they all wanted to make\n     room for him. He looked round a long time, while they\n     whispered and pointed; he turned round on all sides, with\n     his cap in his hand and his book under his arm....\n\n     Just as the boy is going to turn round to the school-master,\n     he sees close beside him, sitting down by the hearthstone on\n     a little red painted tub, Marit, of the many names; she had\n     covered her face with both hands, and sat peeping at him\n     through her fingers.\n\nThe imagination is appealed to continually through the simple concrete\nexpressions which present an image; as, \"He grew hot all over, looked\naround about, and called, 'Killy-killy-killy-goat!'\"\n\nThe emotional element is distinct and pleasing and contributes to the\ntotal impression of admiration for the characters. We admire Oeyvind\nfor his fondness for the goat and for his pain at losing it; for his\ndissatisfaction in keeping it after Marit returned it, though she\nwanted it; for his delight in his Mother's stories; and for his\npleasure in Marit's friendship at school. We admire Marit for her\nappreciation of the beautiful goat; for her obedience to her\nGrandfather; for her sorrow at giving up the goat; for her generosity\nin giving the neck-chain with it; and for the childish comradeship she\ngave to Oeyvind. We admire the goat for his loyalty to his little\nmaster. We trust the Grandfather who trained Marit to be fair and\ncourteous; who guarded her from the cliff; and who bought for her\nanother goat. We have faith in the Mother who had feeling for the\nlittle goat her son bartered for a cake; and who had the wisdom to\nsing for her little boy and tell him stories when he was sorrowful and\nneeded new interests.\n\nUndoubtedly _Oeyvind and Marit_ is a tale which conveys its thought\nclearly and makes you feel its feeling, and therefore may be said to\npossess style in a broad sense. In a particular sense, because its\nform is marked by the four general qualities: precision, energy,\ndelicacy, and personality; and its elements are controlled by the\nprinciples of composition: sincerity, unity, mass, and coherence, it\ntherefore may be said to possess style.\n\nAn old tale which has a literary form unusual in its approach to the\nperfect literary form, is the Norse, _The Three Billy-Goats Gruff_,\ntold by Dasent in _Tales from the Norse_. Indeed after looking\ncarefully at this tale one is tempted to say that, for perfection of\nstyle, some of the old folk-tales are not to be equaled. Note the\nsimple precision shown in the very first paragraph:--\n\n     Once on a time there were three Billy-Goats, who were to go\n     up to the hill-side to make themselves fat, and the name of\n     all three was \"Gruff.\"\n\nEnergy or force appeals to the emotions in the words of the tiny\nBilly-Goat Gruff to the Troll:--\n\n     \"Oh, no! pray don't take me. I'm too little, that I am,\"\n     said the Billy-Goat; \"wait a bit till the second Billy-Goat\n     Gruff comes, he's much bigger.\"\n\nThere is emotional harmony displayed in the second paragraph; the\nwords used fit the ideas:--\n\n     On the way up was a bridge over a burn they had to cross;\n     and under the bridge lived a great ugly Troll, with eyes as\n     big as saucers, and a nose as long as a poker.\n\nThe quality of personality is best described, perhaps, by saying that\nthe tale seems to have impersonality. Any charm of the story-tellers\nof the ages has entered into the body of the tale, which has become an\nobjective presentment of a reality that concentrates on itself and\nkeeps personality out of sight. The character of the tellers is shown\nhowever in the qualities of the tale. The charm of the primitive\nstory-tellers has given the tale inimitable morning-dew freshness.\nThis seems to result from a fine simplicity, a sprightly\nvisualization, a quaint picturesqueness, a pleasing terseness, and an\nAnglo-Saxon vigor.\n\nSincerity is displayed in the words of the Troll and of the three\nBilly-Goats. Note the sincerity of little Billy-Goat Gruff:--\n\n     \"Oh! it is only I, the tiniest Billy-Goat Gruff; and I'm\n     going up to the hillside to make myself fat,\" said the\n     Billy-Goat, with such a small voice.\n\nThe unity in this tale is unusually good. The central idea which\ngroups all the happenings in the tale is: Three Billy-Goats are\ncrossing a bridge to go up to the hillside to make themselves fat.\nThere are four characters, three Goats and the Troll. All that happens\nin the tale contributes to the one effect of a bridge going trip,\ntrap! as a Goat crossed it on his way up the hillside; of a Troll\nroaring: \"Who's that tripping over my bridge?\" of the explanation of\nthe Billy-Goat; of the answer of the Troll, \"Now I'm coming to gobble\nyou up\"; and of the Billy-Goat's final petition. Unity is emphasized\nby the repetition in the tale, as the three Billy-Goats successively\ncross the bridge and reply to the Troll. The climax is the big\nBilly-Goat Gruff's tramp across the bridge.\n\nThis tale is characterized by perfect mass, the paragraphs always end\nwith words that deserve distinction, and the sentences have their\nstrongest words at the points where the eye would most readily see\nthem; as, \"But just then up came the big Billy-Goat Gruff.\" The\ncoherence is fine, and is secured largely by the cumulative plan in a\nthreefold sense. The relation of the parts is unmistakable. The\nsimilarity and contrast evident in the episodes of the three\nBilly-Goats makes this relation very clearly defined. To make doubly\nsure the end has been reached the tale concludes:--\n\n     Snip, snap, snout,\n     This tale's told out.\n\nLet us examine the folk-tale generally as to its literary form. The\nfolk-tale originally did not come from the people in literary form.\nThe tale was first told by some nameless primitive man, who, returning\nfrom some adventure of everyday life, would narrate it to a group of\nhis comrades. First told to astonish and interest, or to give a\nwarning of the penalty of breaking Nature's laws, or to teach a moral\nlesson, or to raise a laugh, later it became worked up into the\nfabulous stories of gods and heroes. These fabulous stories developed\ninto myth-systems, and these again into household tales. By constant\nrepetition from one generation to another, incidents likely to happen\nin everyday life, which represented universal experiences and\nsatisfied common needs of childhood, were selected and combined. These\ngradually assumed a form of simplicity and literary charm, partly\nbecause, just as a child insists on accuracy, savage people adhered\nstrictly to form in repeating the tale, and because it is a law of\npermanence that what meets the universal need will survive. The great\nold folk-tales have acquired in their form a clearness and precision;\nfor in the process of telling and re-telling through the ages all the\nepisodes became clearly defined. And as irrelevant details dropped\nout, there developed that unity produced by one dominant theme and one\ndominant mood. The great old folk-tales, then, naturally acquired a\ngood classic literary form through social selection and survival. But\nmany of the tales as we know them have suffered either through\ntranslation or through careless modern retelling. Many of the\nfolk-tales take on real literary form only through the re-treatment of\na literary artist. Mrs. Steel, who has collected the _Tales of the\nPunjab_, tells how the little boys of India who seek to hold their\nlistening groups will vary the incidents in a tale in different\ntellings, proving that the complete tale was not the original unit,\nbut that single incidents are much more apt to retain their stock\nforms than plots. The combination we now have in a given tale was\nprobably a good form once hit upon and thereafter transmitted.\n\nJacob (1785-1863) and William (1786-1859) Grimm, both fine scholars,\nincapable of any but good work, did not undertake to put the tale into\nliterary form suited to children. They were interested in preserving\nfolk-lore records for scientific purposes. And we must distinguish\nbetween the tale as a means of reflecting the ideals of social and\nreligious life, of displaying all the genius of primitive man for\nscience to interpret, and the tale as a means of pleasing and\neducating the child. The Grimms obtained most of their tales from the\nlips of people in Hesse and Hanau, Germany. They were very fortunate\nin securing many of the tales they were thirteen years in collecting,\nfrom an old nurse, Frau Vichmannin, the wife of a cowherd, who lived\nat Niederzwehrn, near Cassel, who told her story with exactness and\nnever changed anything in repeating. Grimm himself said, \"Our first\ncare was faithfulness to the truth. We strove to penetrate into the\nwild forests of our ancestors, listening to their noble language,\nwatching their pure customs, recognizing their ancient freedom and\nhearty faith.\" The Grimms sought the purity of a straightforward\nnarration. They were against reconstruction to beautify and poetize\nthe legends. They were not opposed to a free appropriation for modern\nand individual purposes. They kept close to the original, adding\nnothing of circumstance or trait, but rendering the stories in a style\nand language and development of detail which was their own literary\nGerman.\n\nPerrault (1628-1703) had taken the old tales as his son, Charles, a\nlad of ten or twelve, told them. The father had told them to the son\nas he had gathered them up, intending to put them into verse after the\nmanner of La Fontaine. The lad loved the stories and re-wrote them\nfrom memory for his father with such charming na\u00efvet\u00e9 that the father\nchose the son's version in preference to his own, and published it.\nBut the tales of Perrault, nevertheless, show the embellishment of the\nmature master-Academician's touch in subduing the too marvelous tone,\nor adding a bit of court manners, or a satirical hit at the vanity and\nfailings of man.\n\nDasent (1820-96) has translated the Norse tales from the original\ncollection of Asbj\u00f6rnsen and Moe. Comrades from boyhood to manhood,\nscholar and naturalist, these two together had taken long walks into\nthe secluded peasant districts and had secured the tales from the\npeople of the dales and fells, careful to retain the folk-expressions.\nDasent, with the instinct, taste, and skill of a true scholar, has\npreserved these tales of an honest manly race, a race of simple men\nand women, free and unsubdued. He has preserved them in their\nfolk-language and in their true Norse setting. Harris (1848-1908) has\ngiven his tales in the dialect of Uncle Remus. Jacobs (1854-) has\naimed to give the folk-tales in the language of the folk, retaining\nnurses' expressions, giving a colloquial and romantic tone which often\ncontains what is archaic and crude. He has displayed freedom with the\ntext, invented whole incidents, or completed incidents, or changed\nthem. His object has been to fill children's imaginations with bright\nimages. Andrew Lang (1844-1912) has given the tale mainly to entertain\nchildren. He has accepted translations from many sources and has given\na straightforward narration. He has collected fairy tales\nindefatigably in his rainbow _Fairy Books_, but they are not always to\nbe recommended for children.\n\nAndersen (1805-75), like Perrault, made his tale for the child as an\naudience, and he too has put the tale into literary form. Andersen's\ntale is not the old tale, but an original creation, a number of which\nare based on old folk-material. Preserving the child's point of view,\nAndersen has enriched his language with a mastery of perfection and\nliterary style. And the \"mantle of Andersen\" has, so far, fallen on no\none.\n\nTo-day it is to be questioned if the child should be given the tale in\nnurses' talk. To-day children are best cared for by mothers who feel\nignorant if they cannot tell their children stories, and who, having\nan appreciation of their mother English, want their children to hear\nstories, not only told by themselves rather than by their servants,\nbut also told in the best literary form possible. They recognize that\nthese earliest years, when the child is first learning his language,\nare the years for a perfection of form to become indelibly impressed.\nThe fairy tale, like every piece of literature, is an organism and\n\"should be put before the youngest child with its head on, and\nstanding on both feet.\" The wholesale re-telling of every tale is to\nbe deplored. And stories which have proved themselves genuine\nclassics, which have a right to live, which have been handed down by\ntradition, which have been preserved by folk-lore records, and which\nhave been rescued from oblivion,--in this age of books should have a\nliterary form, which is part of their message, settled upon them. The\nGrimm tales await their literary master.\n\n\n\nIII. THE FAIRY TALE AS A SHORT-STORY\n\n\nThe fairy tale, then, which in an objective sense, from the standpoint\nof literature, has proved itself subject-matter of real worth, must be\na classic, must have the qualities of mind and soul, must possess the\npower to appeal to the emotions, a power to appeal to the imagination,\nand it must have a basis of truth and a perfection of form. But in\naddition to possessing these characteristics, because the fairy tale\nis a special literary form,--the short-story,--as literature it must\nstand the test of the short-story.\n\nThe three main characteristics of the short-story, as given by\nProfessor Brander Matthews in his _Philosophy of the Short-Story_, are\noriginality of theme, ingenuity of invention, and brevity, or\ncompression. A single effect must be conceived, and no more written\nthan contributes to that effect. The story depends for its power and\ncharm on (1) characters; (2) plot; and (3) setting. In _The Life and\nLetters of Robert Louis Stevenson_, by Graham Balfour, Stevenson has\nsaid, concerning the short-story:--\n\n     \"There are, so far as I know, three ways, and three ways\n     only, of writing a story. You may take a plot and fit\n     characters to it, or you may take a character and choose\n     incidents and situations to develop it, or lastly--you must\n     bear with me while I try to make this clear.... You may take\n     a certain atmosphere and get action and persons to express\n     and realize it. I'll give you an example--_The Merry Men_.\n     There I began with the feeling of one of those islands on\n     the west coast of Scotland, and I gradually developed the\n     story to express the sentiment with which the coast affected\n     me.\"\n\nAccording to the method by which the story was made, the emphasis will\nbe on character, plot, or setting. Sometimes you may have a perfect\nblending of all three.\n\n(1) Characters. The characters must be unique and original, so that\nthey catch the eye at once. They dare not be colorless, they must have\nstriking experiences. The Elephant's Child, Henny Penny, Medio\nPollito, Jack of the Beanstalk, the Three Pigs, the Three Bears, and\nDrakesbill--the characters of the fairy tales have no equal in\nliterature for freshness and vivacity. The very mention of the thought\nbrings a smile of recognition; and it is for this reason, no doubt,\nthat leading men in large universities turn aside from their high\nscholarly labors, to work or play with fairy tales. Besides the\ninteresting chief characters, moreover, there are many more\nsubordinate characters that are especially unique: the fairies, the\nfairy godmothers and wise women, the elves of the trees, the dwarfs of\nthe ground, the trolls of the rocks and hills, and the giants and\nwitches. Then that great company of toilers in every occupation of\nlife bring the child in touch with many novel phases of life. At best\nwe are all limited by circumstances to a somewhat narrow sphere and\nlike to enter into all that we are not. The child, meeting in his tale\nthe shoemaker, the woodcutter, the soldier, the fisherman, the hunter,\nthe poor traveler, the carpenter, the prince, the princess, and a host\nof others, gets a view of the industrial and social conditions that\nman in simple life had to face. This could not fail to interest; and\nit not only broadens his experience and deepens his sympathy, but is\nthe best means for acquiring a foundation upon which to build his own\nvocational training. This acquisition is one contribution of\nliterature to industrial work. Those characters will appeal to the\nchild which present what the child has noticed or can notice. They\nshould appear as they do in life, by what they say and by what they\ndo. This, in harmony with the needs of the young child, makes the\ntales which answer to the test of suitability, largely dramatic.\n\n(2) Plot. The characters of the tales can be observed only in action.\nPlot is the synthesis of the actions, all the incidents which happen\nto the characters. The plot gives the picture of experience and allows\nus to see others through the events which come to them. According to\nProfessor Bliss Perry, the plot should be entertaining, comical,\nnovel, or thrilling. It should present images that are clear-cut and\nnot of too great variety. It should easily separate itself into large,\nleading episodes that stand out distinctly. The sequence of events\nshould be orderly and proceed without interruption. The general\nstructure should easily be discerned into the beginning, the middle,\nand the end. Various writers of tales have their particular ways of\nbeginning. Andersen loses no time in getting started, while Kipling\nbegins by stating his theme. The old tales frequently began with the\nwords, \"Once upon a time,\" which Kipling modified to \"In the High and\nFar-Off times, O Best Beloved,\" etc. Hawthorne begins variously with\n\"Once upon a time\", or, \"Long, long ago\"; or, \"Did you ever hear of\nthe golden apples?\" etc.--Hawthorne has been omitted in this book\nbecause, so far as I can discover, he furnishes no tale for the\nkindergarten or first grade. His simplest tale, _Midas and the Golden_\n_Touch_, properly belongs in the second grade when told; when read, in\nthe fourth grade.--The introduction, in whatever form, should be\nsimple and to the point. It should give the time and place and present\nthe characters; and if good art it will be impatient of much\npreliminary delay. The great stories all show a rise of interest\nculminating in one central climax; and after that, sometimes following\non its very heels, the conclusion where poetic justice is meted out.\nThis climax is a very important feature in the tale, so important that\nit has been said, \"The climax is the tale.\" It is the point where\ninterest focuses. It makes the story because it is where the point of\nthe story is made. In a good story this point always is made\nimpressive and often is made so by means of surprise. The conclusion\nmust show that the tale has arrived at a stopping place and in a moral\ntale it must leave one satisfied, at rest.\n\nIf the folk-tale is good narration, in answer to the question, \"What?\"\nit will tell what happened; in answer to the question, \"Who?\" it will\ntell to whom it happened; in answer to the question, \"Where?\" it will\ntell the place where, and the time when, it happened; and in answer to\nthe question, \"Why?\" it will give the reason for telling the story, it\nwill give the message, and the truth embodied in its form. As\nnarration the tale must have truth, interest, and consistency. Its\ntypical mood must be action and its language the language of\nsuggestion. This language of suggestion appears when it shows an\nobject by indicating how it is like something else; by telling what we\nfeel when we see the object; and by telling what actions of the person\nor object make it hateful or charming. We learn to know Andersen's\nSnow Man through what the Dog says of him.\n\nDescription, in the sense of a static, detailed delineation of various\nqualities of objects, has no place in the child's story, for it bores\nthe child, who is very persistent in wanting the main theme\nuninterrupted. But description that has touches of movement and action\nor that lays emphasis on a single effect and has point, distinctly\naids visualization, and produces a pleasing result, as we have seen in\nKipling's _Elephant's Child_. The young child of to-day, trained in\nnature study to look upon bird, tree, and flower with vital interest,\nto observe the color and the form of these, gains a love of the\nbeautiful that makes him exclaim over the plumage of a bird or tint of\na flower. To him beauty in the tale must make a direct appeal which\nthe child unfamiliar with these things might not feel. _The Wonderful\nAdventures of Nils_ makes an appeal to the modern child which could\nnot possibly have been felt by the child living before 1850. The\nmodern child brought up on phonics is sensitive to sound also, and\nopen to an appreciation of the beauty of the individual word used in\ndescription. This description, when it occurs, should be characterized\nmainly by aptness and concreteness.\n\nHaving observed the general characteristics of the narrative contained\nin the plot, let us examine the structure of a few tales to see: What\nis the main theme of the plot and how it works itself out; what are\nthe large, leading episodes, and how they culminate in the climax; and\nwhat is the conclusion, and how closely it follows the climax.\n\n_The Story of Three Pigs_\n\n     I. _Introduction_. Time. Place. Characters: Mother and\n           Three Pigs. Mother gone.\n\n    II. _Rise_.\n\n        1. First Pig's venture with a man with a load of straw.\n           Builds a straw house. (Wolf enters.)\n           Wolf comes and destroys him.\n\n        2. Second Pig's venture with a man with a load of furze.\n           Builds a furze house.\n           Wolf comes and destroys him.\n\n        3. Third Pig's venture with a man with a load of bricks.\n           Builds a brick house.\n           Wolf comes. (Climax.)\n\n   III. _Conclusion_. Third Pig outwits the Wolf.\n           At the turnip-field in Mr. Smith's home-field.\n           At the apple tree in Merry-Garden.\n           At the fair at Shanklin.\n           At his own brick house.\n\nEvidently the climax here is when the Wolf comes to the third Pig's\nbrick house. After that things take a turn; and the final test of\nstrength and cleverness comes at the very end of the tale, at Little\nPig's brick house.\n\nGrimm's _Briar Rose_ is a model of structure and easily separates\nitself into ten large episodes.\n\n_Briar Rose_\n\n     1. _The Introduction_.\n\n     2. The Christening Feast.\n        (a) The Fairies and their gifts.\n        (b) The wicked Fairy and her curse.\n\n     3. The King's decree.\n\n     4. Princess Rose's birthday.\n        (a) Princess Rose's visit to the old tower.\n        (b) Princess Rose and the wicked Fairy spinning.\n        (c) The magic sleep.\n\n     5. The hedge of briars.\n\n     6. The Prince and the old Man.\n\n     7. The Prince and the opening hedge.\n\n     8. The Prince in the castle. (Climax.)\n\n     9. The awakening.\n\n    10. The wedding. (Conclusion.)\n\nThe climax here is the Prince's awakening kiss. The blossoming of the\nhedge into roses prepares for the climax; and the conclusion--the\nawakening of all the life of the castle and the wedding--follow\nimmediately after.\n\n(3) Setting. The third element of the short-story that is essential to\nits power and charm is setting. The setting is the circumstances or\nevents which surround the characters and action. The setting occupies\na much more important place in the tale than we realize, for it is the\nsource of a variety of sensations and feelings which it may arouse. It\ngives the poetic or artistic touch to a tale. In the old tale the\nsetting is given often in a word or two which act like magic, to open\nto our eyes a whole vision of associations. The road in the _Three\nPigs_, the wood in _Red Riding Hood_, the castle in the _Sleeping\nBeauty_--these add charm. Often the transformation in setting aids\ngreatly in producing effect. In _Cinderella_ the scene shifts from the\nhearth to the palace ballroom; in the _Princess and the Pea_, from the\ncomfortable castle of the Queen to the raging storm, and then back\nagain to the castle, to the breakfast-room on the following morning.\nIn _Snow White and Rose Red_ the scene changes from the cheery,\nbeautiful interior of the cottage, to the snowstorm from which the\nBear emerged. In accumulative tales, such as _The Old Woman and her\nPig_, _Medio Pollito_, and _The Robin's Christmas Song_, the sequence\nof the story itself is preserved mainly by the change of setting. This\nappears in the following outline of _The Robin's Christmas Song_, an\nEnglish tale which is the same as the Scotch _Robin's Yule-Song_,\nwhich has been attributed to Robert Burns. This tale illustrates one\nmain line of sequence:--\n\n_The Robin's Christmas Song_\n\n     1. _Introduction_. A sunny morning. Waterside. A Gray Pussy.\n          A Robin came along.\n\n     2.  _Rise_.\n\n         Pussy said, ... \"See my white fur.\"\n\n         Robin replied, ... \"You ate the wee mousie.\"\n\n         _Change in setting_. Stone wall on border of the wood. A\n           greedy Hawk, sitting.\n\n         Hawk said, ... \"See the speckled feather in my wing.\"\n\n         Robin replied, ... \"You pecked the sparrow,\" etc.\n\n         _Change in setting_. Great rock. A sly Fox.\n\n         Fox said, \"See the spot on my tail.\"\n\n         Robin replied, \"You bit the wee lambie.\"\n\n         _Change in setting_. Banks of a rivulet. A small Boy.\n\n         Boy said, \"See the crumbs in my pocket.\"\n\n         Robin replied, \"You caught the goldfinch.\"\n\n         _Change in setting_. King's palace. The window sill. The\n           King at the window.\n\n         Robin sang, \"A song for the King.\"\n\n         King replied, \"What shall we give Robin?\"\n\n     3. _Conclusion_.\n\n        _No change in setting_. King's palace. The window sill.\n          The King at the window.\n\n        King Filled a plate and set it on the window sill.\n\n        Robin Ate, sang a song again, and flew away.\n\nHere, not only the sequence of the tale is held largely by the change\nin setting, but also the pleasure in the tale is due largely to the\nsetting, the pictures of landscape beauty it presents, and the\nfeelings arising from these images.\n\nA Japanese tale, in which the setting is a large part of the tale, and\na large element of beauty, is _Mezumi, the Beautiful_, or _The Rat\nPrincess_.\n\nA Grimm tale in which the setting is a very large element of pleasure\nand in which it preserves the sequence of the tale, is _The Spider and\nthe Flea_, a lively accumulative tale that deserves attention for\nseveral reasons.--A Spider and a Flea dwelt together. One day a number\nof unusual occurrences happened, so that finally a little Girl with a\nwater-pitcher broke it, and then the Streamlet from which she drew the\nwater asked, \"Why do you break your pitcher, little Girl?\" And she\nreplied:--\n\n     The little Spider's burned herself.\n     And the Flea weeps;\n     The little Door creaks with the pain,\n     And the Broom sweeps;\n     The little Cart runs on so fast,\n     And the Ashes burn;\n     The little Tree shakes down its leaves.\n     Now it is my turn!\n\nAnd then the Streamlet said, \"Now I must flow.\"\n\nAnd it flowed on and on, getting bigger and bigger, until it swallowed\nup the little Girl, the little Tree, the Ashes, the Cart, the Broom,\nthe Door, the Flea, and at last, the Spider--all together.\n\nHere we have a tale, which, in its language, well illustrates\nStevenson's \"pattern of style,\" especially as regards the harmony\nproduced by the arrangement of letters. From the standpoint of style,\nthis tale might be named, _The Adventure of the Letter E_; it\nillustrates the part the phonics of the tale may contribute to the\neffect of the setting. Follow the letter _e_ in the opening of the\ntale, both as to the eye and the ear:--\n\n     A Spid_e_r and a Fl_e_a dw_e_lt tog_e_th_e_r in on_e_\n     hous_e_ and br_e_w_e_d th_e_ir b_ee_r in an _e_gg-shell.\n     On_e_ day wh_e_n th_e_ Spid_e_r was stirring it up sh_e_\n     f_e_ll in and burn_e_d h_e_rs_e_lf. Th_e_r_e_upon th_e_\n     Fl_e_a b_e_gan to scr_e_am. And th_e_n th_e_ Door ask_e_d,\n     \"Why ar_e_ you scr_e_aming, littl_e_ Fl_e_a?\"\n\nIf we follow the _e_ sound through the tale, we find it in _Flea,\nbeer, scream, creak, weeps, sweep, reason, heap_, _Tree, leaves_, and\n_Streamlet_. This repetition of the one sound puts music into the tale\nand creates a center of the harmony of sound. But if we examine the\nnext part of the tale we find a variety of sounds of _o_ in\n_thereupon, Door, Broom, stood_, and _corner_. Later, in connection\nwith _Cart_, we have _began, fast, past_, and _Ashes_. Other phonic\neffects are crowded into the tale; such as the sound of _l_ in\n_violently, till, all, leaves_, and _fell_; the sound of _i_ in\n_little_ and _Girl_; of _p_ in _pitcher_ and _passing_; of _t_ in\n_little_ and _pitcher_; and of _ew_ in _threw_ and _drew_. Altogether\nthis very effective use of sound is a fine employment of concrete\nlanguage, words which present images that are clear-cut as a cameo. It\nalso gives to the tale a poetical touch.\n\n_Titty Mouse and Tatty Mouse_, an English tale, and a parallel of _The\nSpider and the Flea_, preserves the same beauty and sequence by means\nof its setting and illustrates the same very unusual contribution of\nthe sounds of particular letters combined in the harmony of the whole.\n_The Phonics of the Fairy Tales_ is a subject which yields much\ninterest and, as yet, has been almost untouched.\n\nIn _The Adventures of Chanticleer and Partlet_, in part I, _The Trip\nto the Nut-Hill_, taken from Arthur Rackham's _Grimm Tales_, the\nsetting contributes largely to the attractiveness of the tale, as is\nshown in Rackham's beautiful illustration. The setting is given\nthroughout the tale often in a telling word or two. Chanticleer and\nPartlet went up the _nut-hill_ to gather nuts before the _squirrel_\ncarried them all away. The _day_ was _bright_ and they stayed till\n_evening_. The _carriage_ of _nut-shells_; the _Duck_ they met; the\n_dirty road_ they traveled in the _pitch dark_; the _Inn_ they arrived\nat; the _night_ at the Inn; the early _dawn_; the _hearth_ where they\nthrew the egg-shells; the Landlord's _chair_ whose _cushion_ received\nthe Needle; the _towel_ which received the Pin; the _heath_ over which\nthey hurried away; the _yard_ of the Inn where the Duck slept and the\n_stream_ he escaped by; the Landlord's _room_ where he gained\nexperience with his towel; the _kitchen_ where the egg-shells from the\n_hearth_ flew into his face; and the _arm-chair_ which received him\nwith a Needle--these are all elements of setting which contribute\nlargely to the humor and the beauty of the tale.\n\nA blending of the three elements, characters, plot, and setting,\nappears in the following outline of _The Elves and the Shoemaker_:--\n\n_The Elves and the Shoemaker_\n\n     1. _Introduction_. A poor Shoemaker. A poor room containing\n     a bed and a shoemaker's board. Leather for one pair of\n     shoes.\n\n     2. _Development_.\n\n        First night ... Cut out shoes. Went to bed. Shoes ready\n        next morning. Sold them. Bought leather for two pairs.\n\n        Second night ... Cut out shoes. Went to bed. Shoes\n        ready next morning. Sold them. Bought leather for four\n        pairs.\n\n        One night ... Conversation of Shoemaker and his wife:\n        \"I should like to sit up to-night to see who it is that\n        makes the shoes.\" They sat up. Two Elves ran in, sewed,\n        rapped, and tapped, and ran away when the shoes were\n        made.\n\n        Day after ... Conversation. \"These Elves made us rich.\n        I should like to do something for them. You make each\n        of them a little pair of shoes, and I will make them\n        each a little shirt, a coat, a waistcoat, trousers, and\n        a pair of stockings.\"\n\n        Christmas Eve ... Finished shoes and clothes put on the\n        table. Shoemaker and Wife hid in the corner of the room\n        behind clothes, and watched. (Climax.)\n\n        Elves came in and put on clothes.\n\n     3. _Conclusion_.\n\n        Happy end. Elves danced and sang,--\n\n             \"Smart and natty boys are we,\n              Cobblers we'll no longer be.\"\n\n        Shoemaker and Wife became happy and prosperous.\n\nThe characters of this tale are usual, a poor Shoemaker and his Wife;\nand unusual, the dainty Elves who made shoes in a twinkling. But the\ncommonplace peasants become interesting through their generosity,\nkindness, and service to the Elves; and the Elves become human in\ntheir joy at receiving gifts. The structure of the tale is so distinct\nas to be seen a thing itself, apart from the story. The framework is\nbuilt on what happens on two nights and following nights, the\nconversation of the next day, and what happens on Christmas Eve. The\nclimax evidently is what the Shoemaker and his Wife hid in the corner\nto see--the entrance of the Elves on Christmas Eve--which episode has\nbeen interpreted charmingly by the English illustrator, Cruikshank.\nThe joy of the Elves and of the two aged people, the gifts received by\nthe one and the riches won by the other, form the conclusion, which\nfollows very closely upon the climax. The commonplace setting, the\npoor room with its simple bed and table, becomes transformed by the\nunusual happenings in the place. If we should take away this setting,\nwe see how much the tale would suffer. Also without the characters the\ntale would be empty. And without the interesting, human, humorous, and\npleasing plot, characters and setting would be insufficient. Each\nelement of the short-story contributes its fair share to the tale, and\nblends harmoniously in the whole.\n\nVarious standards for testing the folk-tale have been given by\nwriters. One might refer to the standards given by Wilman in his\n_Pedagogische Vortr\u00e4ge_ and those mentioned by William Rein in _Das\nErste Schuljahr_. We have seen here that the fairy tale must contain\nthe child's interests and it must be able to stand the test of a true\nclassic. It must stand the test of literature in its appeal to emotion\nand to imagination, in its appeal to the intellect through its basis\nof truth, and to the language-sense through its perfection of form; it\nmust stand the test of the short-story and of good narration and of\ndescription. Let us now examine a few of the old tales to see how they\nstand the complete test:--\n\n_How the Sun, Moon, and West Wind went out to Dinner_\n\n     _This story of How the Sun, Moon, and West Wind Went out to\n     Dinner_ appeals to the children's interest in a family\n     dinner--they went to dine with their Uncle and Aunt, Thunder\n     and Lightning. The characters are interesting to the child,\n     for they are the inhabitants of his sky that cause him much\n     wonder: the star, the sun, the moon, the thunder, and the\n     lightning. To the little child, who as she watched a\n     grown-up drying her hands, remarked, \"I wouldn't like to be\n     a towel, would you?\" the idea of the moon, sun, and wind\n     possessing personality and going to a dinner-party will\n     amuse and please. The theme of the story finds a place in\n     the experience of children who go to a party; and secretly\n     they will enjoy making comparisons. When they go to a party\n     they too like to bring something home; but they wouldn't\n     think of hiding goodies in their hands. They are fortunate\n     enough to have their hostess give them a toy animal or a box\n     of sweetmeats, a tiny dolly or a gay balloon, as a souvenir.\n     The greediness and selfishness of the Sun and Wind impress\n     little children, for these are perhaps the two sins possible\n     to childhood; and all children will fully appreciate why the\n     Sun and the Wind received so swiftly the punishment they\n     deserved. The thoughtfulness of the loving gentle Moon to\n     remember her Mother the Star, appeals to them. The rapid\n     punishment, well-deserved, and the simplicity of the story\n     with its one point, make it a very good tale for little\n     children. The whole effect is pleasing. What children recall\n     is the motherly Star; and the beautiful Moon, who was cool\n     and calm and bright as a reward for being good.\n\n     The structure of the tale is neat and orderly, dominated by\n     a single theme. The form of the tale, as given in Jacobs's\n     _Indian Tales_, shows a good use of telling expressions;\n     such as, \"the Mother waited _alone_ for her children's\n     return,\" \"Kept watch with her _little bright eye_,\" \"the\n     Moon, _shaking_ her hands _showered_ down such a _choice_\n     dinner,\" etc. Here we have too, the use of concrete,\n     visualized expressions and direct language. There is also a\n     good use of repetition, which aids the child in following\n     the plot and which clarifies the meaning. The Mother Star,\n     when pronouncing a punishment upon Sun, repeated his own\n     words as he had spoken when returning from the dinner: \"I\n     went out to enjoy myself with my friends.\" In her speech to\n     Wind she included his own remark: \"I merely went for my own\n     pleasure.\"--The examination of this tale shows that it\n     stands well the complete test applied here to the fairy\n     tale.\n\n_The Straw Ox_\n\n     _The Straw Ox_ is an accumulative tale which has sufficient\n     plot to illustrate the fine points of the old tale\n     completely. A poor woman who could barely earn a living had\n     an idea and carried it out successfully.--Her need\n     immediately wins sympathy in her behalf.--She asked her\n     husband to make her a straw ox and smear it with tar. Then\n     placing it in the field where she spun, she called out,\n     \"Graze away, little Ox, graze away, while I spin my flax!\"\n     First a Bear came out of the Wood and got caught by the tar\n     so that the Straw Ox dragged him home. The old Man then put\n     the Bear in the cellar. Then a Wolf, a Fox, and a Hare got\n     caught in the same way and also were consigned to the\n     cellar.--The plot has so far built itself up by an orderly\n     succession of incidents.--But just when the Man is preparing\n     to kill the animals, they save their lives by promising\n     vicarious offerings: The Bear promises honey; the Wolf a\n     flock of sheep; the Fox a flock of geese; and the Hare kale\n     and cauliflower.--Then the plot, having tied itself into a\n     knot, unties itself as the animals return, each with the\n     gift he promised.\n\n     The setting is the field where the old Woman placed the Ox\n     and where she spun, the wood from which the animals came,\n     and the peasant home. The characters are two poor people who\n     need food and clothing and seek to secure both; and the\n     animals of the forest. The peasants need the Bear for a\n     coat, the Wolf for a fur cap, the Fox for a fur collar, and\n     the Hare for mittens. This human need produces an emotional\n     appeal so that we wish to see the animals caught. But when\n     the plot unties itself, the plight of the animals appeals to\n     us equally and we want just as much to see them win their\n     freedom. Each animal works out his own salvation by offering\n     the old people a worthy substitute. Each animal is true to\n     his nature in the substitute he offers, he promises what is\n     only natural for him to procure, and what he himself likes\n     best. The conclusion is satisfying because in the end\n     everybody is happy: the old people who have all they need;\n     and the animals who have life and freedom. The distinct\n     pictures offered to the imagination are the capture of the\n     four animals and their return with their life-substitutes.\n     The form of the tale is a good example of folk-story style,\n     with its vivid words, direct language, and repetition. This\n     is one of the tales which is finer than at first appears\n     because it has a strong sense of life. It touches the\n     present-day problem: \"How can the inhuman slaughter of\n     animals for man's use be avoided?\" Its underlying message\n     is: Self-help is a good way out of a difficulty.--_The Straw\n     Ox_ also answers the complete test of the tale with much\n     satisfaction.\n\n\n\nREFERENCES:\n\n\nThe Child:\n\n     Barnes, Earl: _Study of Children's Stories_. (\"Children's\n       Interests.\")\n\n     Dewey, John: _Interest and Effort in Education_. Houghton.\n\n     King, Irving: _Psychology of Child Development_. University of\n       Chicago Press.\n\n     Lawrence, Isabel: \"Children's Interests in Literature.\" _N.E.A.\n       Report_, 1899, p. 1044.\n\n     McCracken, Elizabeth: \"What Children Like to Read.\" _Outlook_,\n       Dec, 1904, vol. 78.\n\n     Tyler, John M.: _Growth in Education_. Houghton.\n\n     Vostrovsky, Clara: \"A Study of Children's Own Stories.\" _Studies\n       in Education_, vol. i, pp. 15-17.\n\n\nLiterature:\n\n     Baldwin, Charles S.: _Specimens of Prose Description_. Holt.\n\n     Brewster, William T.: _English Composition and Style_. Century.\n\n     _Ibid.: Specimens of Prose Narration_. Holt.\n\n     Gardiner, John H.: _Forms of Prose Literature_. Scribner.\n\n     Matthews, Brander: _The Philosophy of the Short-Story_. Longmans.\n     Pater, Walter: _Appreciations. (Essay on Style_). Macmillan.\n\n     Perry, Bliss: _A Study of Prose Fiction_. (\"The Short Story.\")\n       Houghton.\n\n     Sainte-Beuve, Charles A.: _Essays_. (\"What is a Classic?\")\n       Dutton.\n\n     Santayana, George: _The Sense of Beauty_. Scribner.\n\n     Wendell, Barrett: _English Composition_. Scribner.\n\n     Winchester, Caleb T.: _Principles of Literary Criticism_.\n       Macmillan.\n\n\nEmotion:\n\n     Bain, Alexander: _The Emotions and the Will_. Appleton.\n\n     Darwin, Charles: _Expression of the Emotions in Man and\n       Animals_. Appleton.\n\n\nImagination:\n\n     Colvin, Stephen: _The Learning Process_. Macmillan.\n\n     Curry, S.S.: _Imagination and the Dramatic Instinct_. Expression\n       Co.\n\n     Ruskin, John: _Modern Painters_, vol. r. (\"Of the Imagination.\")\n\n\n\nChildren's Literature:\n\n     Baker, Franklin T.: _Bibliography of Children's Reading.\n       (Introduction.)_ Teachers College, Columbia University.\n\n     Day, Mary B., and Wilson, Elisabeth: _Suggestive Outlines on\n       Children's Literature_. S. Illinois Normal, Carbondale.\n\n     Dodd, C.F.: \"Fairy Tales in the Schoolroom.\" _Living Age_, Nov.\n       8, 1902, vol. 235, pp. 369-75.\n\n     Fay, Lucy, and Eaton, Anne: _Instruction in the Use of Books and\n       Libraries_. (Chap, xv, \"Fairy Tales.\") Boston Book Co.\n\n     Field, Mrs. E.M.: _The Child and His Book_. Wells Gardner, Darton\n       & Co.\n\n     Field, Walter T.: _Finger-Posts to Children's Reading_. A.C.\n       McClurg.\n\n     Harron, Julia; Bacon, Corinne; and Dana, J.C.: _A Course of Study\n       on Literature for Children_. Newark Public Library.\n\n     Hosic, James F.: \"The Conduct of a Course in Literature for\n       Children.\" _N.E.A. Report_, 1913.\n\n     _Ibid.: The Elementary Course in English_. University of\n         Chicago.\n\n     Hunt, Clara: _What shall we Read to the Children?_ Houghton.\n\n     Kready, Laura F.: \"Picture-Books for Little Children.\"\n       _Kindergarten Review_, Sept., 1914.\n\n     Lowe, Orton: _Literature for Children_. Macmillan.\n\n     MacClintock, Porter L.: _Literature in the Elementary School_.\n       University of Chicago.\n\n     Moore, Annie E.: \"Principles in the Selection of Stories for the\n       Kindergarten.\" _I.K.U. Report_, 1913.\n      Moses, Montrose: _Children's Books and Reading_. M. Kennerley.\n\n     Olcott, Frances J.: _The Children's Reading_. Houghton.\n\n\n\n\nCHAPTER III\n\n\n\nTHE TELLING OF FAIRY TALES\n\n\n     The telling of stories refreshes the mind as a bath\n     refreshes the body. It gives exercise to the intellect and\n     its powers. It tests the judgments and feelings. The\n     story-teller must wholly take into himself the life of which\n     he speaks, must let it live and operate in himself freely.\n     He must reproduce it whole and undiminished, yet stand\n     superior to life as it actually is.--FROEBEL.\n\n     The purpose of the story.--To look out with new eyes upon\n     the many-featured, habitable world; to be thrilled by the\n     pity and the beauty of this life of ours, itself brief as a\n     tale that is told; to learn to know men and women better,\n     and to love them more.--BLISS PERRY.\n\n     Expertness in teaching consists in a scholarly command of\n     subject-matter, in a better organization of character, in a\n     larger and more versatile command of conscious modes of\n     transmitting facts and ideals, and in a more potent and\n     winsome, forceful and sympathetic manner of personal contact\n     with other human beings.--HENRY SUZZALLO.\n\nStory-telling as an art. No matter how perfectly the tale, in a\nsubjective sense, may contain the interests of the child, or how\ncarefully it may avoid what repels him; though in an objective sense\nit may stand the test of a true classic in offering a permanent\nenrichment of the mind and the test of literature in appealing to the\nemotions and the imagination, in giving a contribution of truth and an\nembodiment of good form; though it may stand the test of the\nshort-story--furnishing interesting characters, definite plot, and\neffective setting; though its sequence be orderly and its climax\npointed, its narration consistent and its description apt--the tale\nyet remains to be told. The telling of the tale is a distinct art\ngoverned by distinct principles because the life of the story must be\ntransmitted and rendered into voice.\n\nStory-telling is one of the most ancient and universal of arts.\nConcerning this art Thackeray has said:--\n\n     Stories exist everywhere: there is no calculating the\n     distance through which stories have come to us, the number\n     of languages through which they have been filtered, or the\n     centuries during which they have been told. Many of them\n     have been narrated almost in their present shape for\n     thousands of years to the little copper-colored Sanskrit\n     children, listening to their mothers under the palm-trees by\n     the banks of the yellow Jumna--their Brahmin mother, who\n     softly narrated them through the ring in her nose. The very\n     same tale has been heard by the northern Vikings as they lay\n     on their shields on deck; and the Arabs couched under the\n     stars on the Syrian plains when their flocks were gathered\n     in, and their mares were picketed by the tents.\n\nIn his _Roundabout Papers_, Thackeray gives a picture of a score of\nwhite-bearded, white-robed warriors or grave seniors of the city,\nseated at the gate of Jaffa or Beyrout, listening to the story-teller\nreciting his marvels out of _Arabian Nights_. \"A Reading from Homer,\"\nby Alma Tadema, is a well-known picture which portrays the Greeks\nlistening to the _Tales of Homer_. In the _Lysistrata_ of\nAristophanes, the chorus of old men begins with, \"I will tell ye a\nstory!\" Plutarch, in his _Theseus_ says, \"All kinds of stories were\ntold at the festival Oschophoria, as the mothers related such things\nto their children before their departure, to give them courage.\" In\nhis _Symposium_ he mentions a child's story containing the proverb,\n\"No man can make a gown for the moon.\"--\n\n     The Moon begged her Mother to weave her a little frock which\n     would fit her.\n\n     The Mother said, \"How can I make it fit thee, when thou art\n     sometimes a Full Moon, and then a Half Moon, and then a New\n     Moon?\"--\n\nIn the works of the German, Schuppius (1677), appeared this:--\n\n     Your old folks can remember how, in the olden times, it was\n     customary at vespers on Easter day, to tell some Easter\n     tidings from the pulpit. These were foolish fables and\n     stories such as are told to children in the spinning-room.\n     They were intended to make people merry.\n\nIn England, _Chaucer's Tales_ reflect the common custom of the times\nfor the pilgrim, the traveler, the lawyer, the doctor, the monk, and\nthe nun, to relate a tale. _The Wife of Bathes Tale_ is evidently a\nfairy tale. In Peele's _Old Wives' Tale_ we learn how the smith's\ngoodwife related some nursery tales of Old England to the two\ntravelers her husband brought to the cottage for the night. In\nAkenside's _Pleasures of Imagination_ we find:--\n\n                     Hence, finally by night,\n     The village matres, round the blazing hearth\n     Suspend the infant audience with their tales,\n     Breathing astonishment.\n\nThe custom of Florentine mothers has been described by the poet,\nDante, when he says:--\n\n     Another, drawing tresses from her distaff.\n     Told o'er among her family the tales\n     Of Trojans, and of Fesole and Rome.\n\nThe French troubadours and the Italian counts of Boccaccio's time told\ntales. It is recorded of the French Galland, the first translator of\n_The Arabian Nights_, how the young men of his day would gather under\nhis windows at night and shout for him until he showed himself and\ntold them stories. The German Luther paid a high tribute to stories;\nand Goethe's mother, in giving her experience in telling stories to\nher children, has shown how the German mother valued the story in the\nhome. To-day, savage children, when the day of toil is ended with the\nsetting sun, gather in groups to listen to the never-dying charm of\nthe tale; and the most learned of men, meeting in the great centers of\ncivilization to work out weighty problems, find relief and pleasure\nwhen wit and culture tell the tale.\n\nIn the home the tale is the mother's power to build in her little\nchildren ideals of life which will tower as a fortress when there come\ncritical moments of decision for which no amount of reasoning will be\na sufficient guide, but for which true feeling, a kind of unconscious\nhigher reasoning, will be the safest guide. In the library the story\nis the greatest social asset of the librarian, it is her best means of\nreaching the obscure child who seeks there some food for his spirit,\nit is her best opportunity to lead and direct his tastes. In the\nschool it is the teacher's strongest personal ally. It is her\nwishing-ring, with which she may play fairy to herself in\naccomplishing a great variety of aims, and incidentally be a fairy\ngodmother to the child.\n\nStory-telling is an art handling an art and therefore must be pursued\nin accordance with certain principles. These principles govern: (1)\nthe teacher's preparation; (2) the presentation of the tale; and (3)\nthe return from the child.\n\n\n\nI. THE TEACHER'S PREPARATION\n\n\n1. The teacher's preparation must be concerned with a variety of\nsubjects. The first rule to be observed is: _Select the tale for some\npurpose, to meet a situation_. This purpose may be any one of the\nelements of value which have been presented here under \"The Worth of\nFairy Tales.\" The teacher must consider, not only the possibilities of\nher subject-matter and what she wishes to accomplish through the\ntelling of the tale, but also what the child's purpose will be in\nlistening. She may select her tale specifically, not just because it\ncontains certain interests, but because through those interests she\ncan direct the child's activity toward higher interests. She must\nconsider what problems the tale can suggest to the child. She may\nselect her tale to develop habits in the child, to clarify his\nthinking, to give a habit of memory or to develop emotion or\nimagination. She may select her tale \"just for fun,\" to give pure joy,\nor to teach a definite moral lesson, to make a selfish child see the\nbeauty of unselfishness or to impress an idea. The _Story of Lazy\nJack_, like the realistic _Epaminondas_, will impress more deeply than\nany word of exhortation, the necessity for a little child to use \"the\nsense he was born with.\"\n\nIn the selection of the tale the teacher is up against the problem of\nwhether she shall choose her tale psychologically or logically. As\nthis is the day of the psychologic point of view in education, the\nteacher realizing this feels that she must select a tale for a\nparticular purpose, according to the child's interests, his needs, and\nthe possibilities it offers for his self-activity and self-expression.\nLooking freely over the field she may choose any tale which satisfies\nher purposes. This is psychologic. But in a year's work this choice of\na tale for a particular purpose is followed by successive choices\nuntil she has selected a wide variety of tales giving exercise to many\nforms of activity, establishing various habits of growth. This method\nof choice is the psychologic built up until, in the hands of the\nteacher who knows the subject, it becomes somewhat logical. It is the\nmethod which uses the ability of the individual teacher, alone and\nunaided. There is another method. The teacher may be furnished with a\ncourse of tales arranged by expert study of the full subject outlined\nin large units of a year's work, offering the literary heritage\npossible to the child of a given age. This is logical. From this\nlogical course of tales she may select one which answers to the\nmomentary need, she may use it according to its nature, to develop\nhabits, to give opportunity for self-activity and self-expression, and\nto enter into the child's daily life. This method of choice is the\nlogical, which through use and adaptation has become psychologized. It\nuses the ability of the individual teacher in adaptation, not unaided\nand alone, but assisted by the concentrated knowledge and practice of\nthe expert. Such a logical course, seeking uniformity only by what it\nrequires at the close of a year's work, would give to the individual\nteacher a large freedom of choice and would bring into kindergarten\nand elementary literature a basis of content demanding as much respect\nas high school or college literature. It is in no way opposed to\nmaintaining the child as the center of interest. The teacher's problem\nis to see that she uses the logical course psychologically.\n\n2. Having selected the tale then, from a logical course, and\npsychologically for a present particular purpose, the next step is:\n_Know the tale_. Know the tale historically, if possible. Know it\nfirst as folk-lore and then as literature. Read several versions of\nthe tale, the original if possible, selecting that version which seems\nmost perfectly fitted to express what there is in the tale. As\nfolk-lore, study its variants and note its individual motifs. Note\nwhat glimpses it gives of the social life and customs of a primitive\npeople. The best way to dwell on the life of the story, to realize it,\nis to compare these motifs with similar motifs in other tales. It has\nbeen said that we do not see anything clearly until we compare it with\nanother; and associating individual motifs of the tales makes the\nincidents stand out most clearly. Henny Penny's walk appears more\ndistinctly in association with that of Medio Pollito or that of\nDrakesbill or of the Foolish Timid Rabbit; the fairy words in\n_Sleeping Beauty_ and the good things they bestowed upon Briar Rose in\nassociation with the fairy wand in _Cinderella_ and the good things it\nbrought her; the visit of the Wolf in _The Wolf and Seven Kids_ with\nthe visit of the Wolf in _Three Pigs_ and of the Fox in _The Little\nRid Hin_. It is interesting to note that a clog motif, similar to the\nmotif of shoes in _The Elves and the Shoemaker_, occurs in the Hindu\n_Panch-Rhul Ranee_, told in _Old Deccan Days_.\n\nAll the common motifs which occur in the fairy tales have been\nclassified by Andrew Lang under these heads:--\n\n      (1) Bride or bridegroom who transgresses a mystic command.\n\n      (2) Penelope formula; one leaves the other and returns later.\n\n      (3) Attempt to avoid Fate.\n\n      (4) Slaughter of monster.\n\n      (5) Flight, by aid of animal.\n\n      (6) Flight from giant or wizard.\n\n      (7) Success of youngest.\n\n      (8) Marriage test, to perform tasks.\n\n      (9) Grateful beasts.\n\n     (10) Strong man and his comrades.\n\n     (11) Adventure with Ogre, and trick.\n\n     (12) Descent to Hades.\n\n     (13) False bride.\n\n     (14) Bride with animal children.\n\nFrom a less scientific view some of the common motifs noticeable in\nthe fairy tales, which however would generally fall under one of the\nheads given by Lang, might be listed:--\n\n      (1) Child wandering into a home; as in _Three Bears_ and\n           _Snow White_.\n\n      (2) Transformation; simple, as in _Puss-in-Boots_; by\n          love, as in _Beauty and the Beast_, by sprinkling with\n          water, as in _Beauty and the Beast_ or by bathing, as in\n          _Catskin_; by violence, as in _Frog Prince_ and _White\n          Cat_.\n\n      (3) Tasks as marriage tests; as in _Cinderella_.\n\n      (4) Riddle test; as in _Peter, Paul, and Espen_; questions\n          asked, as in _Red Riding Hood_.\n\n      (5) Magic sleep; as in _Sleeping Beauty_.\n\n      (6) Magic touch; as in _Golden Goose_.\n\n      (7) Stupid person causing royalty to laugh; as in _Lazy Jack_.\n\n      (8) Exchange; as in _Jack and the Beanstalk_.\n\n      (9) Curiosity punished; as in _Bluebeard_ and _Three Bears_.\n\n     (10) Kindness to persons rewarded; as in _Cinderella, Little\n          Two-Eyes_, and _The House in the Wood_.\n\n     (11) Kindness to animals repaid; as in _Thumbelina, Cinderella_,\n          and _White Cat_.\n\n     (12) Industry rewarded; as in _Elves and the Shoemaker_.\n\n     (13) Hospitality rewarded; as in _Tom Thumb_.\n\n     (14) Success of a venture; as in _Dick Whittington_.\n\nAfter studying the tale as folk-lore, know it as literature. Master it\nas a classic, test it as literature, to see wherein lies its appeal to\nthe emotions, its power of imagination, its basis of truth, and its\nquality of form; study it as a short-story and view it as a piece of\nnarration. It is rather interesting to note that you can get all there\nis in a tale from any one point of view. If you follow the sequence as\nsetting, through association you get the whole, as may be seen by\nreferring to _Chanticleer and Partlet_ under the heading, \"Setting,\"\nin the chapter on the \"Short-Story.\" Or, if you follow the successive\ndoings of the characters you get the whole, as may be observed in the\nstory of _Medio Pollito_, described later in the \"Animal Tale\" in the\nchapter, \"Classes of Tales.\" Or if you follow the successive\nhappenings to the characters, the plot, you get the whole, as may\nappear in the outline of _Three Pigs_ given in the chapter which\nhandles \"Plot.\" Note the beauty of detail and the quality of\natmosphere with which the setting surrounds the tale; note the\nindividual traits of the characters and their contrasts; observe how\nwhat each one does causes what happens to him. Realize your story from\nthe three points of view to enter into the author's fullness. Get a\ngood general notion of the story first.\n\n3. The next step is: _Master the complete structure of the tale_. This\nis the most important step in the particular study of the tale, for it\nis the unity about which any perfection in the art of telling must\ncenter. To discern that repose of centrality which the main theme of\nthe tale gives, to follow it to its climax and to its conclusion,\nwhere poetic justice leaves the listener satisfied--this is the most\nfundamental work of the story-teller. The teacher must analyze the\nstructure of her tale into its leading episodes, as has been\nillustrated in the handling of structure, under the subject, \"Plot,\"\nin the chapter on the \"Short-Story.\"\n\n4. The next step is: _Secure the message of the tale_. The message is\nwhat we wish to transmit, it is the explicit reason for telling the\ntale. And one evidently must possess a message before one can give it.\nAs the message is the chief worth of the tale, the message should\ndominate the telling and pervade its life. A complete realization of\nthe message of the tale will affect the minutest details giving color\nand tone to the telling, and resulting so that what the child does\nwith the story will deepen the impression of the message he receives.\n\n5. The next step is: _Master the tale as form_. This means that if the\ntale is in classic form, not only the message and the structure must\nbe transmitted, but the actual words. Words are the artist's medium,\nStevenson includes them in his pattern of style, and how can we\nexclude them if we wish to express what they have expressed? A tale\nlike Kipling's _The Elephant's Child_ would be ruined without those\nclinging epithets, such as \"the wait-a-bit thorn-bush,\" \"mere-smear\nnose,\" \"slushy squshy mud-cap,\" \"Bi-Colored-Python-Rock-Snake,\" and\n\"satiable curtiosity.\" No one could substitute other words in this\ntale; for contrasts of feeling and humor are so tied up with the words\nthat other words would fail to tell the real story. If an interjection\nhas seemed an insignificant part of speech, note the vision of\ntropical setting opened up by the exclamation, \"O Bananas! Where did\nyou learn that trick?\" This is indeed a tale where the form is the\nmatter, the form and the message are one complete whole that cannot be\nseparated. But it is a proof that where any form is of sufficient\nperfection to be a classic form, you may give a modified tale by\nchanging it, but you do not give the real complete tale. You cannot\ntell Andersen's _Tin Soldier_ in your own words; for its sentences,\nits phrases, its sounds, its suggestive language, its humor, its\nimagination, its emotion, and its message, are so intricately woven\ntogether that you could not duplicate them.\n\nWhen the fairy tale does not possess a settled classic form, select,\nas was mentioned, that version in which the language best conveys the\nlife of the story, improving it yourself, if you can, in harmony with\nthe standards of literature, until the day in the future when the tale\nmay be fortunate enough to receive a settled form at the hands of a\nliterary artist. Sometimes a slight change may improve greatly an old\ntale. In Grimm's _Briar Rose_[1] the episode of the Prince and the old\nMan contains irrelevant material. The two paragraphs following, \"after\nthe lapse of many years there came a king's son into the country,\"\neasily may be re-written to preserve the same unity and simplicity\nwhich mark the rest of the tale. This individual retelling of an old\ntale demands a careful distinction between what is essential and\ninternal and what may have been added, what is accidental and\nexternal. The clock-case in _The Wolf and Seven Kids_ evidently is not\na part of the original story, which arose before clocks were in use,\nand is a feature added in some German telling of the tale. It may be\nretained but it is not essential to the tale that it should be. Exact\nconversations and bits of dialogue, repetitive phrases, rhymes,\nconcrete words which visualize, brief expressions, and Anglo-Saxon\nwords--these are all bits of detail which need to be mastered in a\ncomplete acquirement of the story's form, because these are\ncharacteristics of the form which time has settled upon the old tales.\nAny literary form bestowed upon the tales worthy of the name\nliterature, will have to preserve these essentials.\n\n\n\nII. THE PRESENTATION OF THE TALE\n\n\nIn the oral presentation of the tale new elements of the teacher's\npreparation enter, for here the voice is the medium and the teacher\nmust use the voice as the organist his keys. The aim of the oral\npresentation is to give the spiritual effect. This requires certain\nconditions of effectiveness--to speak with distinctness, to give the\nsense, and to cause to understand; and certain intellectual\nrequirements--to articulate with perfection, to present successive\nthoughts in clear outline, and to preserve relative values of\nimportance.\n\nThe production of the proper effect necessitates placing in the\nforeground, with full expression, what needs emphasis, and throwing\nback with monotony or acceleration parts that do not need emphasis. It\nrequires slighting subordinate, unimportant parts, so that one point\nis made and one total impression given. This results in that\nflexibility and lightsomeness of the voice, which is one of the most\nimportant features in the telling of the tale. The study of technique,\nwhen controlled by these principles of vocal expression, is not\nopposed to the art of story-telling any more than the painter's\nknowledge of color is opposed to his art of painting. To obtain\ncomplete control of the voice as an instrument of the mind, there is\nnecessary: (1) training of the voice; (2) exercises in breathing; (3)\na knowledge of gesture; and (4) a power of personality.\n\n(1) Training of the voice. This training aims to secure freedom of\ntone, purity of tone, fullness of tone, variety of volume, and\ntone-color. It will include a study of phonetics to give correct\npronunciation of sounds and a knowledge of their formation; freeing\nexercises to produce a jaw which is not set, an open throat, a mobile\nlip, and nimble tongue; and exercises to get rid of nasality or\nthroatiness. The art of articulation adds to the richness of meaning,\nit is the connection between sound and sense. Open sounds are in\nharmony with joy, and very distinct emotional effects are produced by\narrangements of consonants. The effect created by the use of the\nvowels and consonants in _The Spider and the Flea_ has already been\nreferred to under \"Setting.\" The open vowels of \"\u00d3n, little Drumikin!\nTum-p\u00e4, tum-t[=oo]!\" help to convey the impression of lightsome gaiety\nin _Lambikin_. The effect of power displayed by \"Then I'll huff and\nI'll puff, and I'll blow your house in,\" is made largely by the sound\nof the consonants _ff_ and the _n_ in the concluding _in_, the force\nof the rough _u_ of _huff_ and _puff_, and the prolonged _o_ in\n_blow_. The effect of walking is produced by the _p_ of \"_Trip,\ntrap_,\" and of varied walking by the change of vowel from _[ui]_ to\n_[ua]_. The action of \"I have come to gobble you up,\" is emphasized\nand made realistic by the _bb_ of _gobble_ and the _p_ of _up_.\nAttention to the power of phonics to contribute to the emotional force\nand to the strength of meaning in the tale, will reveal to the\nstory-teller many new beauties.\n\n(2) Exercises in breathing. Training in breathing includes exercises\nto secure the regulation of proper breathing during speech and to\npoint out the relation between breathing and voice expression. The\ncorrect use of the voice includes also ability to place tone.--Find out\nyour natural tone and tell the story in that tone.--Many of the\neffects of the voice need to be dealt with from the inside, not\nexternally. The use of the pause in story-telling is one of the\nsubtlest and most important elements that contribute to the final\neffect. The proper placing of the pause will follow unconsciously as a\nconsequence when the structure of the story is realized in distinct\nepisodes and the proper emphasis given mentally to the most important\ndetails of action, while less emphasis in thought is given to\nsubordinate parts. Therefore, the study of the pause must be made, not\nartificially and externally, but internally through the elements of\nthe story which produce the pause. Tone-color, which is to ordinary\nspeech what melody is to music--those varied effects of intonation,\ninflection, and modulation--is to be sought, not as a result from an\nisolated study of technique, but from attention to those elements in\nassociation with the complete realization of the life of the story.\nGenuine feeling is worth more than mere isolated exercises to secure\nmodulation, and complete realization eliminates the necessity of\n\"pretending to be.\" The study of the fairy tale as literature, as has\nbeen indicated in the chapter on \"Principles of Selection,\" will\ntherefore be fundamental to the presentation of the tale. Entering\ninto the motives of the story gives action, entering into the thought\ngives form, and entering into the feeling gives tone-color to the\nvoice. The sincere desire to share the thought will be the best aid to\nbring expression.\n\n(3) A knowledge of gesture. The teacher must understand the laws of\ngesture. The body is one means of the mind's expression. There is the\neloquence of gesture and of pose. The simplest laws of gesture may be\nstated:--\n\n     (a) All gesture precedes speech in proportion to the\n         intense realization of emotion.\n\n     (b) All expression begins in the face and passes to some\n         other agent of the body in proportion to the quality\n         Of the emotion. The eye leads in pointing.\n\n     (c) Hands and arms remain close to the body in gesture\n         when intensity of emotion is controlled.\n\nIn regard to gesture, a Children's Library pamphlet, dealing with the\npurpose of story-telling, has said, \"The object of the story-teller is\nto present the story, not in the way advocated usually in the schools,\nbut to present it with as little dramatic excitement and foreign\ngesture as possible, keeping one's personality in the background and\ngiving all prominence to the story itself, relying for interest in the\nstory alone.\" The schools have perhaps been misinterpreted. It is\nclear that only that personality is allowable which interprets truly\nthe story's life. The listening child must be interested in the life\nof the story, not in the story-teller; and therefore gesture, tone, or\nsentiment that is individual variation and addition to the story\nitself, detracts from the story, is foreign to its thought, and\noccupies a wrong place of prominence. It is possible to tell a story,\nhowever, just as the author tells it, and yet give it naturally by\nrealizing it imaginatively and by using the voice and the body\nartistically, as means of expression.\n\n(4) A power of personality. What rules shall be given for the making\nof that personality which is to bring with it force in the telling of\nthe tale and which must override phonetics, inflection, and gesture?\n\nThe very best help towards acquiring that personality which is the\npower of story-telling, is to have a power of life gained through the\nexperience of having lived; to have a power of emotion acquired\nthrough the exercise of daily affairs; a power of imagination won from\nhaving dwelt upon the things of life with intentness, a power of\nsympathy obtained from seeing the things of others as you meet them\nday by day; and a first-hand knowledge of the sights and sounds and\nbeauties of Nature, a knowledge of bird and flower, tree and rock,\ntheir names and some of their secrets--knowledge accumulated from\nactual contact with the real physical world. This power of life will\nenable the story-teller to enter, at the same time, into the life of\nthe story she tells, and the life of those listening, to see the gift\nof the one and the need of the other.\n\nThe ideal position for the story-teller is to be seated opposite the\ncenter of the semicircle of listeners, facing them. The extreme\nnearness of the group, when the teller seeks the fingers of the\nlisteners to add force to the telling, seems an infringement upon the\nchild's personal rights. A strong personality will make the story go\nhome without too great nearness and will want to give the children a\nlittle room so that their thoughts may meet hers out in the story.\n\nSuggestions for telling. Now that the teacher is ready to speak, her\nfirst step in the art of story-telling, which is the first step in the\nart of any teaching, which lies at the very foundation of teaching,\nwhich is the most important step, and which is the step that often is\nneglected, is the _establishing of the personal relation between\nherself and the listener_. This is one of those subtleties which\nevades measuring, but its influence is most lasting. It is the setting\nto the whole story of teaching. It must play so important a part\nbecause, as teacher and listener are both human beings, there must be\nbetween them a common bond of humanity. How do you wish to appear to\nthis group of listeners? As a friend to be trusted, a brother or\nsister to give help, or as a good comrade to be played with; as\n\"master, expert, leader, or servant\"? If you wish to be as real and\nforceful as the characters in your story, you must do something which\nwill cause the personal relation you desire, to be established; and\nmoreover, having established it, you must live up to it, and prove no\nfriend without faith. You must do this before you presume to teach or\nto tell a story. You need not do it before each individual story you\npresent to a group you meet often; you may do it so effectively, with\na master-stroke, at the beginning when you first meet your class, that\nall you need do at successive meetings will be but to add point to\nyour first establishment.\n\nA student-teacher, in telling a story to a group of kindergarten\nchildren who were complete strangers, and telling it to them as they\nsat in a semicircle in front of her comrades, adult students,\nestablished this personal relation by beginning to tell the little\nchildren her experience with the first telling of _Three Bears_ to a\nlittle girl of four:--Seated before a sand-box in the yard, after\nhearing the story of _Three Bears_, M---- had been asked, \"Wouldn't\nthis be a good time for you to tell me the story?\" In reply, she\npaused, and while the story-teller was expecting her to begin,\nsuddenly said, \"Do you think M----'s big enough for all that?\" and\nrefused to tell a word. Then turning to the group before her, the\nstudent-teacher made the direct appeal. \"But you are the biggest\nlittle people in the kindergarten, and you wouldn't treat a story like\nthat, would you?\" The children, through the personal picture of\nfriendly story-telling with a little child, that paralleled their own\nsituation somewhat, immediately felt at home with the teller; it was\njust as if they were the same intimate friends with her that the\nlittle girl portrayed to them was. The human bond of good comradeship\nand intimacy was established. In the direct appeal at the end, the\nchildren were held up to an ideal they dare not disappoint, they must\nlive up to their size, be able to get the story, and be the biggest\nlittle people in the kindergarten by showing what they could do with\nit. Again there was an undefined problem thrown at them, as it\nwere--an element of wonder. They did not know just what was coming and\nthey were mentally alert, waiting, on the lookout. The way for the\nstory was open.--This is what you want, for no matter how perfect a\ngem of folk-lore you tell, it will fall heedless if the children do\nnot listen to it.\n\nThe second step in the art of story-telling is one which grows\nnaturally out of this first step. This second step, _to put the story\nin a concrete situation for the child_, to make the connection between\nthe child and the literature you present, is the one which displays\nyour unique power as an artist. It is the step which often is omitted\nand is the one which exercises all your individual ability and\ncleverness. It is the step which should speak comfort to the eager\nteacher of to-day, who is compelled to stand by, Montessori fashion,\nwhile many changing conceptions say to her: \"Hands off! It is not what\nyou do that helps the child develop; it is what he himself does!\" Here\nat least is one of the teacher's chances to act. This step is the\nopening of the gateway so that the story you are about to tell may\nenter into the thoughts of your listeners. It is your means to\norganize the tale in the child's life. If in the school program you\npermit nature study, representing the central interest, to occupy the\nplace of main emphasis, and if the game, occupation, and song work is\nrelated to the child's life, this organization of the child's tale in\nhis life will be accomplished naturally.\n\nIn the example cited above, both the establishment of the personal\nrelation and the placing of the story in a concrete situation, were\nmanaged partly at the one stroke. Your best help to furnish a concrete\nsituation will be to preserve at the one end a sympathy for the life\nof your story and at the other to perceive the experience of the\nchildren in the listening group. Seeing both at once will result in a\nknowledge of what the children need most to make the story go home. If\nyour children are good enough, and you and they sufficiently good\nfriends to bear the fun of pantomime and the gaiety of hilarity,\nasking several boys, as they walk across the room before the children,\nto imitate some animals they had seen at a circus, and getting the\nchildren to guess the animal represented until they hit upon the\nelephant, would put certain children in a spirit of fun that would be\nexactly the wide-awake brightness and good humor needed to receive the\nstory of _The Elephant's Child_. You can get children best into the\nstory-telling mood by calling up ideas in line with the story. In the\ncase of the story cited above, under the establishment of the personal\nrelation, the story, _The Bremen Town Musicians_, was related to the\nchild's experience by a few questions concerning kinds of music he\nknew, and what musician and kind of music the kindergarten had. In\ntelling Andersen's _Tin Soldier_ you must call up experience\nconcerning a soldier, not only because of the relation of the toy to\nthe real soldier, but because the underlying meaning of the tale is\ncourage, and the emotional theme is steadfastness. And to preserve the\nproper unity between the tale and the telling of it, the telling must\ncenter itself in harmony with the message of the tale, its one\ndominant impression and its one dominant mood.\n\nEvery story told results in some return from the child. The teacher,\nin her presentation, must _conceive the child's aim in listening_.\nThis does not mean that she forces her aim upon him. But it does mean\nthat she makes a mental list of the child's own possible problems that\nthe tale is best suited to originate, one of which the child himself\nwill suggest. For the return should originate, not in imitation of\nwhat the teller plans, but spontaneously, as the child's own plan,\nanswering to some felt need of his. But that does not prevent the\nstory-teller from using her own imagination, and through it, from\nrealizing what opportunities for growth the story presents, and what\npossible activities ought to be stimulated. A good guide will keep\nahead of the children, know the possibilities of the material, and by\nknowledge and suggestion lead them to realize and accomplish the plans\nthey crudely conceive. A consideration of these plans will modify the\ntelling of the tale, and should be definitely thought about before the\ntelling of the tale. A story told definitely to stimulate in the\nchildren dramatization, will emphasize action and dialogue; while one\ntold to stimulate the painting of a water-color sketch, will emphasize\nthe setting of the tale.\n\nThe telling of the tale. With this preparation, directions seem\nfutile. The tale should tell itself naturally. You must begin at the\nbeginning, as your tale will if you have selected a good one. You must\ntell it simply, as your tale will have simplicity if it is a good one,\nand your telling must be in harmony with the tale you tell. You will\ntell it with joy; of course, if there is joy in it, or beauty, which\nis a \"joy forever,\" or if you are giving joy to your listeners. Tell\nit, if possible, with a sense of bestowing a blessing, and a delicate\nperception of the reception it meets in the group before you, and the\npleasure and interest it arouses in them, so that in the telling there\nis that human setting which is a quickening of the spirit and a union\nof ideas, which is something quite new and different from the story,\nyet born of the story.\n\nThe re-creative method of story-telling. This preparation for telling\nhere described will result in a fundamental imitation of the author of\nthe story. By participating in the life of the story; by realizing it\nas folklore; by realizing it as literature--its emotion, its\nimagination, its basis of truth, its message, its form; by paying\nconscious attention to the large units of the structure, the exact\nsequence of the plot, the characters, and the setting, the particular\ndetails of description, and the unique word--the story-teller\nreproduces the author's mode of thinking. She does with her mind what\nshe wishes the child to do with his. With the very little child in the\nkindergarten and early first grade, who analyzes but slightly, this\nresults consciously in a clear notion of the story, which shows itself\nin the child's free re-telling of the story as a whole. He may want to\ntell the story or he may not. Usually he enjoys re-telling it after\nsome lapse of time; perhaps he tells it to himself, meanwhile. With\nthe older child, who analyzes more definitely, this results in a\nretelling which actually reproduces the teller's mode of thinking. If\npersisted in, it gives to one's mode of thinking, the _story-mode_,\njust as nature study gives to life the nature point of view. This mode\nof thinking is the _mode of re-creation_, of realization. It\nre-experiences the life, it reaches the processes of the mind, and\ndevelops free mind movement. It is a habit of thinking, and is at the\nbasis of reading, which is thinking through symbols; at the basis of\nthe memorization of poetry, which must first see the pictures the poet\nhas portrayed; it is the best help toward the adult study of\nliterature, and the narration of history and geography. It is the\npower to conceive a situation, which is most useful in science,\nmathematics, and the reasoning of logic. \"For,\" says Professor John\nDewey, \"the mind which can make independent judgments, look at facts\nwith fresh vision, and reach conclusions with simplicity, is the\nperennial power in the world.\"\n\nThis re-creative method of fundamental imitation was illustrated in the\ntelling of Andersen's _Princess and the Pea_, in a student-teacher's\nclass:\n\n     The story was told by the Professor. After the telling of\n     the story it was decided to have the story told again, but\n     this time in parts and by those who had listened, in such a\n     way that it would seem as if one person were telling the\n     whole story.\n\n     The Professor named the first part of the story. A student\n     was asked to tell the story from _the beginning_ to the end\n     of _the Prince's coming home again, sad at heart_. Another\n     student told the second part, beginning with _the storm_ and\n     ending with _what the old Queen thought_. A third student\n     told the third part, beginning with _the next morning_ and\n     ending with the close of the story, _Now this is a true\n     story_.\n\n     The Professor next asked students to think over the entire\n     story, to see if each student could find any weak places in\n     the remembering of the story. Several students reported\n     difficulty--one failed to remember the exact description of\n     the storm. A number of details were thus filled in, in the\n     exact words of the author. After this intimate handling of\n     the separate parts of the story, a final re-telling by one\n     student--omitted in this case because of lack of time--would\n     bring together what had been contributed by individual\n     students, and would represent the final re-creation of the\n     entire story.\n\nThe simplicity of this selection, the simplicity of the plot, the few\ncharacters, the literary art of the story, the skillful use of the\nunique word, the art of presenting distinct pictures by means of vivid\nwords, through suggestion rather than through illustration, together\nwith the delicate humor that hovered about the tale, and the art of\nthe Professor's telling--all combined in the final effect. The\nre-telling of the story in parts accomplished the analysis of the\nstory into three big heads:\n\n     (1) From _The Prince who wanted a real Princess_ ... to _his\n         return home_.\n\n     (2) From _The storm, one dark evening_ ... to _what the old Queen\n         thought_.\n\n     (3) From _What the Queen did next morning_ ... to _the end of the\n         story_.\n\nIn the analysis of the story into parts, telling exactly what happened\ngave the framework of the story, gave its basis of meaning. Telling it\nin three steps gave a strong sense of sequence and a vivid conception\nof climax.--If the division into parts for re-telling corresponds with\nthe natural divisions of the plot into its main episodes, this telling\nin steps impresses the structure of the tale and is in harmony with\nthe real literary mastery of the story.--The re-telling of each part\ndrew attention to the visualization of that part. Each hesitation on\nbehalf of a student telling a part, led the class to fill in the\ndetails for themselves, and impressed the remembrance of the exact\nwords of the author. This resulted in the mastery of each part through\na visualization of it. Hand in hand with the visualization came the\nfeeling aroused by the realization. This was more easily mastered\nbecause changes of feeling were noticeable in passing from one part of\nthe story to another.\n\nAfter a mastery of the structure of the story through analysis, after\na mastery of the thought, imagination, and feeling of the story, after\na mastery of the form, and the exact words of the author in the\ndescription of details embodied in that form, the story is possessed\nas the teller's own, ready to be given, not only to bestow pleasure,\nas in this case, but often to transmit a message of worth and to\npreserve a classic form.\n\n_The Foolish Timid Rabbit_, a Jataka tale, might be prepared for\ntelling by this same re-creative method of story-telling. It\nmust be remembered--and because of its importance it will bear\nrepetition,--that the separation of the story-structure into parts for\nseparate telling should always be in harmony with the divisions of the\nplot so that there may be no departure from the author's original mode\nof thinking, and no break in the natural movement of sequence. A\nseparation of the tale into parts for re-telling would result in the\nfollowing analysis:--\n\n     (1) _Rabbit asleep under a palm tree_ ... to _his meeting\n         hundreds of Rabbits_.\n\n     (2) _Rabbits met a Deer_ ... to _when the Elephant joined them_.\n\n     (3) _Lion saw the animals running_ ... to _when he came to\n         the Rabbit who first had said the earth was all breaking up_.\n\n     (4) _Lion asked the Foolish Rabbit, 'Is it true the earth is\n         all breaking up_,' ... to _end of the story, 'And they all\n         stopped running_.'\n\nAfter the re-telling of these parts, each part should be filled in\nwith the exact details so that in the final re-telling practically the\nwhole tale is reproduced. This is a very good tale to tell by this\nmethod because the theme is attractive, the plot is simple, the\nsequence a very evident movement, the characters distinctive, the\nsetting pleasing and rather prominent, and the details sufficiently\nfew and separate to be grasped completely. The final re-telling\ntherefore may be accomplished readily as a perfected result of this\nmethod of telling a tale.\n\nDuring the telling, the charm here is in preserving the typical bits\nof dialogue, giving to the Lion's words that force and strength and\nsagacity which rank him the King of the Beasts. One must feel clearly\nthe message and make this message enter into every part of the\ntelling: That the Lion showed his superior wisdom by making a stand\nand asking for facts, by accepting only what he tested; while the\nRabbit showed his credulity by foolishly accepting what he heard\nwithout testing it.\n\nAdaptation of the fairy tale. Sometimes, in telling a story one cannot\ntell it exactly as it is. This may be the case when the story is too\nlong for a purpose, or if it contains matter which had better be\nomitted, or if it needs to be amplified. In any case one must follow\nthese general rules:--\n\n     (1) Preserve the essential story from a single point of view.\n\n     (2) Preserve a clear sequence with a distinct climax.\n\n     (3) Preserve a simplicity of plot and simple language.\n\nIn shortening a long story one may:\n\n     (1) Eliminate secondary themes.\n\n     (2) Eliminate extra personages.\n\n     (3) Eliminate passages of description.\n\n     (4) Eliminate irrelevant events.\n\nIt has been the practice to adapt such stories as Andersen's _Ugly\nDuckling_ and Ruskin's _King of the Golden River_. In the _King of the\nGolden River_ the description of Treasure Valley could be condensed\ninto a few sentences and the character of South West Wind omitted; and\nin _The Ugly Duckling_, passages of description and bits of philosophy\nmight be left out. But there is no reason why literature in the\nelementary school should be treated with mutilation. These stories are\nnot suited to the kindergarten or first grade and may be reserved for\nthe third and fourth grades where they may be used and enjoyed by the\nchildren as they are. Andersen's _Thumbelina_ might be adapted for\nkindergarten children because it is suitable for them yet it is very\nlong. It could easily be analyzed into its leading episodes, each\nepisode making a complete tale, and one or more episodes be told at\none time. This would have the added attraction for the child of having\none day's story follow naturally the preceding story. Adapted thus,\nthe episodes would be:--\n\n     (1) Thumbelina in her Cradle.\n\n     (2) Thumbelina and the Toad.\n\n     (3) Thumbelina and the Fishes.\n\n     (4) Thumbelina and the Cockchafer in the tree.\n\n     (5) Thumbelina and the Field-Mouse.\n\n     (6) Thumbelina and the Mole.\n\n     (7) Thumbelina and the Swallow.\n\n     (8) Thumbelina as Queen of the Flowers.\n\nAndersen's _Snow Man_ as adapted for the kindergarten would require\nthe episode of the lover omitted. It is irrelevant, not essential to\nthe story, and is an illustration of the sentimental, which must be\nomitted when we use Andersen. To omit this episode one would cut out\nfrom \"'That is wonderfully beautiful,' said a young girl,\" to the end\nof \"'Why, they belong to the Master,' retorted the Yard Dog.\"\n\n\n\n\nIII. THE RETURN FROM THE CHILD[2]\n\n\nThe telling of the fairy tale is one phase of the teacher's art. And\nit is maintained that fairy tales are one portion of subject-matter\nsuited to accomplish the highest greatness of the teaching art. For\nteaching is an art, an art of giving suggestions, of bearing\ninfluences, of securing adjustments, an art of knowing the best and of\nmaking it known. The material the artist works upon is the living\nchild. The medium the artist uses is subject-matter. In the process\nthe artist must ask, \"What new connections or associations am I\nestablishing in the child?\" \"To what power of curiosity and of\nproblem-solving do these connections and associations lead?\" The ideal\nwhich guides the teacher is the child's best self as she can interpret\nhim. This ideal will be higher and larger than the child himself can\nknow. In the manipulation of subject-matter, through the practical\napplication of principles, the artist aims to have the child awake,\ninquire, plan, and act, so that under her influences he grows by what\nhe thinks, by what he feels, by what he chooses, and by what he\nachieves.\n\nTeaching will be good art when the child's growth is a perfect fit to\nthe uses of his life, when subject-matter brings to him influences he\nneeds and can use. Teaching will be good art when it breaks up old\nhabits, starts new ones, strengthens good traits, and weakens bad\nones; when it gives a new attitude of cheerfulness in life or of\nthoughtfulness for others or of reason in all things. It will be good\nart when under it the child wants to do something and learns _how_ to\ndo it. Teaching will be great art when under it the child continually\nattains self-activity, self-development, and self-consciousness, when\nhe continually grows so that he may finally contribute his utmost\nportion to the highest evolution of the race. Teaching will be great\nart when it touches the emotions of the child,--when history calls\nforth a warm indignation against wrong, when mathematics strengthens a\nnoble love of truth or literature creates a strong satisfaction in\njustice. This is the poetry of teaching, because mere subject-matter\nbecomes a criticism of life. Teaching will be great art when you, the\nteacher, through the humble means of your presentation of\nsubject-matter, furnish the child at the same time with ideas,\nperceptions, and opinions which are your personal criticism of life.\nTeaching will be great art when you, the teacher, have worked up into\nyour own character a portion of life which is of value, so that the\nchild coming in touch with you knows an influence more powerful than\nanything you can do or say. Teaching will then awaken in the child a\nsocial relation of abiding confidence, of secure trust, of faith\nunshakable. And this relation will then create for the teacher the\nobligation to keep this trust inviolable, to practice daily, _noblesse\noblige_. Teaching will be great art when with the subject-matter the\nartist gives love, a great universal kindness that thinks not of\nitself but, being no respecter of persons, looks upon each child in\nthe light of that child's own best realization. This penetrating\nsympathy, this great understanding, will call forth from the child an\nanswering love, which grows daily into a larger humanity of soul until\nthe child, in time too, comes to have a universal sympathy. This is\nthe true greatness of teaching. This it is which brings the child into\nharmony with the Divine love which speaks in all God's handiwork and\nbrings him into that unity with God which is the mystery of Froebel's\nteaching.\n\nDuring the story-telling one must ask, \"In all this what is the part\nthe child has to play?\" In the telling the teacher has aimed to give\nwhat there is in the tale. The child's part is to receive what there\nis in the tale, the emotion, the imagination, the truth, and the form\nembodied in the tale. The content of feeling, of portrayal, of truth,\nand of language he receives, he will in some way transmit before the\nschool day is ended, even if in forms obscure and hidden. Long years\nafterwards, he may exhibit this same emotion, imagination, truth and\nform, in deeds that proclaim loudly the return from his fairy tales.\nHowever, if the child is being surrounded by pragmatic influences\nthrough his teachers he will soon become aware that his feelings are\nuseless unless he does something because of them; that what he sees is\nworthless unless he sees to some purpose; that it is somewhat\nfruitless to know the truth and not use it; and if words have in their\nform expressed the life of the tale, he is more dead than words not to\nexpress the life that teems within his own soul. The little child\ngrows gradually into the responsibility for action, for expression,\ninto a consciousness of purpose and a knowledge of his own problems.\nBut each opportunity he is given to announce his own initiative breaks\ndown the inhibition of inaction and aids him to become a free\nachieving spirit. As the child listens to the tale he is a thinking\nhuman creature; but in the return which he makes to his tale he\nbecomes a quickened creator. The use which he makes of the ideas he\nhas gained through his fairy tales, will be the work of his creative\nimagination.\n\nFairy tales, though perfectly ordinary subject-matter, may become the\nmeans of the greatest end in education, the development in the child\nof the power of consciousness. The special appeal to the various\npowers and capacities of the child mind, such as emotion, imagination,\nmemory, and reason, here have been viewed separately. But in life\naction the mind is a unit. Thinking is therefore best developed\nthrough subject-matter which focuses the various powers of the child.\nThe one element which makes the child manipulate his emotion,\nimagination, memory, and reason, is the presence of a problem. The\nproblem is the best chance for the child to secure the adjustment of\nmeans to ends. This adjustment of means to ends in a problem\nsituation, is real thinking and is the use of the highest power of\nwhich man is capable, that of functional consciousness. The real need\nof doing things is the best element essential to the problem. Through\na problem which expresses such a genuine need, to learn to know\nhimself, to realize his capacities and his limitations, and to secure\nfor himself the evolution of his own character until it adapts, not\nitself to its environment, but its environment to its own uses and\nmasters circumstances for its own purposes--this is the high hill to\nwhich education must look, \"from which cometh its strength.\" The\nlittle child, in listening to a fairy tale, in seeing in it a problem\nof real need, and in working it out, may win some of this strength. We\nhave previously seen that fairy tales, because of their universal\nelements, are subject-matter rich in possible problems.\n\nDuring the story-telling what is the part the child has to play? The\npart of the child in all this may be to listen to the story because he\nhas some problem of his own to work out through the literature,\nbecause he has some purpose of his own in listening, because he enjoys\nthe story and wishes to find out what there is in it, or because he\nexpects it to show him what he may afterwards wish to do with it. In\nany case the child's part is to see the characters and what they do,\nto follow the sequence of the tale, and to realize the life of the\nstory through the telling. He may have something to say about the\nstory at the close of the telling, he may wish to compare its motifs\nwith similar motifs in other tales, or he may wish to talk about the\nlife exhibited by the story. The various studies of the curriculum\nevery day are following more closely the Greek ideal and giving the\nchild daily exercise to keep the channels of expression free and open.\nAnd when the well-selected fairy tale which is art is told, through\nimitation and invention it awakens in the child the art-impulse and\ntends to carry him from appreciation to expression. If before the\ntelling the story-teller has asked herself, \"What variety of creative\nreaction will this tale arouse in the child?\" and if she has told the\nstory in the way to bring forward the best possibility for creative\nreaction the nature of the tale affords, she will help to make clear\nto the child what he himself will want to do with the story. She will\nhelp him to see a way to use the story to enter into his everyday\nlife. The return of creative reaction possible to the child will be\nthat in harmony with his natural instincts or large general interests.\nThese instincts, as indicated by Professor John Dewey, in _The School\nand Society_, are:--\n\n     (1) the instinct of conversation or communication;\n\n     (2) the instinct of inquiry or finding out things;\n\n     (3) the instinct of construction or making things; and\n\n     (4) the instinct of artistic expression or [of imitating and\n         combining things].\n\n(1) The instinct of conversation. The little child likes to talk. If\nyou have ever listened to a little girl of five artlessly proceeding\nto tell a story, such as _Little Black Sambo_, which she had gathered\nfrom looking at a neighbor's book, but which she had not yet mastered\nsufficiently to grasp its central theme, reiterating the particular\nincidents with the enthusiasm and joy and narrative tone of the\nstory-teller, you realized how the child likes to talk. For there\nappeared the charm of the story-telling mode distinct from the story\nit told.\n\nBecause of this instinct of conversation one form of creative reaction\nmay be _language expression_. The oral reproduction of the story\nre-experiences the story anew. The teacher may help here by creating a\nsituation for the re-telling. A teacher might put a little foreign boy\nthrough rapid paces in learning English by selecting a story like _The\nSparrow and the Crow_ and by managing that in the re-telling the\nlittle foreigner would be the Crow who makes the repetitive speeches,\nwho must go to the Pond and say:--\n\n     Your name, sir, is Pond\n     And my name is Crow,\n     Please give me some water,\n     For if you do so\n     I can wash and be neat,\n     And the nice soup can eat,\n     Though I really don't know\n     What the sparrow can mean,\n     I'm quite sure, as crows go,\n     I'm remarkably clean.\n\nAs the Crow must go to the Deer, the Cow, the Grass, and the\nBlacksmith, and each time varies the beginning of his speech, four\nother children could represent the Crow successively, thus bringing in\na social element which would relieve any one child's timidity. By that\ntime any group of children would realize the fun they could get by\nplaying out the simple tale; and there would be petitions to be the\nDeer, the Cow, etc. If the teacher sees that the characters place\nthemselves as they should, carry out the parts naturally, and that the\nCrow begs with the correct rhyme, she is performing her legitimate\ntask of suggestion and criticism that works toward developing from the\nfirst attempts of children, a good form in harmony with the story.\nHere, while there is free play, the emphasis is on the speeches of\nrhyme, so that the reaction is largely a language expression. The\nlanguage expression is intimately related to all varieties of\nexpression of which the child is capable, and may be made to dominate\nand use any of them, or be subordinated to them.\n\nA most delightful form of creative reaction possible to the child in\nlanguage expression, is the _formation of original little stories_\nsimilar to the \"Toy Stories\" written by Carolyn Bailey for the\n_Kindergarten Review_ during 1915. A story similar to \"The Little\nWoolly Dog\" might be originated by the little child about any one of\nhis toys. This would be related to his work with fairy tales because\nin such a story the child would be imitating his accumulative tales;\nand the adventures given the toy would be patterned after the familiar\nadventures of his tales.\n\nA form of creative reaction, which will be a part of the language\nreturn given by the first-grade child from the telling of the tale,\nwill be his _reading of the tale_. When the child re-experiences the\nlife of the story as has been described, his mental realization of it\nwill be re-creative, and his reading the tale aloud afterwards will be\njust as much a form of re-creative activity as his re-telling of the\ntale. The only difference is, that in one case the re-creative\nactivity is exercised by thinking through symbols, while in the other\ncase it is employed without the use of a book. This concentration on\nthe reality brings about the proper relation of reading to literature.\nIt frees literature from the slavery to reading which it has been made\nto serve, yet it makes literature contribute more effectively toward\ngood reading than it has done in the past.\n\n(2) The instinct of inquiry. No more predominating trait proclaims\nitself in the child than the instinct of inquiry. Every grown-up\nrealizes his habit of asking questions, which trait Kipling has\nidealized delightfully in _The Elephant's Child_. We know also that\nthe folk-tale in its earliest beginnings was the result of primitive\nman's curiosity toward the actual physical world about him, its sun\nand sky, its mountain and its sea. The folk-tale therefore is the\nliving embodiment of the child's instinct of inquiry permanently\nrecorded in the adventures and surprises of the folk-tale characters.\nAnd because the folk-tale is so pervaded with this quest of the ages\nin search of truth, and because the child by nature is so deeply\nimitative, the folk-tale inherently possesses an educational value to\nstir and feed original impulses of investigation and experiment. This\nis a value which is above and beyond its more apparent uses.\n\nIn the creative reaction to be expected from the child's use of fairy\ntales the expression of this instinct of investigation unites with the\ninstinct of conversation, the instinct of construction, and the\ninstinct of artistic expression. In fact, it is the essence of\ncreative reaction in any form, whether in the domain of the Industrial\nShop, the Domestic Science Kitchen, the Household Arts' Sewing-Room,\nor the Fine Arts' Studio. To do things and then see what happens, is\nboth the expression of this instinct and the basis of any creative\nreturn the child makes through his handling of the fairy tale. In the\nformation of a little play such as is given on page 149, the instinct\nof conversation is expressed in the talk of the Trees to the little\nBird. But this talk of the Trees also expresses _doing things to see\nwhat happens_; each happening to the Bird, each reply of a Tree to the\nBird, influences each successive doing of the Bird. After the Story of\n_Medio Pollito_ all the child's efforts of making Little Half-Chick\ninto a weathervane and of fixing the directions to his upright shaft,\nwill be expressions of the search for the unknown, of the instinct of\nexperiment. After the story of _The Little Elves_, the dance of the\nElves to the accompaniment of music will represent an expression of\nthe artistic instinct; but it also represents expression of the\ninstinct for the new and the untried. After the dance is finished the\nchild has seen himself do something he had not done before. This union\nof the instinct of inquiry with that of artistic expression shows\nitself most completely in the entire dramatization of a fairy tale.\n\n(3) The instinct of construction. In his industrial work the very\nyoungest child is daily exercising his active tendency to make\nthings. In the kindergarten he may make the toy with which he plays,\nthe doll-house and its furnishings, small clay dishes, etc. In\nthe first grade he may make small toy animals, baskets, paper hats,\ncard-board doll-furniture, little houses, book-covers, toys, etc.\nSelf-expression, self-activity, and constructive activity would all\nbe utilized, and the work would have more meaning to the child, if it\n_expressed some idea_, if after the story of _Three Bears_ the child\nwould make the Bears' kitchen, the table of wood, and the three\nporridge bowls of clay, or the Bears' hall with the three chairs. In\nthe Grimm tale, _Sweet Rice Porridge_, after the story has been told\nand before the re-telling, children would like to make a clay\nporridge-pot, which could be there before them in the re-telling.\nPerhaps they would make the rice porridge also, and put some in the\npot, for little children are very fond of making things to eat, and\ndomestic science has descended even into the kindergarten. After the\nstory of _Chanticleer and Partlet_, children would enjoy making a\nlittle wagon and harnessing to it a Duck, and putting in it the Cock\nand the Hen, little animals they have made. In the first grade, after\nthe story of _Sleeping Beauty_, children would naturally take great\npleasure in making things needed to play the story: the paper silver\nand gold crowns of the maids and Princess and the Prince's sword.\nAfter the story of _Medio Pollito_, we have noted with what special\ninterest children might make a weathervane, with Little Half-Chick\nupon it!\n\n(4) The instinct of artistic expression. This is the instinct of\ndrawing, painting, paper-cutting, and crayon-sketching, the instinct\nof song, rhythm, dance, and game, of free play and dramatization.\n\n(a) One form of artistic creative reaction will be _the cutting of\nfree silhouette pictures_. The child should attempt this with the\nsimplest of the stories which are suited for drawing, painting, or\ncrayon-sketching. He loves to represent the animals he sees every day;\nand the art work should direct this impulse and show him how to do it\nso that he may draw or cut out a dog, a cat, a sheep, or a goat; or\nsimple objects, as a broom, a barrel, a box, a table, and a chair.\n_The Bremen Town_ _Musicians_, while offering a fine opportunity for\ndramatization, also might stimulate the child to cut out the\nsilhouettes of the Donkey, the Dog, the Cat, and the Cock, to draw the\nwindow of the cottage and to place the animals one on top of another,\nlooking in the window. The beautiful picture-books illustrating his\nfairy tales, which the child may see, will give him many ideas of\ndrawing and sketching, and help him to arrange his silhouettes. A\nrecent primer, _The Pantomime Primer_, will give the child new ideas\nin silhouettes. Recent articles in the _Kindergarten Review_ will give\nthe teacher many helpful suggestions along the line of expression. In\nthe May number, 1915, in _Illustrated Stories_, the story of \"Ludwig\nand Marleen,\" by Jane Hoxie, is shown as a child might illustrate it\nwith paper-cutting.--A class of children were seen very pleasantly\nintent on cutting out of paper a basket filled with lovely tinted\nflowers. But how attractive that same work would have become if the\nbasket had been Red Riding Hood's basket and they were being helped by\nan art-teacher to show peeping out of her basket the cake and pot of\nbutter, with the nosegay tucked in one end. A very practical problem\nin paper-cutting would arise in any room when children desire to make\na frieze to decorate the front wall. _The Old Woman and her Pig, The\nCountry Mouse and the City Mouse, The Little Red Hen, The Story of\nThree Pigs, The Story of Three Bears_, and _Little Top-Knot_, would be\nadmirably adapted for simple work.\n\n(b) _The Straw, the Coal, and the Bean_ is most likely to stir the\nchild's impulse to _draw_. Leslie Brooke's illustration in _The House\nin the Wood_ might aid a child who wanted to put some fun into his\nrepresentation. _Birdie and Lena_ or _Fundevogel_, is a story that\nnaturally would seek illustration. Three _crayon-sketches_, one of a\nrosebush and a rose, a second of a church and a steeple, and a third\nof a pond and a duck, would be enough to suggest the tale.\n\n(c) The Story of _The Wolf and Seven Kids_, if told with the proper\nemphasis on the climax of triumph and conclusion of joy, would lead\nthe child to react with a _water-color sketch_ of the dance of the\nGoat and her Kids about the well. For here you have all the elements\nneeded for a simple picture--the sky, the full moon, the hill-top, the\nwell, and the animals dancing in a ring. After finishing their\nsketches the children would enjoy comparing them with the illustration\nof _Der Wolf und die Sieben Geislein_ in _Das Deutsche Bilderb\u00fcch_,\nand perhaps they might try making a second sketch. This same tale\nwould afford the children a chance to compose a simple tune and a\nsimple song, such as the well-taught kindergarten child to-day knows.\nSuch are songs which express a single theme and a single mood; as,\n_The Muffin Man_ and _To the Great Brown House_; or _There was a Small\nBoy with a Toot_ and _Dapple Gray_ in _St. Nicholas Songs_. In this\ntale of _The Wolf and Seven Kids_, the conclusion impresses a single\nmood of joy and the single theme of freedom because the Wolf is dead.\nThe child could produce a very simple song of perhaps two lines, such\nas,--\n\n     Let's sing and dance! Hurrah, hurrah!\n     The Wolf is dead! Hurrah!\n\n(d) It is a little difficult to get down to the simplicity of the\nlittle girl who will play her own tune upon the piano and sing to it\njust the number of the house in which she lives, repeating it again\nand again. But the child can _compose little songs_ that will please\nhim, and he can use, too, in connection with the tales, some of the\nsongs that he knows. The first-grade child could work into _Snow White\nand Rose Red_, \"Good morrow, little rosebush,\" and into _Little\nTwo-Eyes_ a lullaby such as \"Sleep, baby, sleep.\" Later in _Hansel and\nGrethel_ he may learn some of the simple songs that have been written\nfor Hansel and Grethel to sing to the birds when they spend the night\nin the wood. In _Snow White_ he may learn some of the songs written\nfor the children's play, _Snow White_. In connection with music, the\nkindergarten child learns to imitate the sounds of animals, the sound\nof bells, whistles, the wind, etc. All this will cause him to react,\nso that when these occur in his stories he will want to make them.\n\n(e) One of the forms of creative reaction possible to the child as a\nvariety of expression, which has received attention most recently, has\nbeen handled by Miss Caroline Crawford in _Rhythm Plays of Childhood_;\nand by Miss Carol Oppenheimer in \"Suggestions Concerning Rhythm\nPlays,\" in the _Kindergarten Review_, April and May, 1915. Here again\nthe fairy tales cannot be excelled in abundant situations for rhythm\nplays. The sea, the wind, the clouds, the sun, the moon, the\nstars--all nature is rich in suggestion of rhythms. The social\nsituations furnish the rhythm of simple housekeeping tasks. In _Snow\nWhite and Rose Red_ there are the rhythms of fishing and of chasing\nanimals. In _The Elves_ we have the rhythm of shoe-making and in _The\nStraw Ox_, the rhythm of spinning. The story of _Thumbelina_, after\nits eight episodes have been re-told by the children, might very\nattractively be re-told in eight rhythms, each rhythm expressing a\nsingle episode. And for the oldest children, a union of the oral\nre-telling by individual children with the retelling in rhythms by all\nthe children, would give much pleasure and social exhilaration.\nThumbelina in her Cradle, Thumbelina and the Toad, Thumbelina and the\nSwallow and Thumbelina as Queen of the Flowers--these at once suggest\na cradle rhythm, a toad rhythm, the flight of birds, and a butterfly\ndance. Because the rhythm is a lyric form it must be remembered that\nthe part of a story suited to a rhythm play is always a part\ncharacterized by a distinct emotional element. In the performance of\nrhythm plays the point is to secure the adjustment of music, motion,\nand idea.\n\n(f) Many of the fairy tales might arouse in the child a desire _to\noriginate a game_, especially if he were accustomed to originate games\nin the regular game work. A modification of the game of tag might grow\nfrom _Red Riding Hood_ and a pleasant ring game easily might develop\nfrom _Sleeping Beauty_. In fact there is a traditional English game\ncalled \"Sleeping Beauty.\" An informal ring game which would be\nsomewhat of a joke, and would have the virtue of developing attention,\nmight grow from _The Tin Soldier_. The Tin Soldier stands in the\ncenter while the circle is formed of Jack-in-the-boxes, with lids\nclosed. The Tin Soldier turns round and round slowly, and when he\nstops looks steadily at a certain Jack-in-the-box, whereupon the Jack\nmust bob up and retort, \"Keep your eyes to yourself, Tin Soldier!\" The\nJack and Soldier then change places. Any Jack failing to open when\nlooked at forfeits his place in the ring. Some games derived from\nfolk-tales were given in the _Delineator_, November, 1914. These could\nnot be used by the youngest without adaptation; they suggest a form of\nfun that so far as I know has been undeveloped.\n\n(g) The artistic creative return of the child may sometimes take the\nform of _objectification or representation_. _The Steadfast Tin\nSoldier_ is a model of the literary fairy tale which gives a stimulus\nto the child to represent his fairy tale objectively. As\nstraightforward narrative it ranks high. Its very first clause is the\nchild's point of view: \"There were five and twenty tin soldiers\"; for\nthe child counts his soldiers. Certainly the theme is unique and the\nimages clear-cut.\n\nIt makes one total impression and it has one emotional tone to which\neverything is made to contribute. Its message of courage and its\nphilosophy of life, which have been mentioned previously, are not so\ninsignificant even if the story does savor of the sentimental. Its\nstructure is one single line of sequence, from the time this marvelous\nsoldier was stood up on the table, until he, like many another toy,\nwas thrown into the fire. The vivid language used gives vitality to\nthe story, the words suit the ideas, and often the words recall a\npicture or suggestion; as, \"The Soldier _fell headlong,\"_ \"_trod_,\"\n\"came down in _torrents_,\" \"boat _bobbed_,\" \"_spun_ round,\" \"_clasped_\nhis gun,\" \"boat _shot_ along,\" \"_blinked_ his eyes,\" etc. The method\nof suggestion by which an object is described through its effect on\nsome one else, produces a very pleasing result here. You see the\nsteadfast look of the Tin Soldier's eyes when the Jack-in-the-box\nsays, \"Keep your eyes to yourself, Tin Soldier!\" The position of the\nSoldier in the street is given through the exclamation of the little\nboys who see him--\"Look! there lies a Tin Soldier, let us give him a\nsail in the gutter!\"\n\nThe setting in this story is a table in a sitting-room and the\nplaythings on the table. The characters are two playthings. After the\nfirst telling of this story the child naturally would like to\nrepresent it. The story has made his playthings come alive and so he\nwould like to make them appear also. This is a tale in which\nrepresentation, after the first telling, will give to the child much\npleasure and will give him a chance to do something with it\ncooperatively. He can reproduce the setting of this tale upon a table\nin a schoolroom. Each child could decide what is needed to represent\nthe story and offer what he can. One child could make the yard outside\nthe castle of green blotting-paper. Another child could furnish a\nmirror for the lake, another two toy green trees, one two wax swans,\none a box of tin soldiers, another a jack-in-the-box, while the girls\nmight dress a paper doll for a tinsel maid. The teacher, instructed by\nthe class, might make a castle of heavy gray cardboard, fastening it\ntogether with heavy brass paper-fasteners and cutting out the door,\nwindows, and tower. It is natural for children to handle playthings;\nand when a story like this is furnished the teacher should not be too\nwork-a-day to enter into its play-spirit. After the representation\nobjectively, the re-telling of the tale might be enjoyed. The child\nwho likes to draw might tell this story also in a number of little\nsketches: _The Jack-in-the-box, The Window, The Boat, The Rat, The\nFish_, and _The Fire_. Or a very simple little dramatic dance and song\nmight be invented, characterized by a single mood and a single form of\nmotion, something like this, sung to the tune of \"Here we go round the\nmulberry bush, etc\":--\n\n     Here we come marching, soldiers tin, soldiers tin, soldiers tin,\n     Here we come marching, soldiers tin,\n     On one leg steady we stand.\n                                  (Circle march on one leg).\n\nThis could easily be concluded with a game if the child who first was\ncompelled to march on two legs had to pay some penalty, stand in the\ncenter of the ring, or march at the end of the line.\n\n(h) Creative reaction as a result of listening to the telling of fairy\ntales, appears in its most varied form of artistic expression in _free\nplay and dramatization_. It is here that the child finds a need for\nthe expression of all his skill in song and dance, construction,\nlanguage, and art, for here he finds a use for these things.\n\nIn free play the child represents the characters and acts out the\nstory. His desire to play will lead to a keenness of attention to the\nstory-telling, which is the best aid to re-experiencing, and the play\nwill react upon his mind and give greater power to visualize. Nothing\nis better for the child than the freedom and initiative used in\ndramatization, and nothing gives more self-reliance and poise than to\nact, to do something.--We must remember that in the history of the\nchild's literature it was education that freed his spirit from the\ndeadening weight of didacticism in the days of the _New England\nPrimer_. And we must now have a care that education never may become\nguilty of crushing the spirit of his freedom, spontaneity, and\nimagination, by a dead formalism in its teaching method.--The play\ndevelops the voice, and it gives freedom and grace to bodily\nmovements. It fixes in the child mind the details of the story and\nimpresses effectively many a good piece of literature; it combines\nintellectual, emotional, artistic, and physical action. The simplest\nkindergarten plays, such as _The Farmer, The Blacksmith_, and _Little\nTravelers_, naturally lead into playing a story such as _The Sheep and\nthe Pig_ or _The Gingerbread Man_. _The Mouse that Lost Her Tail_ and\n_The Old Woman and Her Pig_ are delightful simple plays given in\n_Chain Stories and Playlets_ by Mara Chadwick and E. Gray Freeman,\nsuited to the kindergarten to play or the first grade to read and\nplay. Working out a complete dramatization of a folk-tale such as\n_Sleeping Beauty_, in the first grade, and having the children come\ninto the kindergarten and there play it for them, will be a great\nincentive toward catching the spirit of imaginatively entering into a\nsituation which you are not. This is the essential for dramatization.\n_Johnny Cake_ is a good tale to be played in the kindergarten because\nit uses a great number of children. As the kindergarten room generally\nis large, it enables the children who represent the man, the woman,\nthe little boy, etc., to station themselves at some distance.\n\nThere are some dangers in dramatization which are to be avoided:--\n\n(1) _Dramatization often is in very poor form_. The result is not the\nimportant thing, but the process. And sometimes teachers have\nunderstood this to mean, \"Hands off!\" and left the children to their\ncrude impulses, unaided and unimproved. When the child shows _what_ he\nis trying to do the teacher may show him _how_ he can do what he wants\nto do. By suggestion and criticism she may get him to improve his\nfirst effort, provided she permits him to be absolutely free when he\nacts.--The place of this absolute freedom in the child's growth has\nbeen emblazoned to the kindergarten by the Montessori System.--Also by\nparticipating in the play as one of the characters, the teacher may\nhelp to a better form. Literature will be less distorted by\ndramatization when teachers are better trained to see the\npossibilities of the material, when through training they appreciate\nthe tale as one of the higher forms of literature, and respect it\naccordingly. Also it will be less distorted by dramatization when the\ntales selected for use are those containing the little child's\ninterests, when he will have something to express which he really\nknows about. Moreover, as children gain greater skill in expression in\nconstruction, in the game, in song, in dance, and in speech, the parts\nthese contribute to the play will show a more perfected form. Each\nexpression by the child grows new impressions, gives him new sensory\nexperiences. Perhaps if the high school would realize the\npossibilities in a fairy tale such as _Beauty and the Beast_, work it\nup into really good artistic form, and play it for the little\nchildren, much would be gained not only towards good form in\ndramatics, in both the elementary school and the high school, but\ntowards unifying the entire course of literature from the kindergarten\nto the university. Using Crane's picture-book as a help, they might\nbring into the play the beauty of costume and scenery, the\ncourt-jester, and Beauty's pages. Into the Rose-Garden they might\nbring a dance of Moon Fairies, Dawn Fairies, Noon, and Night who, in\ntheir symbolic gauzy attire, dance to persuade Beauty to remain in the\nBeast's castle. There might be singing fairies who decorate the bushes\nwith fairy roses, and others who set the table with fairy dishes,\nsinging as they work:--\n\n     See the trees with roses gay.\n     Fairy roses, fairy roses, etc.\n\nElves and Goblins might surround the Beast when dying. The change of\nscene from the simple home of Beauty to the rich castle of the Beast,\nand the change of costume, would furnish ample opportunity for\noriginal artistic work from older students. For the little child it is\ngood to see the familiar dignified with art and beauty; and for the\nolder student the imagination works more freely when dealing with\nrather simple and familiar elements such as the folk-tale offers.\n_Cinderella_, like _Beauty and the Beast_, offers abundant opportunity\nto the high school student for a play or pantomime which it would be\ngood for the little people to see. The stately minuet and folk-dances\nof different peoples may be worked into the ball-scene. And here, too,\nthe beautiful picture-books will suggest features of costume and\nscenery.\n\n(2) _Dramatization may develop boldness in a child_. The tendency is to\nuse children with good dramatic ability continually for leading parts,\neven when the children choose the parts. This fault may be\ncounteracted by distinguishing between work for growth and one or two\nrather carefully prepared plays to be given on special occasions. It\nis also counteracted by looking well to the social aspect of the play,\nby introducing features such as the song, dance, or game, where all\nhave a part, or by adding attractive touches to less important parts,\nso that while a character may still be leading it will have no reason\nto feel over-important. This danger is not prominent until after the\nfirst grade.\n\n(3) _Dramatization may spoil some selections_. Beautiful descriptions\nwhich make a tale poetic are not to be represented, and without them a\ntale is cheapened. Such is the case with _The King of the Golden\nRiver_ and _The Ugly Duckling_. Care should be exercised to choose for\ndramatization only what is essentially dramatic and what is of a grade\nsuited to the child. Tales suited to the little child are largely\nsuited for dramatization.\n\n(4) _Dramatization has omitted to preserve a sequence in the\nselections used from year to year_. A sequence in dramatization will\nfollow naturally as the tales offered from year to year show a\nsequence in the variety of interests they present and the\nopportunities for growth and activity they offer. Plays most suited to\nthe kindergarten are those which do not require a complete re-telling\nof the story in the acting, so that the child need not say so much.\nSuch are stories like _The Old Woman and Her Pig, Henny Penny, The\nFoolish Timid Rabbit, Little Tuppen, Three Billy-Goats_, _Johnny\nCake_, and _Billy Bobtail_. When the course of literature in the\nelementary school gets its content organized, the sequence of\ndramatization will take care of itself.\n\nDramatization has one rather unusual virtue:--\n\n(1) _Dramatization may be used to establish a good habit_. An indolent\nchild may be given the part of the industrious child in the play. At\nfirst the incongruity will amuse him, then it will support his\nself-respect or please his vanity, then it will prove to him the\npleasure of being industrious, and finally stimulate the desire to be\nthat which before he was not. It may build a habit and, if repeated,\nfortify one. This is the true \"Direct Moral Method.\" The so-called\n\"Direct Moral Method,\" advocated by Dr. Gould, an English educator,\nwhich in telling a story separates the moral from the tale to\nemphasize it and talk about it, leaves the child a passive listener\nwith only a chance to say \"Yes\" or \"No\" or a single word in answer to\nthe moral questions. It is unnatural because it directs the child's\nattention away from the situation, action, and people which interest\nhim. It does not parallel life in which morals are tied up with\nconduct. One must ask, \"According to this method what will the child\nrecall if his mind reverts to the story--courage, or the variety of\nimages from the number of short-stories told to impress the abstract\nmoral idea of courage?\" Dramatization like life represents character\nin the making and therefore helps to make character.\n\nIllustrations of creative return. Let us look now at a few tales\nillustrating the creative return possible to the child. _The Country\nMouse and the City Mouse_ is an animal tale that offers to the\nkindergarten child a chance to prove how intensely he enters into the\nsituation by the number of details he will improvise and put into his\ndramatization in representing life in the country and life in the\ncity. The good feast atmosphere in this tale pleases little children\nand suits it to their powers. It is a fine tale to _unite the language\nexpression and dramatization_. It is especially suited to call forth\nreaction from the child also in the form of _drawing or crayon\nsketching_. Here it is best for the child to attempt typical bits.\nComplete representation tires him and it is not the method of art,\nwhich is selective. The field of corn and two mice may be shown in the\ncountry scene; and a table with cheese, some plates filled with\ndainties, and two mice in the city scene. Here again this return\nrelates itself to the presentation of the tale as literature. For if\nthe story has been presented so as to make the characters, the plot,\nand the setting stand out, the child naturally will select these to\nportray in a sketch. In his expression the child will represent what\nhe chooses, but the teacher by selecting from among the results the\none which is of most value, leads him to a better result in a\nfollowing attempt. It is the _teacher's selection among the results of\nactivity_ that brings about development. Freedom with guidance is no\nless free, but it is freedom under that stimulation which helps the\nchild to make more of himself than he knew was possible.--The\nkindergarten would proclaim to the Montessori System the place of\n_guidance of freedom_ in the child's growth.\n\n_The Elves and the Shoemaker_ offers to a first grade a pleasing\nopportunity for the _fairy tale to unite with the dramatic game_. One\nchild may act as narrator, standing to tell the story from the\nbeginning to the end of the evening's conversation, \"I should like to\nsit up tonight and see who it is that makes the shoes.\" At this point,\nnoiselessly a dozen or more Elves may troop in, and seating themselves\nsing and act the first part of the _Dramatic Game of Little Elves_,\none form of which is given by Miss Crawford. After they have stitched,\nrapped, and tapped quickly, and the shoes are made, they depart\nhurriedly. The narrator now continues the story, telling how the\nShoemaker and his wife made little clothes for the Elves, ending with\nwhat happened on Christmas Eve, when they put the gay jackets and caps\non the table and hid in the corner to watch. At this point the Elves\ncome in a second time, donning their new clothes; and sing and dance\nthe second part of the dramatic game. As they dance out of sight the\nnarrator concludes the story. If the primary children made these\nclothes or if the kindergarten children bought them at Christmas time\nto give to the poor, the play[3] would take on a real human value.\n\n_Sleeping Beauty_, another tale suited to the first grade, is\nadmirably adapted for dramatization.--In all this work the children do\nthe planning but the teacher directs their impulses, criticizes their\nplans, and shows them what they have done. She leads them to see the\ntale in the correct acts and scenes, to put together what belongs\ntogether. _Sleeping Beauty_ naturally outlines itself into the ten\nmain incidents we have noted before. If the story has been presented\naccording to the standards given here, the children will see the story\nin those main incidents. In the dramatization they might work together\nnarration of the story and the dramatic game, _Dornr\u00f6schen_. A wide\ncircle of children might be the chorus while the players take their\nplaces in the center of the circle. The narrator, one of the circle,\nstands apart from it as he narrates. The version here used is the\nMcLoughlin one, illustrated by Johann and Leinweber.\n\n_Sleeping Beauty_\n\n     _Place: Castle_. King, Queen, and courtiers take their places\n     within the circle. The circle moves to waltz step, singing\n     stanza I, of the dramatic game:--\n\n     The Princess was so beautiful, beautiful, beautiful, etc.\n\n     At the conclusion of stanza I, the circle stops, the\n     narrator steps forth and tells the story to the end of the\n     words, \"one had to stay at home.\"\n\n     _Scene i. The Feast_. Twelve fairies enter, each presenting\n     her gift and making a speech. The wicked thirteenth comes in\n     and pronounces her curse, and the twelfth fairy softens it\n     to sleep. The King proclaims his decree, that all spindles\n     in the land be destroyed.\n\n     _Scene ii. The Attic_. Princess goes to the attic. Old lady\n     sits spinning. Princess pricks herself and falls asleep.\n     Narration begins with \"The King and Queen who had just come\n     in fell asleep,\" and ends with \"not a leaf rustled on the\n     trees around the castle.\" At the close of the narration, the\n     circle moves, singing stanza _5_ of the dramatic game:--\n\n          A great hedge grew up giant high, giant high, giant high,\n          etc.\n\n     _Scene ii. The Castle Grounds_. The Prince talks to an old\n     Man outside the castle. The Prince comes to the hedge, which\n     parts, and he enters. The Prince wakens the Princess and the\n     rest of the castle. The narrator then closes with \"By and by\n     the wedding of the Prince ... to the end of their lives they\n     lived happy and contented.\" The courtiers then form into\n     couples, and the circle, in couples, follow the courtiers.\n     The Prince and Princess lead in a slow waltz while all sing\n     stanza 10 of the dramatic game:\n\n          And all the people made merry then, merry then, merry then,\n          etc.\n\nHere we do not have complete dramatization, narration, or dramatic\ngame. Only three short parts are narrated, only three leading scenes\nare represented, and only three high points of narrative are depicted\nin the dramatic game. The music, which the specialist in physical\neducation can furnish, might be:--\n\n     Galloping...................... Wild Horseman.\n     Fairy Run...................... Chalef Book, p. 18.\n     Climbing to Tower.............. Chaly, p. 10.\n     Guy Walk Music.\n     Phyllis........................ Seymour Smith.\n     Bleking........................ Folk-Dance Book.\n\n\nIn connection with the _dramatic game_, there is only one tale in\nGrimm which contains a folk-game. This tale is somewhat incomplete as\nit stands in Grimm. It could become a tale suited for dramatization in\nthe first grade, beginning the play with the folk-game. An original,\namplified version of this tale, _The Little Lamb and the Little Fish_\nis given in the _Appendix_.\n\nAn original little play similar to one which the kindergarten children\ncould work out is given below. This play is based on the _pourquois_\ntale, _Why the Evergreen Trees Never Lose Their Leaves_.[4] It affords\nmuch play of originality because familiar trees may be used; and the\ntalk of the Trees to the Bird may have some relation to the\ncharacteristics of the Trees. It could be used by children of six,\nseven, or eight years of age. It could serve as a Christmas play\nbecause of its spirit of kindness. North Wind might wear a wig and the\nFrost King wear a crown and carry a wand. Little Bird could have\nwings, one of which is broken, or simply carry one arm sleeveless.\n\nThe play might open with a rhythmic flight of the birds to the music\nof \"The Swallow's Plight,\" in _Kindergarten Review_, May, 1915. The\nrhythm play of the birds would be especially pleasing because\ndifferent birds would be represented by different children. The play\nwould furnish a fine opportunity also for a rhythmic dance of the\nwind, which could form a distinct interlude later on in the play. In\nconnection with the wind the beautiful picture-book, _Windschen_, by\nElsa Beskow, might be referred to. Here the wind is personified as the\nplaymate of Hans Georg. Its refined art, lovely color, and imaginative\nillustration, would stimulate the child's artistic representation of\nthe wind.\n\n_The Bird and the Trees: A Play_\n\n     _Time_ . . . . Daytime, in late autumn.\n     _Place_  . . . The Forest.\n     _Characters_:  Poplar, Oak, Maple, Willow, Spruce, Pine,\n                    Juniper, the Bird, North Wind, and the Frost King.\n\n     _Trees of the forest_. \"See that great crowd of birds flying\n     away! They must be going South where the air is warm, and\n     where they can find berries to eat. There is one left\n     behind. Why, he is coming this way. What can he want?\"\n\n     _The Bird_. \"Oh, I can fly no farther! My wing hurts and I\n     cannot hold it up. I am tired and cold and hungry. I must\n     rest in this forest. Maybe some good kind tree will help me.\n     Dear friend Poplar, my wing is broken and my friends have\n     all gone South. Will you let me live in your branches until\n     they come back again?\"\n\n     _Poplar_. \"I am sorry but do you not see how my leaves are\n     all a-tremble at the thought of taking in a strange bird?\n     Ask some other tree!\"\n\n     _The Bird_. \"It might not be very warm there at any rate.\n     And the wind might blow me off the branches. I will try the\n     Oak, he is so big and mighty. Dear old Oak-tree, you are so\n     big and strong, will you let me rest in your branches\n     to-night among your thick warm leaves? I am a poor little\n     Bird with a broken wing and I cannot fly!\"\n\n     _Oak_. \"Oh, you must not ask me, little Bird, for all day\n     long my little friends, the squirrels, have been jumping\n     across my branches, gathering nuts and seeking holes to\n     store their acorns in. I have no room for a stranger.\"\n\n     _The Bird_. \"Ah! I did not think the Oak could be so cruel.\n     Perhaps Maple will help me, she always seemed kind like a\n     Mother. Dear, beautiful Maple, I am tired. May I rest among\n     your lovely red leaves until my broken wing is mended and my\n     friends come back to me?\"\n\n     _Maple_. \"Oh, no, I could not think of it! I have just\n     dressed my leaves all in red and you might spoil their\n     lovely clothes. Do go away. There are other trees in the\n     forest not so gay as I.\"\n\n     _The Bird_. \"What should I do? No one wants to help me. Can\n     I not find one kind tree? Dear kind Willow, your branches\n     bend almost to the ground. Could I live in them until the\n     spring-time?\"\n\n     _Willow_. \"Really, little Bird with the broken wing, you are\n     a stranger. You should have gone with the other birds. Maybe\n     some other tree can help you but we willows are particular.\"\n\n     _The Bird_. \"I do not know where to go and I'm so cold! I\n     wonder if the other birds have reached the beautiful warm\n     South.\"\n\n     _Spruce_. \"Little Bird, little Bird, where are you going?\"\n\n     _The Bird_. \"I do not know. I am very cold.\"\n\n     _Spruce_. \"Come, make a big hop and rest in this snug corner\n     of my branches. You can stay with me all winter if you\n     like.\"\n\n     _The Bird_. \"You are so good, dear Spruce-tree. Will you\n     really let me?\"\n\n     _Spruce_. \"If your friends the birds have left you, your\n     other friends, the trees, will surely help you. Ho,\n     Pine-tree, you would help a little Bird with a broken wing,\n     wouldn't you?\"\n\n     _Pine_. \"Oh, yes, dear Bird! My branches are not wide but I\n     am tall and thick, and I will keep the cold North Wind from\n     you.\"\n\n     _Juniper_. \"And maybe I can help. Are you hungry, little\n     Bird? You can eat my nice little berries whenever you like.\"\n\n     _The Bird_. \"Thank you, kind friends! I will go to sleep now\n     on this nice branch of the Spruce-tree, Good-night, dear\n     Trees.\"\n\n     _Spruce, Pine, and Juniper_. \"Good-night, little Bird.\"\n\n     _North Wind. \"Oo_,--_Oo_!--Now I must run in and out among\n     all the trees of the forest.--But who comes here?\"\n\n     _Frost King_. \"Stop, North Wind! I have just gone before\n     you, as King Winter said, and touched the trees of the\n     forest. But the trees that have been kind to the Bird with\n     the broken wing, those I did not touch. They shall keep\n     their leaves. Do not you harm them!\"\n\n     _North Wind_. \"Very well, King Frost. Good-bye!\n     _Oo_!--Oo!--\" (The Wind frolics among the Trees, bending\n     branches, careering wildly, shaking leaves.) \"Little\n     Spruce-tree, you have been kind to the Bird, I will not blow\n     on you! Dear Pine-tree, you are tall and keep the Bird warm,\n     I will not blow on you! Little Juniper, you gave the Bird\n     your berries, I will not blow on you!\"\n\n     _(The following morning_.)\n\n     _The Bird_. \"Good-morning, dear Spruce-tree, your branch was\n     warm and safe.--Why, what has happened to the other Trees?\n     Look at the big Oak and the lovely Maple and all the rest!\n     See how bare their branches are; and on the ground their\n     shining leaves lie in red and yellow and brown heaps! O, how\n     glad I am that your leaves have not fallen; they are bright\n     and green! And so are Pine-tree's and Juniper's. I will call\n     you my Evergreen Trees, and I will stay with you until the\n     Spring!\"\n\nThe English fairy tale, _The Magpie's Nest_, told by Joseph Jacobs,\nmight be dramatized by first-grade children. This tale might offer the\nproblem of observing how different birds make their nests and how they\nvary their calls. It also might offer the language problem of making\nsuitable rhymes. An original dramatization of the _pourquois_ tale is\ngiven in the _Appendix_.\n\nAndersen's _Fir Tree_ would offer a fine opportunity for a first grade\nat Christmas time. The fir tree has become vitally interesting through\nnature study at this time of the year. The children love to make\nthings to decorate a tree. They have a short list of stories they can\ntell by this time. All this can be utilized in a Christmas tree\nplay.--For the play use the original story, not a weakened version.--A\npleasant Christmas play could end most happily with the story-telling\nunder the tree. For the play an actual small fir tree may be in the\nroom placed so that it may be moved easily. A child standing closely\nbehind it may represent it and speak for it through its branches. The\nair and the sun, ordinarily not to be represented, in this case may\nbe, as they come up to the Tree and talk to it. Much freedom of\noriginality may be displayed through the children's entering into the\ncharacter of the Fir Tree and improvising speeches.\n\n_The Fir Tree_\n\n     _Time_.......Spring.\n     _Place_.......Forest.\n     _Characters_: Sun, Air, Hare, Woodmen, Swallow, Stork, Sparrows,\n       Children, Servants, and Fir Tree.\n\n     _Act I, Scene i_.\n          A Fir Tree in the forest.\n          Sun and Air talk to it.\n          Children sit under its branches.\n          A Hare comes and jumps over it.\n          Woodcutters come.\n          A Swallow comes and talks to it.\n          A Stork comes and talks to it.\n          Sparrows talk to it.\n\n          (Have the Tree removed. Apparently from a cart\n          outside the door, a larger Christmas Tree may be\n          brought in and planted in a sand-box by two\n          servants, students from grammar grades. The same\n          child now grown older, represents the Tree.)\n\n\n     _Act II, Scene i_. The Fir Tree brought into the room.\n          The decorating of the Tree by the Children and Teacher.\n          Talk of the Children about the Tree when decorating it.\n               Singing of Christmas carols; dancing of\n               folk-dances; or recitation of Christmas\n               poems, after the decoration of the Tree.\n\n          The distribution of gifts by the Children. An\n          audience to whom the Children wanted to give\n          presents, could be invited.\n\n          The Story-telling under the Tree.\n\nThe presence of visiting children would create an audience for the\nstory-telling. The selection of the story-teller and the story or\nstories might be the result of a previous story contest. The contest\nand the story-telling under the Tree would be ideal drill situations.\nThe entire play would serve as a fine unification of the child's work\nin nature, in construction, in physical education, in music, in\ncomposition, and in literature. Everything he does in the play will be\nfull of vital interest to him; and his daily tasks will seem of more\nworth to him when he sees how he can use them with so much pleasure to\nhimself and to others. This play is an example of the organizing of\nideas which a good tale may exercise in the mind of the child and the\npart the tale as an organized experience may play in his development.\n\nThe creative return desired by the teacher, as well as the choice of\ntales for particular purposes, will depend largely on the controlling\nideas in the program. It must be remembered that the child of to-day\nis not bookish nor especially literary; and he has increasing life\ninterests. In the ordinary school year, work naturally divides itself\ninto the main season festivals. While story work is here presented in\nits separate elements, any teacher realizes the possibility of making\nthe story work lead up to and culminate in the Thanksgiving,\nChristmas, Easter, or May Festival. Because the good story bears a\nclose relation to nature and to human life, any good course of stories\nwill offer to the teacher ample freedom of choice for any natural\nschool purpose. The good tale always gains by being placed in a\nsituation where it assists in carrying out a larger idea. When the\ntale is one unit of a festival program it appeals to the child as a\nunit in his everyday life, it becomes socially organized for him.\n\n\n\nREFERENCES:\n\n\nEnglish:\n\n     Baker, F.T.; Carpenter, G.; and Scott, F.N.: _The Teaching of\n       English_. Longmans.\n\n     Chubb, Percival: _The Teaching of English_. Macmillan.\n\nStory-Telling:\n\n     Bailey, Carolyn: _For the Story Teller_. Bradley.\n\n     Bryant, Sara C.: _How to Tell Stories to Children_. Houghton.\n\n     _Ibid.: Stories to Tell_. Houghton.\n\n     Buckland, Anna: _Use of Stories in the Kindergarten_. Steiger.\n\n     Coe, F.E.: _First Book of Stories for the Story-teller_.\n       Houghton.\n\n     Hotchkiss, Mary T.: \"Story-telling in the Kindergarten.\" _N.E.A.\n       Report_, 1893.\n\n     Keyes, Angela: _Stories and Story-Telling_. Appleton.\n\n     Lyman, Edna: _Story-Telling_. McClurg.\n\n     McMurry, Charles: _Special Method in Primary Reading_. Macmillan.\n\n     O'Grady, Alice (Moulton), and Throop, Frances: _The\n       Story-Teller's Book_. Rand.\n\n     Olcott, F.J.: \"Story-Telling as a Means of Teaching Literature.\"\n       _N.Y. Libraries_; vol. 4, pp. 38-43. Feb., 1914.\n\n     Olcott, Frances, and Pendleton, Amena: _The Jolly Book for Boys\n       and Girls_. Houghton.\n\n     Partridge, E.N., and Partridge, G.E.: _Story-Telling in School\n       and Home_. Sturgis.\n\n     St. John, Edward: _Stories and Story-Telling_. Westminster Press,\n       Phila.\n\n     Shedlock, Marie: _Art of the Story Teller_. Appleton.\n\n     Speare, Georgina: \"Story-Telling as an Art.\" _Kindergarten\n       Review_, Dec., 1913, to May, 1914.\n\n     The Storyteller's Company: _The Storyteller's Magazine_. New\n       York.\n\n\nThe Voice:\n\n     Corson, Hiram: _Voice and Spiritual Education_. Macmillan.\n\n     Curry, Samuel S.: _Foundations of Expression_. Expression Co.\n\n     _Ibid._: _Province of Expression_: Expression Co.\n\n     Rush, James: _The Philosophy of the Human Voice_. Lippincott.\n\n     Quintilian, Marcus F.: _Institutes of Oratory_. Macmillan.\n\n\nGesture and Phonetics:\n\n     Chamberlain, W.B., and Clark, S.H.: _Principles of Vocal\n       Expression_. Scott.\n\n     Jespersen, Otto: _Growth and Structure of the English Language_.\n       Stechert.\n\n     Jones, Daniel: _Pronunciation of English; Phonetics and Phonetic\n       Transcriptions_. Putnam.\n\n     _Ibid._: _Chart of English Speech Sounds_. Oxford.\n\n     Rippman, Walter: _Elements of Phonetics, English, French, and\n       German_. Dent.\n\n     _Ibid._: _The Sounds of Spoken English_. Dent.\n\n     Sweet, Henry: _Primer of Phonetics_. Oxford.\n\n\nThe Kindergarten:\n\n     Blow, Susan; Hill, Patty; and Harrison, Elizabeth: _The\n       Kindergarten_. Houghton.\n\n     Blow, Susan: \"The Kindergarten and the Primary Grade.\"\n       _Kindergarten Review_, June, 1915.\n\n     Crawford, Caroline: \"The Teaching of Dramatic Arts in the\n       Kindergarten and the Elementary School.\" _Teachers College\n       Record_, Sept., 1915.\n\n     McMurry, Frank M.: \"Principles Underlying the Making of School\n       Curricula.\" _Teachers College Record_, Sept., 1915.\n\n     Palmer, Luella: \"Montessori Suggestions for Kindergartners.\"\n       _Kindergarten Review_, Feb. 1915.\n\n     _Ibid_.: \"Problems vs. Subject Matter as a Basis for\n       Kindergarten Curriculum.\" _Kindergarten Review_, Nov., 1914.\n\n     Teachers College Record: \"Experimental Studies in Kindergarten\n       Education.\" _Teachers College Record_, Jan., 1914.\n\n     Thorndike, Edward L.: \"Foundations of Educational Achievement.\"\n       _N.E.A. Report_, 1914.\n\n\nThe Return:\n\n     Archer, William: _Play-Making_. Small.\n\n     Bailey, Carolyn: \"Toy Stories.\" \"The Story of the Woolly Dog.\"\n       _Kindergarten Review_, Feb., 1915.\n\n     Baker, Franklin T., and Thorndike, Ashley H.: _Everyday English.\n       Book One_. Macmillan.\n\n     Barnes, Earl: _Studies in Education_. Drawing. Barnes.\n\n     Buffum, Katherine: _Silhouettes to Cut in School_. Bradley.\n\n     Crawford, Caroline: _Dramatic Games and Dances_. Barnes.\n                         _Folk Dances and Games_. Barnes.\n                         _The Rhythms of Childhood_. Barnes.\n\n     Curry, S.S.: _Imagination and the Dramatic Instinct_. Expression\n       Co.\n\n     Dewey, John: _The Child and the Curriculum_. University of\n       Chicago.\n\n     _Ibid_.: \"Imagination and Expression.\" _Kindergarten\n        Magazine_, Sept., 1896.\n\n     Dow, Arthur: \"Color in the Kindergarten.\" _Kindergarten Review_,\n       June, 1914.\n\n     _Ibid.: Composition_. Doubleday.\n\n     Harvey, Nellie: \"Japanese Art in the Kindergarten.\" _Kindergarten\n       Review_, Dec., 1914.\n\n     Hervey, Walter: _Picture Work_. Revell.\n\n     Laurie, S.S.: _Lectures on Language and Linguistic Method in the\n       School_. Macmillan.\n\n     Macintosh, C.: \"Toys Made by Little Children.\" _Kindergarten\n       Review_, Jan., and Feb., 1914.\n\n     Maxwell, W.H.; Johnston, E.L.; and Barnum, M.: _Speaking and\n       Writing_. American Book Co.\n\n     Oppenheimer, Carol: Drawing. _Kindergarten Review_, March, 1914.\n\n     _Ibid_.: \"Scissors and Paper.\" _Kindergarten Review_, Jan.,\n       1914.\n\n     _Ibid_.: \"Suggestions Concerning Rhythm Plays.\" _Kindergarten\n       Review_, April and May, 1915.\n\n     _Ibid_.: \"The Use of the Song Exercise.\" _Kindergarten Review_,\n       May, 1914.\n\n     Parker School: _Francis W. Parker Year-Book_, vol. III, June,\n       1914. (\"Expression as a Means of Developing Motives.\") Francis\n       Parker School, Chicago.\n\n     Psychological Review: Monograph--\"Development of Imagination in\n       School Children.\" _Suppl. Psych. Review_, vol. XI, no. 1, 1909.\n\n     Wagner, Carrie: \"Furniture for the Doll House.\" _Kindergarten\n       Review_, Dec., 1914.\n\n     Worst, E.F.; Barber, H.; and Seymour, M.: _Constructive Work_.\n       Mumford.\n\n     Zook, Mabel; and Maloy, Regina: \"Illustrated Stories.\"\n       _Kindergarten Review_, May, 1915.\n\n\n\n\nCHAPTER IV\n\n\n\nTHE HISTORY OF FAIRY TALES\n\n     The gods of ancient mythology were changed into the\n     demi-gods and heroes of ancient poetry, and these demi-gods\n     again became, at a later age, the principal characters of\n     our nursery tales.--MAX M\u00dcLLER\n\n     Stories originally told about the characters of savage\n     tales, were finally attracted into the legends of the gods\n     of ancient mythology, or were attributed to demi-gods and\n     heroes.--ANDREW LANG.\n\n\nI. THE ORIGIN OF FAIRY TALES\n\nNow that we have indicated the worth of fairy tales, have observed\nthose principles which should guide the teacher in choosing and in\ninterpreting a tale, and have stated those rules which should govern\nthe story-teller in the telling of the tale, we may well ask a few\nfurther questions concerning the nature of these fairy tales. What is\na fairy tale and whence did it come, and how are we to find its\nbeginning? Having found it, how are we to follow it down through the\nages? How shall it be classed, what are the available types which seek\nto include it and show its nature? And lastly, what are the books\nwhich are to be the main practical sources of fairy tales for the\nteacher of little children? The remaining pages attempt to give some\nhelp to the teacher who wishes to increase her resources with an\nintelligent knowledge of the material she is handling.\n\nMany times the question, \"What is a fairy tale?\" has been asked. One\nhas said: \"The fairy tale is a poetic presentation of a spiritual\ntruth.\" George MacDonald has answered: \"_Undine_ is a fairy tale.\" Mr.\nG.K. Chesterton has said: \"A fairy tale is a tale told in a morbid age\nto the only remaining sane person, a child. A legend is a fairy tale\ntold to men when men were sane.\" Some, scorning to reply, have treated\nthe question as one similar to, \"What poem do you consider best in the\nEnglish language?\" As there are many tales included here which do not\ncontain a fairy, fairy tales here are taken to include tales which\ncontain something fairy or extraordinary, the magic or the\nmarvelous--fairies, elves, or trolls, speaking animals, trees, or a\ntalkative Tin Soldier. The Myth proper and the Fable are both excluded\nhere, while the _pourquois_ tale, a myth development, and the Beast\ntale, a short-story fable development, are both included.\n\nThe origin of the word \"fairy,\" as given by Thomas Keightley in his\n_Fairy Mythology_, and later in the Appendix of his _Tales and Popular\nFictions_, is the Latin _fatum_, \"to enchant.\" The word was derived\ndirectly from the French form of the root. The various forms of the\nroot were:--\n\n     Latin _fatum_, \"to enchant.\"\n     French _fee, feerie_, \"illusion.\"\n     Italian _fata_.\n     Proven\u00e7al _fada_.\n\nIn old French romance, _fee_ was a \"woman skilled in magic.\" \"All\nthose women were called Fays who had to do with enchantment and charms\nand knew the power and virtue of words, of stones, and of herbs, by\nwhich they were kept in youth and in great beauty and in great\nriches.\" This was true also of the Italian _fata_.\n\nThe word \"fairy\" was used in four senses. _Fairy_ represented:--\n\n     (1) Illusion, or enchantment.\n\n     (2) Abode of the Faes, the country of the Fays.\n\n     (3) Inhabitants collectively, the people of Fairyland.\n\n     (4) The individual in Fairyland, the fairy Knight, or Elf.\n\nThe word was used in the fourth sense before the time of Chaucer.\nAfter the appearance of Spenser's _Faerie Queene_ distinctions became\nconfused, and the name of the real fairies was transferred to \"the\nlittle beings who made the green, sour ringlets whereof the ewe not\nbites.\" The change adopted by the poets gained currency among the\npeople. Fairies were identified with nymphs and elves. Shakespeare was\nthe principal means of effecting this revolution, and in his\n_Midsummer Night's Dream_ he has incorporated most of the fairy lore\nknown in England at his time. But the tales are older than their name.\n\nThe origin of fairy tales is a question which has kept many very able\nscholars busy and which has not yet been settled to the satisfaction\nof many. What has been discovered resolves itself mainly into four\ndifferent origins of fairy tales:--\n\nI. Fairy tales are detritus of myth, surviving echoes of gods and\nheroes. Against this theory it may be said that, when popular tales\nhave incidents similar to Greek heroic myths, the tales are not\ndetritus of myth, but both have a more ancient tale as their original\nsource. There was:--\n\n     (1) A popular tale which reflected the condition of a rude\n     people, a tale full of the monstrous and the miraculous.\n\n     (2) The same tale, a series of incidents and plot, with the\n     monstrous element modified, which survived in the oral\n     traditions of illiterate peasantry.\n\n     (3) The same plot and incidents, as they existed in heroic\n     epics of cultivated people. A local and historical character\n     was given by the introduction of known places and native\n     heroes. Tone and manners were refined by literary\n     workmanship, in the _Rig Veda_, the Persian _King-book_, the\n     _Homeric Epics_, etc.\n\nThe Grimms noted that the evolution of the tale was from a strongly\nmarked, even ugly, but highly expressive form of its earlier stages,\nto that which possessed external beauty of mold. The origin is in the\nfancy of a primitive people, the survival is through _M\u00e4rchen_ of\npeasantry, and the transfiguration into epics is by literary artists.\nTherefore, one and the same tale may be the source of Perrault's\n_Sleeping Beauty_, also of a _Greek myth_, and also of an _old tale of\nilliterate peasantry_. This was the opinion held by Lang, who said,\n\"For the roots of stories, we must look, not in the clouds but upon\nthe earth, not in the various aspects of nature but in the daily\noccurrences and surroundings, in the current opinions and ideas of\nsavage life.\"\n\nIn the savage _M\u00e4rchen_ of to-day, the ideas and incidents are the\ninevitable result of the mental habits and beliefs of savages. We gain\nan idea of the savage mind through Leviticus, in the Bible, through\nHerodotus, Greek and Roman geographers, Aristotle, Plutarch, Pliny,\netc., through voyagers, missionaries, and travelers, and through\npresent savage peoples. Savage existence is based on two great\ninstitutions:--\n\n(a) The division of society into clans.--Marriage laws depend on the\nconception that these clans descend from certain plants, animals, or\ninorganic objects. There was the belief in human descent from animals\nand kinship and personal intercourse with them.\n\n(b) Belief in magic and medicine-men, which resulted in powers of\nmetamorphosis, the effect of incantation, and communion with the\ndead.--To the savage all nature was animated, all things were persons.\nThe leading ideas of savage peoples have already been referred to in\nthe list of motifs which appear in the different fairy tales, as given\nby Lang, mentioned under the \"Preparation of the Teacher,\" in _The\nTelling of the Tale_.\n\n\n\nII. Fairy tales are myths of Sun, Dawn, Thunder, Rain, etc.\n\n\nThis is sometimes called the Sun-Myth Theory or the Aryan Theory, and\nit is the one advocated by Max M\u00fcller and by Grimm.\n\nThe fairy tales were primitive man's experience with nature in days\nwhen he could not distinguish between nature and his own personality,\nwhen there was no supernatural because everything was endowed with a\npersonal life. They were the poetic fancies of light and dark, cloud\nand rain, day and night; and underneath them were the same fanciful\nmeanings. These became changed by time, circumstances in different\ncountries, and the fancy of the tellers, so that they became sunny and\nmany-colored in the South, sterner and wilder in the North, and more\nhome-like in the Middle and West. To the Bushmen the wind was a bird,\nand to the Egyptian fire was a living beast. Even _The Song of\nSix-Pence_ has been explained as a nature-myth, the pie being the\nearth and sky, the birds the twenty-four hours, the king the sun, the\nqueen the moon, and the opening of the pie, day-break.\n\nEvery word or phrase became a new story as soon as the first meaning\nof the original name was lost. Andrew Lang tells how Kephalos the sun\nloved Prokris the dew, and slew her by his arrows. Then when the first\nmeaning of the names for sun, dew, and rays was lost, Kephalos, a\nshepherd, loved Prokris, a nymph, and we have a second tale which, by\na folk-etymology, became the _Story of Apollo, the Wolf_. Tales were\ntold of the sun under his frog name; later people forgot that _frog_\nmeant \"sun,\" and the result was the popular tale, _A Frog, He Would\nA-Wooing Go_.\n\nIn regard to this theory, \"It is well to remember,\" says Tylor in his\n_Primitive Culture_, \"that rash inferences which, on the strength of\nmere resemblances, derive episodes of myth from episodes of nature,\nmust be regarded with utter distrust; for the student who has no more\nstringent criterion than this for his myths of sun and sky and dawn\nwill find them wherever it pleases him to seek them.\" There is a\ndanger of being carried away by false analogies. But all scholars\nagree that some tales are evidently myths of sun and dawn. If we\nexamine the natural history of savages, we do find summer feasts,\nwinter feasts, rituals of sorrow for the going of summer and of\nrejoicing for its return, anxious interest in the sun, interest in the\nmotion of the heavenly bodies, the custom of naming men and women from\nthe phenomena of nature, and interest in making love, making war,\nmaking fun, and making dinner.\n\n\n\nIII. Fairy tales all arose in India, they are part of the common Aryan\nheritage and are to be traced by the remains of their language.\n\n\nThey were first written in the _Vedas_, the sacred Sanskrit books of\nBuddhism. This theory is somewhat allied to the Sun-Myth Theory. This\ntheory was followed by Max M\u00fcller and by Sir George Cox.\n\nThe theory of a common source in India will not answer entirely for\nthe origin of tales because many similar tales have existed in\nnon-Aryan countries. Old tales were current in Egypt, 2000 B.C., and\nwere brought from there by Crusaders, Mongol missionaries, the\nHebrews, and Gypsies.\n\nThe idea of connecting a number of disconnected stories, as we find in\n_Arabian Nights_, _The Canterbury Tales_, and the _Decameron_, is\ntraced to the idea of making Buddha the central figure in the\nfolk-literature of India. And Jacobs says that at least one-third of\nall the stories common to the children of Europe are derived from\nIndia, and by far the majority of the drolls. He also says that\ngenerally, so far as incidents are marvelous and of true fairy-like\ncharacter, India is the probable source, because of the vitality of\nanimism and transformation in India in all time. Moreover, as a\npeople, the Hindus had spread among their numbers enough literary\ntraining and mental grip to invent plots.\n\nAnd again, there is an accepted connection in myth and language\nbetween all Aryan languages and Sanskrit. According to Sir George\nDasent, \"The whole human race has sprung from one stock planted in the\nEast, which has stretched its boughs and branches laden with the fruit\nof language and bright with the bloom of song and story, by successive\noffshoots to the utmost parts of the earth.\" Dasent tells how the\nAryans who went west, who went out to _do_, were distinguished from\nthe nations of the world by their common sense, by their power of\nadapting themselves to circumstances, by making the best of their\nposition, by being ready to receive impressions, and by being able to\ndevelop impressions. They became the Greeks, the Latins, the Teutons,\nthe Celts, and the Slavonians. The Aryans who stayed at home, remained\nto _reflect_, and were distinguished by their power of thought. They\nbecame a nation of philosophers and gave to the world the Sanskrit\nlanguage as the basis of comparative philology. Dasent shows how\nlegends, such as the _Story of William Tell_ and _Dog Gellert_, which\nhave appeared in many Aryan peoples were common in germ to the Aryan\ntribes before migration. Joseph Jacobs has more recently settled the\ntravels of _Gellert_, tracing its literary route from the Indian\n_Vinaya Pitaka_, through the _Fables of Bidpai, Sindibad, Seven Sages\nof Rome, Gesta Romanorum_, and the Welsh _Fables of Cottwg_, until the\nlegend became localized in Wales.\n\n\n\nIV. Fairy tales owe their origin to the identity of early fancy.\n\n\nJust as an individual, after thinking along certain lines, is\nsurprised to come upon the exact sequence of his thought in a book he\nhad never seen, so primitive peoples in remote parts of the world, up\nagainst similar situations, would express experience in tales\ncontaining similar motifs. A limited set of experiences was presented\nto the inventive faculty, and the limited combinations possible would\nresult in similar combinations. The Aryan Jackal, the Mediaeval\nReynard, the Southern Brer Rabbit, and the Weasel of Africa, are near\nrelations. Dasent said, \"In all mythology and tradition there are\nnatural resemblances, parallelisms, suggested to the senses of each\nrace by natural objects and everyday events; and these might spring up\nspontaneously all over the earth as home-growths, neither derived by\nimitation from other tribes, nor from the tradition of a common\nstock.\"\n\nIt is probable that all four theories of the origin of fairy tales are\ncorrect and that fairy tales owe their origin not to any one cause but\nto all four.\n\n\n\nII. THE TRANSMISSION OF FAIRY TALES\n\n\nOral transmission. The tale, having originated, may have been\ntransmitted in many ways: by women compelled to marry into alien\ntribes; by slaves from Africa to America; by soldiers returning from\nthe Crusades; by pilgrims returning from the Holy Land or from Mecca;\nby knights gathering at tournaments; by sailors and travelers; and by\ncommercial exchange between southern Europe and the East--Venice\ntrading with Egypt and Spain with Syria. Ancient tales of Persia\nspread along the Mediterranean shores. In this way the Moors of Spain\nlearned many a tale which they transmitted to the French. _Jack the\nGiant-Killer_ and _Thomas Thumb_, according to Sir Walter Scott,\nlanded in England from the very same keels and warships which conveyed\nHengist and Horsa and Ebba the Saxon. A recent report of the Bureau of\nEthnology of the Smithsonian Institution of the United States\nexpressed the opinion that the _Uncle Remus Tales_ have an Indian\norigin. Slaves had associated with Indian tribes such as the\nCherokees, and had heard the story of the Rabbit who was so clever\nthat no one could fool him. Gradually the Southern negroes had adopted\nthe Indian tales and changed them. Joseph Jacobs claims to have found\nthe original of the \"Tar Baby\" in the _Jataka Tales_. A tale, once\nhaving originated, could travel as easily as the wind. Certainly a\ngood type when once hit upon was diffused widely. Sir Walter Scott has\nsaid: \"A work of great interest might be compiled from the origin of\npopular fiction and the transmission of similar tales from age to age\nand from country to country. The mythology of one period would then\nappear to pass into the romance of the next century, and that into the\nnursery tales of subsequent ages. Such an investigation would show\nthat these fictions, however wild and childish, possess such charms\nfor the populace as to enable them to penetrate into countries\nunconnected by manners and language, and having no apparent\nintercourse to afford the means of transmission.\"\n\nThomas Keightley, in _Tales and Popular Fictions_, has given\ninteresting examples of the transmission of tales. Selecting _Jack the\nGiant-Killer_, he has shown that it is the same tale as Grimm's _The\nBrave Tailor_, and _Thor's Journey to Utgard_ in the Scandinavian\n_Edda_. Similar motifs occur also in a Persian tale, _Ameen of Isfahan\nand the Ghool_, and in the _Goat and the Lion_, a tale from the\n_Panchatantra_. Selecting the _Story of Dick Whittington_ he has shown\nthat in England it was current in the reign of Elizabeth; that two\nsimilar tales, Danish legends, were told by Thiele; that a similar\nItalian tale existed at the time of Amerigo Vespucci, which was a\nlegend told by Arlotto in 1396-1483; that another similar Italian tale\nwas connected with the origin of Venice, in 1175; and that a similar\ntale existed in Persia in 1300, before 1360, when Whittington of\nEngland was born. He also pointed out that the _Odyssey_ must have\ntraveled east as well as west, from Greece, for Sindbad's adventure\nwith the Black Giant is similar to that of Ulysses with the Cyclops.\n\nAnother interesting set of parallels shown by him is connected with\nthe _Pentamerone_ tale, _Peruonto_. This is the Straparola _Peter the\nFool_, the Russian _Emelyan the Fool_, the Esthonian tale by\nLaboulaye, _The Fairy Craw-Fish_, and the Grimm _The Fisherman and his\nWife_. The theme of a peasant being rewarded by the fish he had thrown\nback into the water takes on a delightful varied form in the tale of\ndifferent countries. The magic words of Emelyan, \"Up and away! At the\npike's command, and at my request, go home, sledge!\" in each variant\ntake an interesting new form.\n\nLiterary transmission. The travels of a tale through oral tradition\nare to be attempted with great difficulty and by only the most careful\nscholarship. One may follow the transmission of tales through literary\ncollections with somewhat greater ease and exactness. Popular tales\nhave a literature of their own. The following list seeks to mention\nthe most noteworthy collections:--\n\n     No date. _Vedas_. Sanskrit.\n\n     No date. _Zend Avesta_. Persian.\n\n     Fifth century, B.C. _Jatakas_. Probably the oldest\n     literature. It was written at Ceylon and has been translated\n     into 38 languages, in 112 editions. Recently the Cambridge\n     edition has been translated from the Pali, edited by E.B.\n     Cowell, published by Putnam, New York, 1895-1907.\n\n     4000 B.C. _Tales of Ancient Egypt_. These were the tales of\n     magicians, recorded on papyrus.\n\n     600 B.C. (about). _Homeric Legends_.\n\n     200 B.C. (about). _Book of Esther_.\n\n     Second century, A.D. _The Golden Ass, Metamorphoses of Apuleius_.\n\n     550 A.D. _Panchatantra_, the _Five Books_. This was a\n     Sanskrit collection of fables, the probable source of the\n     _Fables of Bidpai_.\n\n     Second century, A.D. _The Hitopadesa_, or _Wholesome\n     Instruction_. A selection from the _Panchatantra_, first\n     edited by Carey, in 1804; by Max M\u00fcller, in 1844.\n\n     550 A.D. _Panchatantra_. Pehlevi version.\n\n     Tenth century, A.D. _Panchatantra_. Arabic version.\n\n     Eleventh century, A.D. _Panchatantra_. Greek version.\n\n     Twelfth century, A.D. _Panchatantra_. Persian version.\n\n     1200 A.D. _Sanskrit Tales_. These tales were collected by\n     Somadeva Bhatta, of Cashmere, and were published to amuse\n     the Queen of Cashmere. They have been translated by\n     Brockhaus, 1844. Somadeva's _Ocean of the Streams of Story_\n     has been translated by Mr. Tawney, of Calcutta, 1880.\n\nTales of the West came from the East in two sources:--\n\n     1262-78. (1) _Directorium Human\u00e6 Vit\u00e6_, of John of Capua.\n     This was translated from the _Hebrew_, from the _Arabic_ of\n     the eighth century, from the _Pehlevi_ of Persia of the\n     sixth century, from the _Panchatantra_, from the _Sanskrit\n     original_. This is the same as the famous Persian version,\n     _The Book of Calila and Dimna_, attributed to Bidpai, of\n     India. There was a late Persian version, in 1494, and one in\n     Paris in 1644, which was the source of La Fontaine.\n\n     Thirteenth century. (2) _The Story of the Seven Sages of\n     Rome_, or _The Book of Sindibad_. This appeared in Europe as\n     the Latin _History of the Seven Sages of Rome_, by Dame\n     Jehans, a monk in the Abbey of Haute Selve. There is a\n     Hebrew, an Arabic, and a Persian version. It is believed the\n     Persian version came from Sanskrit but the Sanskrit original\n     has not yet been found.\n\n     Tenth century. _Reynard the Fox_. This was first found as a\n     Latin product of the monks, in a cloister by the banks of\n     the Mosel and Mass. _Reynard the Fox_ shares with _\u00c6sop's\n     Fables_ the distinction of being folk-lore raised into\n     literature. It is a series of short stories of adventure\n     forming a romance. These versions are known:--\n\n          1180. German-_Reinhart_, an epic of twelve\n          adventures by Heinrich Gliches\u00e4re.\n\n          1230. French-_Roman de Renard_, with its\n          twenty-seven branches.\n\n          1250. Flemish-_Reinaert_, part of which was\n          composed by Willem, near Ghent.\n\n          1148. _Ysengrimus_, a Latin poem written at Ghent.\n\n          Thirteenth century. _Of the Vox and of the Wolf_,\n          an English poem.\n\n          Later date. _Rainardo_, Italian.\n\n          Later date. Greek _mediaeval version_.\n\n          _Reynard the Fox_[5] was first printed in England\n          by Caxton in 1481, translated from a Dutch copy. A\n          copy of Caxton's book is in the British Museum.\n          Caxton's edition was adapted by \"Felix Summerley\";\n          and Felix Summerley's edition, with slight\n          changes, was used by Joseph Jacobs in his Cranford\n          edition.\n\n          A Dutch prose romance, _Historie von Reynaert de\n          Vos_ was published in 1485. A German copy, written\n          in Lower Saxony was published in 1498. A\n          chap-book, somewhat condensed, but giving a very\n          good account of the romance, was published in\n          London in 1780, printed and sold in Aldermary\n          Churchyard, Bow Lane. This chap-book is very much\n          finer in language than many of the others in\n          Ashton's collection. Its structure is good,\n          arranged in nine chapters. It shows itself a real\n          classic and would be read with pleasure to-day.\n          Goethe's poem, _Reineke Fuchs_, was published in\n          1794. This version was more refined than previous\n          ones but it lost in simplicity. Monographs have\n          been written on _Reynard_ by Grimm, Voigt, Martin,\n          and Sudre.\n\n          Raginhard was a man's name, meaning \"strong in\n          counsel,\" and was common in Germany which bordered\n          on France. This name naturally was given to the\n          beast who lived by his wits. Grimm considered\n          _Reynard_ the result of a Teutonic Beast Epic of\n          primitive origin. Later research has exploded this\n          theory and has decided that all versions are\n          descended from an original French one existing\n          between 1150 and 1170. Modern editions have come\n          from the Flemish version. The literary artist who\n          compiled _Reynard_ took a nucleus of fables and\n          added to it folk-tales which are known to have\n          existed in the eleventh and twelfth centuries and\n          which exist to-day as tradition among some folk.\n          The folk-tales included in _Reynard_ are: _Reynard\n          and Dame Wolf_; _The Iced Wolf's Tail_; _The\n          Fishes in the Car_; _The Bear in the Cleft_; _The\n          Wolf as Bell-Ringer_; and _The Dyed Fox_. The\n          method of giving individual names to the animals\n          such as Reynard, Bruin, and Tibert, was current\n          among the Folk before a literary form was given to\n          _Reynard_. As this was the custom in the province\n          of Lorraine it is supposed that the origin of\n          these names was in Lorraine. Other names, such as\n          Chanticleer, the Cock, and Noble, the Lion, were\n          given because of a quality, and indicate a\n          tendency to allegory. These names increase in the\n          later development of the romance. In the beginning\n          when the beasts had only personal adventures,\n          these were told by the Folk to raise a laugh.\n          Later there was a meaning underneath the laugh and\n          the Beast Epic Comedy of the Folk grew into the\n          world Beast Satire of the literary artist.\n\n          _Reynard_ exhibits the bare struggle for existence\n          which was generally characteristic of Feudal life.\n          Cunning opposes force and triumphs over it. The\n          adventurous hero appeals because of his faculty of\n          _adjustment_, his power to adapt himself to\n          circumstances and to master them. He also appeals\n          because of his small size when compared with the\n          other animals. In the Middle Ages _Reynard_\n          appealed because it was a satire upon the monks.\n          Of _Reynard_ Carlyle has said, \"It comes before us\n          with a character such as can belong only to very\n          few; that of being a true World's Book which\n          through centuries was everywhere at home, the\n          spirit of which diffused itself into all languages\n          and all minds.\"\n\n       *       *       *       *       *\n\n     About one tenth of European folk-lore is traced to\n     collections used in the Middle Ages: _Fables of Bidpai_,\n     _Seven Wise Masters_, _Gesta Romanorum_, and _Barlaam and\n     Josophat_. These tales became diffused through the _Exempla_\n     of the monks, used in their sermons, through the _Novelle_\n     of Italy, the _Decameron_ of Boccaccio, the _Tales of\n     Chaucer_, Painter's _Palace of Pleasure_, and the\n     _Elizabethan Drama_ of England. One half of La Fontaine's\n     _Fables_ are of Indian sources.\n\n     1326. The _Gesta Romanorum_, written in Latin. This was a\n     compilation, by the monks, of stories with a moral appended\n     to each. It was the most popular story-book before the\n     invention of printing. In England it was printed by Wynkyn\n     de Worde, of which edition the only known copy is at St.\n     John's College, Cambridge. The earliest manuscript of the\n     collection is dated 1326. Between 1600 and 1703 fifteen\n     editions of the book prove its popularity. One English\n     version is by Sir Frederick Madden, who lived 1801-73. The\n     author of the _Gesta Romanorum_ is unknown, but was likely a\n     German. The stories included are miscellaneous and vary in\n     different editions. Among its stories are Oriental tales,\n     tales of the deeds of Roman Emperors, an early form of _Guy\n     of Warwick_, the casket episode of _The Merchant of Venice_,\n     a story of the Jew's bond, a tale of the Emperor Theodosius,\n     being a version of _King Lear_, the story of the Hermit, and\n     a tale of Aglas, the daughter of the Roman Emperor Pompey,\n     being a version of _Atalanta and her Race_.\n\n     1000 A.D. (about). _Shah-Nameh_, or _King-book of Persia_,\n     by Ferdousee, born about 940 A.D. This book is the pride and\n     glory of Persian literature. It was written by the Persian\n     poet at the command of the king, who wished to have\n     preserved the old traditions and heroic glories of Persians\n     before the Arabian conquest. Ferdousee declared that he\n     invented none of his material, but took it from the\n     _Bostan-Nameh_ or _Old-Book_.\n\n     The _King-Book_ is very ancient, it is the Persian Homer. It\n     was the labor of thirty years. It consisted of 56,000\n     distichs or couplets, for every thousand of which the Sultan\n     had promised the poet one thousand pieces of gold. Instead\n     of the elephant-load of gold promised, the Sultan sent in\n     payment 60,000 small silver coins. This so enraged the poet\n     that he gave away one third to the man who brought them, one\n     third to a seller of refreshments, and one third to the\n     keeper of the bath where the messenger found him. After the\n     poet's death the insult was retrieved by proper payment.\n     This was refused by his one daughter, but accepted by the\n     other and used to erect a public dike the poet had always\n     desired to build to protect his native town from the river.\n     The fine character of the tales of the _King-Book_ is shown\n     in the tale of _Roostem and Soohrab_, taken from this book,\n     which Keightley has translated in _Tales and Popular\n     Fictions_. Keightley considered it superior to any Greek or\n     Latin tale. Modern literature knows this tale through\n     Matthew Arnold's poem.\n\n     1548 (not later than). _The Thousand and One Nights_,\n     Arabian. 12 volumes. Galland's French translation appeared\n     in 1704. This was supplemented by Chavis and Cazotte, and by\n     Caussin de Percival. Monsieur Galland was Professor of\n     Arabic in the Royal College of Paris. He was a master of\n     French and a fairly good scholar of Arabic. He brought his\n     manuscript, dated 1548, to Paris from Constantinople. He\n     severely abbreviated the original, cutting out poetical\n     extracts and improving the somewhat slovenly style. In his\n     translation he gave to English the new words, _genie, ogre_,\n     and _vizier_. His work was very popular.\n\n     Boulak and Calcutta texts are better than the Galland. They\n     contain about two hundred and fifty stories. The Cairo\n     edition has been admirably translated by Edward W. Lane, in\n     3 volumes (1839-41) published in London. This is probably\n     the best edition. It also omits many poetical quotations. A\n     recent edition using Lane's translation is by Frances\n     Olcott, published by Holt in 1913. Editions which attempt to\n     be complete versions are by John Payne (13 volumes,\n     1882-84), and by Sir Richard Burton (16 volumes, 1885-88).\n     Lane and Burton give copious notes of value. The recent\n     edition by Wiggin and Smith used the editions of Scott and\n     Lane.\n\n     The stories in _Arabian Nights_ are Indian, Egyptian,\n     Arabian, and Persian. Scenes are laid principally in Bagdad\n     and Cairo. Lane considered that the one hundred and fifteen\n     stories, which are common to all manuscripts, are based on\n     the Pehlevi original. The idea of the frame of the story\n     came from India. This was the birth of the serial story.\n     There is authority for considering the final collection to\n     have been made in Egypt. Cairo is described most minutely\n     and the customs are of Egypt of the thirteenth century and\n     later. The stories must have been popular in Egypt as they\n     were mentioned by an historian, 1400-70. Lane considered\n     that the final Arabic collection bears to Persian tales the\n     same relation that the _\u00c6neid_ does to the _Odyssey_. Life\n     depicted is Arabic, and there is an absence of the great\n     Persian heroes. Internal evidence assists in dating the\n     work. Coffee is mentioned only three times. As its use\n     became popular in the East in the fourteenth century this\n     indicates the date of the work to be earlier than the very\n     common use of coffee. Cannon, which are mentioned, were\n     known in Egypt in 1383. Additions to the original were\n     probably made as late as the sixteenth century. _The Arabian\n     Nights_ has been the model for many literary attempts to\n     produce the Oriental tale, of which the tales of George\n     Meredith are notable examples.\n\n     Thomas Keightley, in _Tales and Popular Fictions_,\n     considered Persia the original country of _The Thousand and\n     One Nights_, and _The Voyages of Sinbad_, originally a\n     separate work. He showed how some of these tales bear marks\n     of Persian extraction and how some had made their way to\n     Europe through oral transmission before the time of\n     Galland's translation. He selected the tale, \"Cleomedes and\n     Claremond,\" and proved that it must have been learned by a\n     certain Princess Blanche, of Castile, and transmitted by her\n     to France about 1275. This romance must have traveled to\n     Spain from the East. It is the same as \"The Enchanted Horse\"\n     in _The Thousand and One Nights_, and through Keightley's\n     proof, is originally Persian. Keightley also selected the\n     Straparola tale, _The Dancing Water, the Singing Apple, and\n     the Beautiful Green Bird_, and proved it to be the same as\n     Grimm's _Three Little Birds_, as a Persian _Arabian Night's_\n     tale, and also as _La Princesse Belle Etoile_, of D'Aulnoy.\n     But as Galland's translation appeared only the year after\n     Madame D'Aulnoy's death, Madame D'Aulnoy must have obtained\n     the tale elsewhere than from the first printed version of\n     _Arabian Nights_.\n\n     No date. _The Thousand and One Days_. This is a Persian\n     collection containing the \"History of Calaf.\"\n\n     1550. _Straparola's Nights_, by Straparola. This collection\n     of jests, riddles, and twenty-one stories was published in\n     Venice. The stories were taken from oral tradition, from the\n     lips of ten young women. Some were agreeable, some unfit, so\n     that the book was forbidden in Rome, in 1605, and an\n     abridged edition prepared. There was a complete Venetian\n     edition in 1573, a German translation in 1679, a French one\n     in 1611, and a good German one with valuable notes, by\n     Schmidt, in 1817. Straparola's _Nights_ contained stories\n     similar to the German _The Master Thief, The Little Peasant,\n     Hans and the Hedge-Hog, Iron Hans, The Four Brothers, The\n     Two Brothers_, and _Dr. Know-all_.\n\n     1637. _The Pentamerone_, by Basile. Basile spent his early\n     youth in Candia or Crete, which was owned by Venice. He\n     traveled much in Italy, following his sister, who was a\n     noted singer, to Mantua. He probably died in 1637. There may\n     have been an earlier edition of _The Pentamerone_, which\n     sold out. It was republished in Naples in 1645, 1674, 1714,\n     1722, 1728, 1749, 1788, and in Rome in 1679. This was the\n     best collection of tales formed by a nation for a long time.\n     The traditions were complete, and the author had a special\n     talent for collecting them, and an intimate knowledge of\n     dialect. This collection of fifty stories may be looked upon\n     as the basis of many others. Basile wrote independently of\n     Straparola, though a few tales are common to both. He was\n     very careful not to alter the tale as he took it down from\n     the people. He told his stories with allusions to manners\n     and customs, to old stories and mythology. He abounds in\n     picturesque, proverbial expressions, with turns and many\n     similes, and displays a delightful exuberance of fancy. A\n     valuable translation, with notes, was written by Felix\n     Liebrecht, in 1842, and an English one by John Edward\n     Taylor, in 1848. Keightley, in _Fairy Mythology_, has\n     translated three of these tales and in _Tales and Popular\n     Fictions_, two tales. Keightley's were the first\n     translations of these tales into any language other than\n     Italian. Among the stories of Basile are the German\n     _Cinderella, How Six got on in the World, Rapunzel, Snow\n     White, Dame Holle, Briar Rose_, and _Hansel and Grethel_.\n\n     1697. _The Tales of Mother Goose_, by Charles Perrault. In\n     France the collecting of fairy tales began in the\n     seventeenth century. French, German, and Italian tales were\n     all derived independently by oral tradition. In 1696, in\n     _Recueil_, a magazine published by Moetjens, at The Hague,\n     appeared _The Story of Sleeping Beauty_, by Perrault. In\n     1697 appeared seven other tales by Perrault. Eight stories\n     were published in 12mo, under a title borrowed from a\n     _fabliau_, _Contes de ma Mere l'Oye_. In a later edition\n     three stories were added, _The Ass's Skin_, _The Clever\n     Princess_, and _The Foolish Wishes_. The tales of Perrault\n     were:--\n\n          1. The Fairies.\n          2. The Sleeping Beauty in the Wood.\n          3. Bluebeard.\n          4. Little Red Riding Hood.\n          5. Puss-in-Boots.\n          6. Cinderella.\n          7. Rique with the Tuft.\n          8. Little Thumb.\n          9. The Ass's Skin.\n         10. The Clever Princess.\n         11. The Foolish Wishes.\n\n     Immediately afterwards the tales appeared published at Paris\n     in a volume entitled, _Histoires ou Contes du Temps Passe,\n     avec des Moralites--Contes de ma M\u00e8re l'Oye_. The earliest\n     translation into English was in a book containing French and\n     English, _Tales of Passed Times, by Mother Goose, with\n     Morals. Written in French by M. Charles Perrault and\n     Englished by R.S., Gent_. An English translation by Mr.\n     Samber was advertised in the English _Monthly Chronicle_,\n     March, 1729. Andrew Lang, with an introduction, has edited\n     these tales from the original edition, published by the\n     Clarendon Press, Oxford, 1888. These tales made their way\n     slowly in England, but gradually eclipsed the native English\n     tales and legends which had been discouraged by Puritan\n     influence. In Perrault's time, when this influence was\n     beginning to decline, they superseded the English tales,\n     crowding out all but _Jack the Giant-Killer, Tom\n     Hickathrift, Jack and the Beanstalk, Tom Thumb_, and _Childe\n     Rowland_.\n\n     1650-1705. _Fairy Tales_, by Madame D'Aulnoy. In France\n     there were many followers of Perrault. The most important of\n     these was Madame D'Aulnoy. She did not copy Perrault. She\n     was a brilliant, witty countess, and brought into her tales,\n     entitled _Contes de F\u00e9es_, the graces of the court. She\n     adhered less strictly to tradition than Perrault, and\n     handled her material freely, making additions,\n     amplifications, and moral reflections, to the original tale.\n     Her weaving together of incidents is artistic and her style\n     graceful and not unpleasing. It is marked by ornamentation,\n     sumptuousness, and French sentimentality. It shows a lack of\n     na\u00efvet\u00e9 resulting from the palace setting given to her\n     tales, making them adapted only to children of high rank.\n     Often her tale is founded on a beautiful tradition. _The\n     Blue-Bird_, one of the finest of her tales, was found in the\n     poems of Marie de France, in the thirteenth century. Three\n     of her tales were borrowed from Straparola. Among her tales\n     the most important are:--\n\n          _Graciosa and Percinet_. (Basile.)\n\n          _The Blue-Bird_. (Contains a motif similar to one\n           in _The Singing, Soaring Lark_.)\n\n          _The White Cat_. (Similar to _Three Feathers_ and\n            _The Miller's Boy and the Cat_.)\n\n          _The Hind in the Wood_. (Similar to _Rumpelstiltskin_.)\n\n          _The Good Little Mouse_. (Basile.)\n\n          _The Fair One with the Golden Locks. (Ferdinand\n           the Faithful.)_\n\n          _The Yellow Dwarf_.\n\n          _Princess Belle Etoile_. (Straparola.)\n\n     The careful translation of Madame D'Aulnoy's tales by Mr.\n     Planch\u00e9 faithfully preserves the spirit of the original.\n\n     There were many imitators of Countess D'Aulnoy, in France,\n     in the eighteenth century. Their work was on a much lower\n     level and became published in the _Cabinet des F\u00e9es_, a\n     collection of stories including in its forty volumes the\n     work of many authors, of which the greater part is of little\n     value. Of those following D'Aulnoy three deserve mention:--\n\n          1711-1780. _Moral Tales_, by Madame de Beaumont.\n          These were collected while the author was in\n          England. Of these we use _Prince Cherry_. Madame\n          de Beaumont wrote a children's book in which is\n          found a tale similar to _The Singing, Soaring\n          Lark_, entitled _The Maiden and the Beast_. She\n          also wrote 69 volumes of romance.\n\n          1765. _Tales_, by Madame Villeneuve. Of these we\n          use _Beauty and the Beast_.\n\n          1692-1765. _Tales_, by Comte de Caylus. The author\n          was an antiquarian and scholar. Of his tales we\n          use _Sylvain and Yocosa_.\n\n     Very little attempt has been made in modern times to include\n     in our children's literature the best of foreign literature\n     for children, for there has been very little study of\n     foreign books for children. Certainly the field of\n     children's literature would be enriched to receive\n     translations of any books worthy of the name classic. A\n     partial list of French fairy tales is here given, indicating\n     to children's librarians how little has been done to open up\n     this field, and inviting their labor:--\n\n          _Biblioth\u00e8que Rose_, a collection. (What should be\n          included?)\n\n          _Biblioth\u00e8que des Petits Enfants_, a collection.\n          (What should be included?)\n\n          1799-1874. _Fairy Tales from the French_, by\n          Madame de S\u00e9gur. These tales are published by\n          Winston. We also use her _Story of a Donkey_,\n          written in 1860 and published by Heath in 1901.\n\n          1866. _Fairy Tales of all Nations_, by Edouard\n          Laboulaye.\n\n          1902. _Last Fairy Tales_, also by Laboulaye.\n\n          _Tales_, by Zenaide Fleuriot. (What should be\n          included?)\n\n          1910. _Chantecler_, by Edmund Rostand. Translated\n          by Gertrude Hall, published by Duffield.\n\n          1911. _The Honey Bee_, by Anatole France;\n          translated by Mrs. Lane; published by Lane.\n\n          1911. _The Blue-Bird_, by Maurice Maeterlinck;\n          published by Dodd.\n\nIn Great Britain many old tales taken from tradition were included in\nthe Welsh Mabinogion, Irish sagas, and Cornish Mabinogion. Legends of\nBrittany were made known by the poems of Marie de France, who lived in\nthe thirteenth century. These were published in Paris, in 1820. In\nfact, most of the early publications of fairy tales were taken from\nthe French.\n\nCeltic tales have been collected in modern times in a greater number\nthan those of any nation. This has been due largely to the work of\nJ.F. Campbell. Celtic tales are unusual in that they have been\ncollected while the custom of story-telling is yet flourishing among\nthe Folk. They are therefore of great literary and imaginative\ninterest. They are especially valuable as the oldest of the European\ntales. The Irish tale of _Connla and the Fairy Maiden_ has been traced\nto a date earlier than the fifth century and therefore ranks as the\noldest tale of modern Europe. The principal Celtic collections are:--\n\n     _Iolo M. S_., published by the Welsh M. S. Society.\n\n     _Mabinogion_, translated by Lady Guest. (Contains tales\n       that trace back to the twelfth century.)\n\n     _Y Cymrodor_, by Professor Rhys.\n\n     1825. _Fairy Legends and Traditions of the South of\n     Ireland_, by T. Crofton Croker.\n\n     1842. _Popular Rhymes of Scotland_. Chambers.\n\n     1860-62. _Popular Tales of the West Highlands_, by J.F.\n     Campbell.\n\n     _Tales_, collected and published with notes, by Mr. Alfred\n      Nutt.\n\n     1866. By Patrick Kennedy, the Irish Grimm. _Legendary\n     Fictions of the Irish Celts; Fireside Stories of Ireland_\n     (1870); and _Bardic Stories of Ireland_ (1871).\n\nIn England the publication of fairy tales may be followed more readily\nbecause the language proves no hindrance and the literature gives\nassistance. In England the principal publications of fairy tales\nwere:--\n\n     1604. _Pasquil's Jests_. Contained a tale similar to one of\n     Grimm's.\n\n     1635. _A Tract, A Descryption of the Kynge and Quene of\n     Fairies, their habit, fare, abode, pomp, and state_.\n\n     Eighteenth century (early). _Madame D'Aulnoy's Tales_, a\n     translation.\n\n     1667-1745. _Gulliver's Travels_, by Dean Swift. (One modern\n     edition, with introduction by W.D. Howells, and more than\n     one hundred illustrations by Louis Rhead, is published by\n     Harpers. Another edition, illustrated by Arthur Rackham, is\n     published by Dutton.)\n\n     1700-1800. _Chap-Books_. Very many of these books,\n     especially the best ones, were published by William and\n     Cluer Dicey, in Aldermary Church Yard, Bow Lane, London.\n     Rival publishers, whose editions were rougher in engraving,\n     type, and paper, labored in Newcastle.\n\n     The chap-books were little paper books hawked by chap-men,\n     or traveling peddlers, who went from village to village with\n     \"Almanacks, Bookes of Newes, or other trifling wares.\" These\n     little books were usually from sixteen to twenty-four pages\n     in bulk and in size from two and one half inches by three\n     and one half inches to five and one half inches by four and\n     one quarter inches. They sold for a penny or six-pence and\n     became the very popular literature of the middle and lower\n     classes of their time. After the nineteenth century they\n     became widely published, deteriorated, and gradually were\n     crowded out by the _Penny Magazine_ and _Chambers's Penny\n     Tracts and Miscellanies_. For many years before the\n     Victorian period, folk-lore was left to the peasants and\n     kept out of reach of the children of the higher classes.\n     This was the reign of the moral tale, of Thomas Bewick's\n     _Looking Glass of the Mind_ and Mrs. Sherwood's _Henry and\n     His Bearer_. Among the chap-books published by William and\n     Cluer Dicey, may be mentioned: _The Pleasant and Delightful\n     History of Jack and the Giants_ (part second was printed and\n     sold by J. White); _Guy, Earl of Warwick; Bevis of Hampton;\n     The History of Reynard the Fox_, dated 1780; _The History of\n     Fortunatus_, condensed from an edition of 1682; _The Fryer\n     and the Boy; A True Tale of Robin Hood_ (Robin Hood Garland\n     Blocks, from 1680, were used in the London Bridge Chap-Book\n     edition); _The Famous History of Thomas Thumb; The History\n     of Sir Richard Whittington_; and _The Life and Death of St.\n     George. Tom Hickathrift_ was printed by and for M. Angus and\n     Son, at Newcastle-in-the-Side: _Valentine and Orson_ was\n     printed at Lyons, France, in 1489; and in England by Wynkyn\n     de Worde. Among the chap-books many tales not fairy tales\n     were included. With the popularity of _Goody Two Shoes_ and\n     the fifty little books issued by Newbery, the realistic tale\n     of modern times made a sturdy beginning. Of these realistic\n     chap-books one of the most popular was _The History of\n     Little Tom Trip_, probably by Goldsmith, engraved by the\n     famous Thomas Bewick, published by T. Saint, of Newcastle.\n     This was reprinted by Ed. Pearson in 1867.\n\n     Of _Jack the Giant-Killer_, in Skinner's _Folk-Lore_, David\n     Masson has said: \"Our _Jack the Giant-Killer_ is clearly the\n     last modern transmutation of the old British legend, told in\n     Geoffrey of Monmouth, of Corine\u00fcs the Trojan, the companion\n     of the Trojan Brutus when he first settled in Britain; which\n     Corine\u00fcs, being a very strong man, and particularly\n     good-humored, is satisfied with being King of Cornwall, and\n     killing out all the aboriginal giants there, leaving to\n     Brutus all the rest of the island, and only stipulating\n     that, whenever there is a peculiarly difficult giant in any\n     part of Brutus' dominions, he shall be sent for to finish\n     the fellow.\"\n\n     _Tom Hickathrift_, whose history is given in an old number\n     of _Fraser's Magazine_, is described by Thackeray as one of\n     the publisher Cundall's books, bound in blue and gold,\n     illustrated by Frederick Taylor in 1847. According to\n     Thackeray this chap-book tale was written by Fielding.\n     Speaking of the passage, \"The giant roared hideously but Tom\n     had no more mercy on him than a bear upon a dog,\" he said:\n     \"No one but Fielding could have described battle so.\" Of the\n     passage, \"Having increased his strength by good living and\n     improved his courage by drinking strong ale,\" he remarked:\n     \"No one but Fielding could have given such an expression.\"\n     The quality of the English of this chap-book is apparent in\n     the following sentence, taken from Ashton's version: \"So Tom\n     stepped to a gate and took a rail for a staff.\"\n\n     In regard to their literary merit the chap-books vary\n     greatly. Some evidently are works of scholars who omitted to\n     sign their names. In the collection by Ashton those\n     deserving mention for their literary merit are: _Patient\n     Grissel_, by Boccaccio; _Fortunatus_; _Valentine and Orson_;\n     _Joseph and His Brethren_; _The Friar and the Boy_; _Reynard\n     the Fox_, from Caxton's translation; _Tom Hickathrift_,\n     probably by Fielding; and _The Foreign Travels of Sir John\n     Mandeville_.\n\n     1708-90. Chap-Books. Printed by J. White, of York,\n     established at Newcastle, 1708. These included: _Tom\n     Hickathrift; Jack the Giant-Killer_; and _Cock Robin_.\n\n     1750. _A New Collection of Fairy Tales_. 2 vols.\n\n     1760. _Mother Goose's Melodies_. A collection of many\n     nursery rhymes, songs, and a few old ballads and tales,\n     published by John Newbery. The editor is unknown, but most\n     likely was Oliver Goldsmith. The title of the collection may\n     have been borrowed from Perrault's _Contes de ma M\u00e8re\n     l'Oye_, of which an English version appeared in 1729. The\n     title itself has an interesting history dating hundreds of\n     years before Perrault's time. By 1777 _Mother Goose's\n     Melodies_ had passed the seventh edition. In 1780 they were\n     published by Carnan, Newbery's stepson, under the title\n     _Sonnets for the Cradle_. In 1810 _Gammer Gurton's Garland_,\n     a collection, was edited by Joseph Ritson, an English\n     scholar. In 1842 J.O. Halliwell issued, for the Percy\n     Society, _The Nursery Rhymes of England_. The standard\n     modern text should consist of Newbery's book with such\n     additions from Ritson and Halliwell as bear internal\n     evidence of antiquity and are true nursery rhymes.\n\n     1770. _Queen Mab, A Collection of Entertaining Tales of\n     Fairies_.\n\n     1783. _The Lilliputian Magazine_. Illustrated by Thomas\n     Bewick, published by Carnan.\n\n     1788. _The Pleasing Companion, A Collection of Fairy Tales_.\n\n     1788. _Fairy Tales Selected from the Best Authors_, 2 vols.\n\n     1770-91. Books published by John Evans, of Long Lane.\n     Printed on coarse sugar paper. They included: _Cock Robin_,\n     1791; _Mother Hubbard; Cinderella_; and _The Tragical Death\n     of an Apple Pye_.\n\n     1809. _A Collection of Popular Stories for the Nursery_,\n     translated from French, Italian, and Old English, by\n     Benjamin Tabart, in 4 volumes.\n\n     1810 (about). _Lilliputian Library_, by J.G. Rusher, of\n     Bridge St., Banbury. The Halfpenny Series included:\n\n          _Mother Hubbard and Her Dog; Jack The\n          Giant-Killer; Dick Whittington and His Cat; The\n          History of Tom Thumb_ (Middlesex); _Death and\n          Burial of Cock Robin; and Cinderella and Her Glass\n          Slipper_.\n\n     The Penny Series included:--\n\n          _History of a Banbury Cake, and Jack the\n          Giant-Killer_, designed by Craig, engraved by Lee.\n\n     Of Rusher's books those engraved by the Bewick School were:\n\n          _Cock Robin; The History of Tom Thumb_; and\n          _Children in the Wood_.\n\n     Rusher's books also included:\n\n          _Mother Hubbard and Her Dog, Cinderella and Her\n          Glass Slipper_, and _Dick Whittington and His\n          Cat_, all designed by Cruikshank, engraved by\n          Branstone.\n\n     1818. _Fairy Tales, or the Lilliputian Cabinet_, collected\n     by Benj. Tabart, London. This was a new edition of the\n     collection of 1809, and contained twenty-four stories. A\n     full review of it may be seen in the _Quarterly Review_,\n     1819, No. 41, pp. 91-112. The tales included translations\n     from Perrault, Madame D'Aulnoy, Madame de Beaumont, tales\n     from _The Thousand and One Nights_, and from _Robin Hood_;\n     and the single tales of _Jack the Giant-Killer, Tom Thumb_,\n     and _Jack and the Bean-Stalk_.\n\n     1824, 1826. _German Popular Stories_, translated by Edgar\n     Taylor, with illustrations by Cruikshank, published by\n     Charles Tilt, London. A new edition, introduction by Ruskin,\n     was published by Chatto & Windus, 1880.\n\nThe above are the main collections of fairy tales in England. Many\nindividual publications show the gradual development of fairy tale\nillustration in England:[6]--\n\n     1713-1767. John Newbery's _Books for Children_. Among these\n     were _Beauty and the Beast_, by Charles Lamb, 1765, and\n     _Sinbad the Sailor_, 1798.\n\n     1778. _Fabulous Histories of the Robins_. Mrs. Sarah\n     Trimmer. Cuts designed by Thomas Bewick, engraved by John\n     Thompson, Whittingham's Chiswick Press.\n\n     1755-1886. _Life and Perambulations of a Mouse_; and\n     _Adventures of a Pin-Cushion_. Dorothy Kilner.\n\n     1785. Baron Munchausen's _Narratives of His Famous Travels\n     and Campaigns in Russia_. Rudolf Raspe.\n\n     1788. _Little Thumb and the Ogre_. Illustrated by William\n     Blake; published by Dutton.\n\n     1790. _The Death and Burial of Cock Robin_. Illustrated by Thomas\n     Bewick. Catnach.\n\n     1807. _Tales from Shakespeare_. Charles and Mary Lamb. W.J.\n     Godwin and Co. William Blake illustrated an edition of these\n     tales, probably the original edition.\n\n     1813. Reprints of forgotten books, by Andrew Tuer: _Dame\n     Wiggins of Lee; The Gaping Wide-Mouthed Waddling Frog: The\n     House that Jack Built. Dame Wiggins of Lee_ was first\n     printed by A.K. Newman and Co., Minerva Press. Original cuts\n     by Stennet or Sinnet. Reprinted by Allen, 1885, with\n     illustrations added by Kate Greenaway.\n\n     1841. _King of the Golden River_. John Ruskin. Illustrated\n     by Richard Doyle, 1884.\n\n     1844. _Home Treasury_, by \"Felix Summerley\" (Sir Henry\n     Cole). \"Felix Summerley\" was a reformer in children's books.\n     He secured the assistance of many of the first artists of\n     his time: Mulready, Cope, Horsley, Redgrave, Webster, all of\n     the Royal Academy, Linnell and his three sons, Townsend, and\n     others. These little books were published by Joseph Cundall\n     and have become celebrated through Thackeray's mention of\n     them. They aimed to cultivate the affections, fancy,\n     imagination, and taste of children, they were a distinct\n     contrast to the Peter Parley books.\n     They were new books, new combinations of old materials, and\n     reprints, purified but not weakened. Their literature\n     possessed brightness. The books were printed in the best\n     style of the Chiswick Press, with bindings and end papers\n     especially designed. They included these tales: _Puck's\n     Reports to Oberon; Four New Fairy Tales; The Sisters; Golden\n     Locks; Grumble and Cherry; Little Red Riding Hood_, with\n     four colored illustrations by Webster; _Beauty and the\n     Beast_, with four colored illustrations by Horsley; _Jack\n     and the Bean-Stalk_, with four colored illustrations by\n     Cope; _Jack the Giant-Killer_, also illustrated by Cope; and\n     _The Pleasant History of Reynard, the Fox_, with forty of\n     the fifty-seven etchings made by Everdingen, in 1752.\n\n     1824-1883. Publications by Richard Doyle. These included\n     _The Fairy Ring_, 1845; _Snow White and Rosy Red_, 1871;\n     _Jack the Giant-Killer_, 1888, etc.\n\n     1846. _Undine_, by De La Mott\u00e9 Fouque, illustrated by John\n     Tenniel, published by James Burns.\n\n     1846. _The Good-Natured Bear_, by Richard Hengist Home, the\n     English critic. This was illustrated by Frederick Taylor,\n     published probably by Cundall. The book is now out of print,\n     but deserves to be reprinted.\n\n     1847-1864. _Cruikshank Fairy Library_. A series of small\n     books in paper wrappers. Not equal to the German popular\n     stories in illustration. It included _Tom Thumb_, 1830;\n     _John Gilpin_, 1828 (realistic); and _The Brownies_, 1870.\n\n     1847. _Bob and Dog Quiz_. Author unknown. Revived by E.V.\n     Lucas in _Old-fashioned Tales_. Illustrated by F.D. Bedford;\n     published by Stokes, 1905.\n\n     1850. _The Child's Own Book_. Published in London. There was\n     an earlier edition, not before 1830. The introduction, which\n     in the 1850 edition was copied from the original, indicates\n     by its style that the book was written early in the\n     nineteenth century. The book was the delight of generations\n     of children. It was a collection containing tales from\n     _Arabian Nights_, Perrault's tales of _Cinderella,\n     Puss-in-Boots, Hop-o'-my-Thumb, Bluebeard_, etc., D'Aulnoy's\n     _Valentine and Orson_, chap-book stories of _Dick\n     Whittinqton, Fortunatus, Griselda, Robinson Crusoe, The\n     Children in the Wood, Little Jack_, and others. A recent\n     edition of this book is in the _Young Folks' library_, vol.\n     1, published by Hall & Locke, Boston, 1901.\n\n     1850 (about). _The Three Bears_. Illustrated by Absalon and\n     Harrison Weir. Addy and Co.\n\n     1824-1889. Work by Mrs. Mary Whateley. She had a Moslem\n     school in Cairo and exerted a fairy tale influence.\n\n     1826-1887. _The Little Lame Prince; Adventures of a_\n     _Brownie_; and _The Fairy Book_. Produced by Mrs. Dinah\n     Muloch Craik.\n\n     1854. _The Rose and the Ring_, by William M. Thackeray. A\n     modern edition contains the original illustrations with\n     additions by Monsell. Crowell.\n\n     1855. _Granny's Story Box_. A collection. Illustrated by J.\n     Knight; published by Piper, Stephenson, and Spence.\n\n     1856. _Granny's Wonderful Chair_, containing _Prince\n     Fairy-foot_. Written by Frances Browne, a blind Irish\n     poetess.\n\n     1863. _Water Babies_. Charles Kingsley. Sir Noel Patton. The\n     Macmillan Company.\n\n     1865. _Stories Told to a Child, including Fairy Tales; Mopsa\n     the Fairy_, 1869. By Jean Ingelow.\n\n     1865. _Alice's Adventures in Wonderland_, by Lewis Carroll\n     (Charles Dodgson), with 42 illustrations by John Tenniel,\n     published by Macmillan Company, Oxford. First edition\n     recalled. Later editions were published by Richard Clay,\n     London.\n\n     1869. _At the Back of the North Wind_; _The Princess and the\n     Goblin_, 1871. By George MacDonald. Arthur Hughes. Strahan.\n     Reprinted by Blackie.\n\n     1870. _The Brownies_; 1882, _Old-fashioned Fairy Tales_. By\n     Juliana Ewing.\n\n     1873. _A Series of Toy-Books for Children_, by Walter Crane\n     (1845-1914). Published by Routledge and printed in colors by\n     Edmund Evans. Twenty-seven of these stories in nine volumes\n     are published by John Lane, Bodley Head. _Princess\n     Fioromonde_, 1880, _Grimm's Household Stories_, 1882, and\n     _The Cuckoo Clock_, 1887, all by Mrs. Molesworth, were also\n     illustrated by Crane.\n\n     1878-. _Picture-Books_, by Randolph Caldecott (1846-1886).\n     These were sixteen in number. They are published by F.\n     Warne.\n\n     1875-. _Stories from the Eddas; Dame Wiggins of Lee\n     (Allen)_; and _The Pied Piper of Hamelin_. These delightful\n     books by Kate Greenaway (1846-1901) were published by\n     Routledge and engraved by Edmund Evans. They are now\n     published by F. Warne.\n\nThis brings the English side of the subject down to\nthe present time. Present editions of fairy tales are\ngiven in Chapter VI.\n\nIn Germany there were also many translations from the French of\nPerrault and D'Aulnoy. There were editions in 1764, 1770, etc. Most of\nthose before the _Grimms' Tales_ were not important. One might\nmention:--\n\n     1782. _Popular German Stories_, by Mus\u00e4us.\n\n     1818. _Fables, Stories, and Tales for Children_, by Caroline\n     Stahl.\n\n     1819. _Bohemian Folk-Tales_, by Wolfgang Gerle.\n\n     1812-1814. _Kinder und Haus-M\u00e4rchen_, by Jacob and William\n     Grimm. The second edition was published in 3 volumes in\n     Berlin, by Reiner, in 1822. This latter work formed an era\n     in popular literature and has been adopted as a model by all\n     true collectors since.\n\nConcerning the modern German fairy tale, the Germans have paid such\nspecial attention to the selection and grading of children's\nliterature that their library lists are to be recommended. Wolgast,\nthe author of _Vom Kinderbuch_, is an authority on the child's book.\nThe fairy tale received a high estimate in Germany and no nation has\nattained a higher achievement in the art of the fairy tale book. The\npartial list simply indicates the slight knowledge of available\nmaterial and would suggest an inviting field to librarians. A great\nstimulus to children's literature would be given by a knowledge of\nwhat the Germans have already accomplished in this particular. In\nGermany a child's book, before it enters the market, must first be\naccepted by a committee who test the book according to a standard of\nexcellence. Any book not coming up to the standard is rejected. A few\nof the German editions in use are given:--\n\n     _Bilderb\u00fccher_, by L\u00f6wensohn.\n\n     _Bilderb\u00fccher_, by Scholz.\n\n     _Liebe M\u00e4rchen_. One form of the above, giving three tales\n     in one volume.\n\n     _M\u00e4rchen_, by W. Hauff, published by Lowe. One edition,\n     illustrated by Arthur Rackham, is published by Dutton. _The\n     Caravan Tales_ is an edition published by Stokes.\n\n     _M\u00e4rchen_, by Musaus, published by Von K.A. M\u00fcller.\n\n     1777-1843. _Undine_, by La Motte Fouqu\u00e9. A recent edition,\n     illustrated by Rackham, is published by Doubleday.\n\n     1817-77. _Books_ by Otillie Wildermuth. (What of hers should\n     be translated and included?)\n\n     _Hanschen im Blaubeerenwald; Hanschens Skifart M\u00e4rchen_,\n     both by Elsa Beskow, published by Carl.\n\n     _Windchen_; and _Wurzelkindern_, both by Sybille von Olfers,\n     published by Schreiber.\n\n     _Das M\u00e4rchen von den Sandmannlein_, by Riemann, published by\n     Schreiber.\n\n     _Der Froschk\u00f6nig_, by Liebermann, published by Scholz.\n\n     _Weisst du weviel Sternlein stehen_, by Lewinski, published\n     by Schreiber.\n\nIn Sweden there appeared translations of Perrault and D'Aulnoy. _The\nBlue-Bird_ was oftenest printed as a chap-book. Folk-tales were\ncollected in:--\n\n     _Swedish Tales_, a collection. H. Von Schroter.\n\n     1844. _Folk-Tales_. George Stevens and Hylten Cavallius.\n\nSweden has given us the modern fairy tale, _The Wonderful Adventures\nof Nils_ (2 volumes). This delightful tale by Selma Lagerl\u00f6f, born\n1858, and a winner of the Nobel prize, has established itself as a\nchild's classic. It has been translated by V.S. Howard, published by\nDoubleday, 1907.\n\nIn Norway we have:--\n\n     1851. _Norske Folkeeventyr_, collected by Asbj\u00f6rnsen and Moe.\n\n     1862. _Norse Tales_. The above tales translated by Sir\n     George W. Dasent.\n\nIn Denmark we have:--\n\n     _Sagas of Bodvar Biarke_.\n\n     _Danske Folkeeventyr_, by M. Winther, Copenhagen, 1823.\n\n     1843-60. _Danmarks Folkesagn_, 3 vols., by J.M. Thiele.\n\n     1805-1875. _Fairy Tales_, by Hans Christian Andersen. These\n     tales are important as marking the beginning of the modern\n     fairy tale. They are important also as literary fairy tales\n     and have not been equaled in modern times.\n\nIn Slavonia we have:--\n\n     _Wochentliche Nachrichten_, by Busching, published by Schottky.\n\nIn Hungary we have:--\n\n     1822. _Marchen der Magyaren_, by George von Gaal.\n\nIn Greece and Russia no popular tales were collected before the time\nof the Grimms.\n\nIn Italy the two great collections of the world of fairy tales have\nbeen mentioned. Italy has also given the modern fairy tale which has\nbeen accepted as a classic: _Pinocchio_, by C. Collodi (Carlo\nLorenzini). This has been illustrated by Copeland, published by Ginn;\nand illustrated by Folkhard, published by Dutton.\n\nIn America the publication of fairy tales was at first a reprinting of\nEnglish editions. In colonial times, previous to the revolution,\nbooksellers imported largely from England. After the revolution a new\nhome-growth in literature gradually developed. At first this was\nlargely in imitation of literature in England. After the time of\nWashington Irving a distinct American adult literature established\nitself. The little child's toy-book followed in the wake of the\ngrown-up's fiction. The following list[7] shows the growth of the\nAmerican fairy tale, previous to 1870. Recent editions are given in\nChapter VI.\n\n     1747-1840. _Forgotten Books of the American Nursery, A\n     History of the Development of the American Story-Book_.\n     Halsey, Rosalie V. Boston, C.E. Goodspeed & Co., 1911. 244\n     pp.\n\n     1785-1788. _Isaiah Thomas, Printer, Writer, and Collector.\n     Nichols, Charles L_. A paper read April 12, 1911, before the\n     Club of Odd Volumes.... Boston. Printed for the Club of Odd\n     Volumes, 1912. 144 pp. List of juveniles 1787-88: pp.\n     132-33.\n\n     1785. _Mother Goose_. The original Mother Goose's melody, as\n     first issued by John Newbery, of London, about A.D. 1760.\n     Reproduced in facsimile from the edition as reprinted by\n     Isaiah Thomas, of Worcester, Mass., A.D. 1785 (about) ...\n     Albany, J. Munsell's Sons, 1889. 28 pp.\n\n     1787. _Banbury Chap-Books and Nursery Toy-Book Literature_\n     (of the eighteenth and early nineteenth centuries) ...\n     Pearson, Edwin. With very much that is interesting and\n     valuable appertaining to the early typography of children's\n     books relating to Great Britain and America.... London, A.\n     Reader, 1890: 116 pp. Impressions from wood-cut blocks by T.\n     and J. Bewick, Cruikshank, Craig, Lee, Austin, and others.\n\n     1789. _The Olden Time Series_. Gleanings chiefly from old\n     newspapers of Boston and Salem, Mass. Brooks, Henry M.,\n     _comp_. Boston, Ticknor & Co., 1886. 6 vols. _The Books that\n     Children Read in 1798_ ... by T.C. Cushing: vol. 6, pp.\n     62-63.\n\n     1800-1825. Goodrich, S.G. _Recollections of a Lifetime_.\n     New York, Miller, Orton, and Mulligan, 1856. 2 vols. Children's\n     books (1800-1825): vol. 1, pp. 164-74.\n\n     1686. _The History of Tom Thumb_. John Dunton, Boston.\n\n     1728. _Chap-Books_. Benjamin Franklin, Philadelphia.\n\n     1730. _Small Histories_. Andrew Bradford, Philadelphia.\n     These included _Tom Thumb_, _Tom Hickathrift_, and _Dick\n     Whittington_.\n\n     1744. _The Child's New Plaything_. Draper & Edwards, Boston.\n     Reprint. Contained alphabet in rhyme, proverbs, fables, and\n     stories: _St. George and the Dragon_; _Fortunatus_; _Guy of\n     Warwick_; _Brother and Sister_; _Reynard the Fox_; and _The\n     Wolf and the Kids_.\n\n     1750. John Newbery's books. Advertised in Philadelphia\n     _Gazette_. The _Pretty Book for Children_ probably included\n     _Cinderella_, _Tom Thumb_, etc.\n\n     1760. All juvenile publications for sale in England.\n     Imported and sold by Hugh Gaine, New York.\n\n     1766. _Children's books_. Imported and sold by John Mein, a\n     London bookseller who had a shop in Boston. Included _The\n     Famous Tommy Thumb's Story Book_; _Leo the Great Giant_;\n     _Urax, or the Fair Wanderer_; and _The Cruel Giant,\n     Barbarico_.\n\n     1787. All Newbery's publications. Reprinted by Isaiah\n     Thomas, Worcester, Mass.\n\n     1794. _Arabian Nights. The Arabian Nights Entertainments_\n     .... The first American edition.... Philadelphia, H. & P.\n     Rice; Baltimore, J. Rice & Co., 1794. 2 vols.\n\n     1804. _Blue Beard. A New History of Blue Beard, written by\n     Gaffer Black Beard, for the Amusement of Little Jack Black\n     and his Pretty Sisters_. Philadelphia, J. Adams, 1804. 31\n     pp.\n\n     1819. _Rip Van Winkle_. A legend included in the works of\n     Washington Irving, published in London, 1819.\n\n     1823. _A Visit from St. Nicholas_. Clement Clark Moore, in\n     Troy _Sentinel_, Dec. 23, 1823. Written the year before for\n     his own family. The first really good American juvenile\n     story, though in verse.\n\n     1825. _Babes in the Wood_. The history of the children of\n     the wood.... To which is added an interesting account of the\n     Captive Boy. New York, N.B. Holmes. 36 pp. Plates.\n\n     1833. _Mother Goose_. The only true Mother Goose Melodies;\n     an exact reproduction of the text and illustrations of the\n     original edition, published and copyrighted in Boston in\n     1833 by Munroe & Francis.... Boston, Lee & Shepard, 1905.\n     103 pp.\n\n     1836. _The Fairy Book_. With eighty-one engravings on wood,\n     by Joseph A. Adams. New York, Harper & Bros. 1836. 301 pp.\n     Introduction by \"John Smith.\" Edited by C.G. Verplanck,\n     probably.\n\n     1844. _Fairy Land, and Other Sketches for Youths_, by the\n     author of _Peter Parley's Tales_ (Samuel G. Goodrich).\n     Boston, J. Munroe & Co. 167 pp. Plates, Cromo. Lith. of\n     Bouv\u00e9 & Sharp, Boston.\n\n     1848. _Rainbows for Children_, by L. Maria Child, _ed_. New\n     York, C.S. Francis & Co. 170 pp. 28 original sketches ... by\n     S. Wallin.... B.F. Childs, wood engraver: p. 8. Advertising\n     pages: New books published by C.S. Francis & Co., N.Y....\n     _The Fairy Gift and the Fairy Gem_. Four volumes of choice\n     fairy tales. Each illustrated with 200 fine engravings by\n     French artists: p. 2.\n\n     1851. _Wonder Book_, by Nathaniel Hawthorne. Illustrated by\n     W. Crane, 60 designs, published by Houghton, 1910.\n\n     1852. _Legends of the Flowers_, by Susan Pindar. New York,\n     D. Appleton & Co., 178 pp.\n\n     1853. _Fairy Tales and Legends of Many Nations_, by Charles\n     B. Burkhardt. New York, Chas. Scribner. 277 pp. Illustrated\n     by W. Walcutt and J.H. Cafferty.\n\n     1854. _The Little Glass Shoe, and Other Stories for\n     Children_. Philadelphia, Charles H. Davis. 128 pp.\n     Advertising pages: A description of illustrated juvenile\n     books, published by Charles H. Davis: 16 pp. _A Book of\n     Fairy Stories_: p. 9.\n\n     1854. _The History of Whittington and His Cat_. Miss Corner\n     and Alfred Crowquill. _Dick Whittington_ is said to have\n     been the best seller among juvenile publications for five\n     hundred years.\n\n     1855. _Flower Fables_, by Louisa May Alcott. Boston, G.W.\n     Briggs & Co. 182 pp.\n\n     1855. _The Song of Hiawatha_, by Henry Wadsworth Longfellow.\n     Published now by Houghton, illustrated by Frederick\n     Remington.\n\n     1864. _Seaside and Fireside Fairies_, by George Blum.\n     Translated from the German of Georg Blum and Louis Wahl. By\n     A.L. Wister. Philadelphia, Ashmead & Evans, 292 pp.\n\n     1867. _Grimm's Goblins_, selected from the _Household\n     Stories_ of the Brothers Grimm. Jacob L.K. Grimm. Boston,\n     Ticknor & Fields. 111 pp.\n\n     1867. _Fairy Book. Fairy Tales of All Nations_, by Edouard\n     Laboulaye. Translated by Mary Booth. New York, Harper &\n     Bros., 363 pp. Engravings.\n\n     1867. _The Wonderful Stories of Fuz-buz the Fly and Mother\n     Grabem the Spider_. By S. Weir Mitchell. Philadelphia, J.B.\n     Lippincott & Co. 79 pp.\n\n     1868. _Folks and Fairies_. Stories for little children. Lucy\n     Comfort. New York, Harpers, 259 pp. Engravings. Advertising\n     pages: Six fairy tales published by Harper & Bros.\n\n     1870. _Cinderella, or The Little Glass Slipper_. Boston,\n     Fields, Osgood & Co. 1871. 8 pp. Colored plates by Alfred\n     Fredericks.\n\n     1873. _Mother Goose_. Illustrations of Mother Goose's\n     Melodies. By Alexander Anderson. New York. Privately printed\n     by C.L. Moreau (Analectic Press), 1873, 36 1. 10 numb. 1.\n     (Designed and engraved on wood.)\n\n     1870. _Beauty and the Beast_, by Albert Smith. New York,\n     Manhattan Pub. Co., 1870. 64 pp. With illustrations by\n     Alfred Crowquill.\n\nThis brings the American child's fairy tale up to recent publications\nof the present day which are given in the chapter, \"Sources of\nMaterial.\" An attempt has been made here to give a glimpse of folk and\nfairy tales up to the time of the Grimms, and a view of modern\npublications in France, Germany, England, and America. The Grimms\nstarted a revolution in folk-lore and in their lifetime took part in\nthe collection of many tales of tradition and influenced many others\nin the same line of work. An enumeration of what was accomplished in\ntheir lifetime appears in the notes of _Grimm's Household Tales_,\nedited by Margaret Hunt, published by Bonn's Libraries, vol. II, pp.\n531. etc.\n\nIn modern times the Folk-Lore Society of England and America has been\nestablished. Now almost every nation has its folk-lore society and\nfolk-tales are being collected all over the world. Altogether probably\nRussia has collected fifteen hundred such tales, Germany twelve\nhundred, Italy and France each one thousand, and India seven hundred.\nThe work of the Grimms, ended in 1859, was continued by Emanuel\nCosquin, who, in his _Popular Tales of Lorraine_, has made the most\nimportant recent contribution to folklore,--important for the European\ntale and important as showing the relation of the European tale to\nthat of India.\n\nThe principal recent collections of folk-lore are:--\n\n     _Legends and Fairy Tales of Ireland_. Croker. 1825.\n     _Welsh and Manx Tales_. Sir John Rhys. 1840-.\n     _Popular Rhymes of Scotland_. Chambers. 1847.\n     _Tales of the West Highlands_. Campbell. 1860.\n     _Popular Tales from the Norse_. Dasent. 1862.\n     _Zulu Nursery Tales_. Callaway. 1866.\n     _Old Deccan Days_. Frere. 1868.\n     _Fireside Tales of Ireland_. Kennedy. 1870.\n     _Indian Fairy Tales_. Miss Stokes. 1880.\n     _Buddhist Birth Stories_. Rhys Davids. 1880.\n     _Kaffir Folk-Lore_. Theal. 1882.\n     _Folk-Tales of Bengal_. Day. 1883.\n     _Wide Awake Stories_. Steel and Temple. 1884.\n     _Italian Popular Tales_. Crane. 1885.\n     _Popular Tales of Lorraine_. Cosquin. 1886.\n     _Popular Tales and Fictions_. Clouston. 1887.\n     _Folk-Tales of Kashmir_. Knowles. 1887.\n     _Tales of Ancient Egypt_. Maspero. 1889.\n     _Tales of the Sun_. Mrs. Kingscote. 1890.\n     _Tales of the Punjab_. Steel. 1894.\n     _Jataka Tales_. Cowell. 1895.\n     _Russian Folk-Tales_. Bain. 1895.\n     _Cossack Fairy Tales_. Bain. 1899.\n     _New World Fairy Book_. Kennedy. 1906.\n     _Fairy Tales, English, Celtic, and Indian_. Joseph Jacobs.\n       1910-11.\n\nThis brings the subject down to the present time. The present-day\ncontributions to folk-lore are found best in the records of the\nFolk-lore Society, published since its founding in London, in 1878;\nand daily additions, in the folk-lore journals of the various\ncountries.\n\n\n\n\nREFERENCES\n\n\n     Adams, Oscar Fay: _The Dear Old Story-Tellers_. Lothrop.\n\n     Ashton, John: _Chap-Books of the 18th Century_. Chatto &\n       Windus. London, 1882.\n\n     Bunce, John T.: _Fairy Tales, Origin and Meaning_. Macmillan,\n       1878.\n\n     Chamberlain, A.F.: _The Child and Childhood in Folk-Thought_.\n       Macmillan.\n\n     Clouston, W.A.: _Popular Tales and Fictions_. Edinburgh,\n       Blackwoods, 1887.\n\n     Cyclop\u00e6dia: \"Mythology.\" _Encyclop\u00e6dia Britannica_.\n\n     Cox, Miss Roalfe: _Cinderella_. Introduction by Lang. Nutt, 1892.\n\n     Dasent, George W.: _Popular Tales from the Norse_. Introduction.\n       Routledge.\n\n     Fiske, John: _Myth and Myth-Makers_. Houghton.\n\n     Field, Mrs. E.M.: _The Child and His Book_. Gardner, Darton & Co.\n\n     Frazer, J.G.: _The Golden Bough_. (Spring ceremonies and\n       primitive view of the soul.) Macmillan.\n\n     Frere, Miss: _Old Deccan Days_. Introduction. McDonough.\n\n     Godfrey, Elizabeth: _English Children in the Olden Time_. Dutton,\n       1907.\n\n     Grimm, William and Jacob: _Household Tales_. Edited with\n       valuable notes, by Margaret Hunt. Introduction by Lang. Bell &\n       Sons, Bohn's Libraries.\n\n     Guerber, H\u00e9l\u00e8ne A.: _Legends of the Middle Ages_. (Reynard the\n       Fox) American Book Co.\n\n     Halliwell, J.O.: _Nursery Rhymes of England_.\n\n     _Ibid.: Popular Rhymes and Nursery Tales_. Smith, 1849.\n\n     Halsey, Rosalie: _Forgotten Books of the American Nursery_.\n       Goodspeed, Boston, 1911.\n\n     Hartland, E.S.: _Science of Fairy Tales_. Preface. Scribner,\n       1891.\n\n     _Ibid.: English Folk and Fairy Tales_. Camelot series, Scott,\n       London.\n\n     Hartland, Sidney: _Legend of Perseus_ (origin of a tale).\n\n     Hewins, Caroline M.: _The History of Children's Books_.\n       _Atlantic_, 61: 112 (Jan., 1888).\n\n     Jacobs, Joseph: _Reynard the Fox_. Cranford Series. Macmillan.\n\n     _Ibid.: Fairy Tales_. Introduction, Notes and Appendix. Putnam.\n\n     Keightley, Thomas: _Fairy Mythology_. Macmillan.\n\n     _Ibid.: Tales and Popular Fictions_. Whittaker & Co., London,\n       1834.\n\n     Lang, Andrew: _Custom and Myth_. Longmans, London, 1893.\n\n     Mabie, Hamilton: _Fairy Tales Every Child Should Know_.\n       Introduction. Doubleday.\n\n     MacDonald, George: _The Light Princess_. Introduction. Putnam.\n\n     Magazine: \"Myths and Fairy Tales.\" _Fortnightly Review_, May,\n       1872.\n\n     Mitchell, Donald G.: _About Old Story-Tellers_. Scribners. 1877.\n\n     Moses, Montrose: _Children's Books and Reading_. Kennerley.\n\n     Mulock, Miss: _Fairy Book_. Preface. Crowell.\n\n     Pearson, Edwin. _Banbury Chap-Books and Nursery Toy-Book\n       Literature_ (18th and early 19th centuries). London. A.\n       Reader, 1890.\n\n     Perrault, Charles: _Popular Tales_. Edited by A. Lang.\n       Introduction. Oxford, 1888.\n\n     Ritson, J.: _Fairy Tales_. Pearson, London, 1831.\n\n     Scott, Sir Walter: _Minstrelsy of Scottish Border_. Preface to\n       Tamlane, \"Dissertation on Fairies,\" p. 108.\n\n     Skinner, H.M.: _Readings in Folk-Lore_. American Book Co.\n\n     Steel, Flora A.: _Tales of the Punjab_. Introduction and\n       Appendix. Macmillan.\n\n     Tabart, Benj.: _Fairy Tales, or the Lilliputian Cabinet_. London,\n       1818. Review: _The Quarterly Review_, 1819, No. 41, pp. 91-112.\n\n     Tappan, Eva M.: _The Children's Hour_. Introduction to\n       \"Folk-Stories and Fables.\" Houghton.\n\n     Taylor, Edgar: _German Popular Stories_. Introduction by Ruskin.\n       Chatto & Windus.\n\n     Tylor, E.B.: _Primitive Culture_. Holt, 1889.\n\n     Warner: _Fairy Tales. Library of the World's Best Literature_,\n       vol. 30.\n\n     Welsh, Charles: _Fairy Tales Children Love_. Introduction. Dodge.\n\n     _Ibid.:_ \"The Early History of Children's Books in New\n       England.\" _New England Magazine_, n.s. 20: 147-60 (April,\n       1899).\n\n     _Ibid.: A Chap-Book_. Facsimile Edition. 1915. World Book Co.\n\n     _Ibid.: Mother Goose_. Facsimile Edition. 1915. World Book Co.\n\n     White, Gleeson: \"Children's Books and Their Illustrators.\"\n       _International Studio_, Special Winter Number, 1897-98.\n\n\n\n\n\nCHAPTER V\n\n\n\nCLASSES OF FAIRY TALES\n\n\n     But the fact that after having been repeated for two\n     thousand years, a story still possesses a perfectly fresh\n     attraction for a child of to-day, does indeed prove that\n     there is in it something of imperishable worth.--Felix\n     Adler.\n\n     Whatever has, at any time, appealed to the best emotions and\n     moved the heart of a people, must have for their children's\n     children, political, historical, and cultural value. This is\n     especially true of folk-tales and folk-songs.--P.P. Claxton,\n     _United States Commissioner of Education_.\n\n\nI. AVAILABLE TYPES OF TALES\n\nFrom all this wealth of accumulated folk-material which has come down\nto us through the ages, we must select, for we cannot crowd the child\nwith all the folk-stuff that folk-lore scientists are striving to\npreserve for scientific purposes. Moreover, naturally much of it\ncontains the crudities, the coarseness, and the cruelties of primitive\ncivilization; and it is not necessary that the child be burdened with\nthis natural history of a past society. We must select from the past.\nIn this selection of what shall be presented to the child we must be\nguided by two standards: First, we owe it to the child to hand on to\nhim his literary heritage; and secondly, we must help him to make of\nhimself the ideal man of the future. Therefore the tales we offer must\ncontribute to these two standards. The tales selected will be those\nwhich the ages have found interesting; for the fact that they have\nlived proves their fitness, they have lived because there was\nsomething in them that appealed to the universal heart. And because of\nthis fact they will be those which in the frequent re-tellings of ages\nhave acquired a classic form and therefore have within themselves the\npossibility of taking upon them a perfect literary form. The tales\nselected will be those tales which, as we have pointed out, contain\nthe interests of children; for only through his interests does the\nchild rise to higher interests and finally develop to the ideal man.\nThey will be those tales which stand also the test of a classic, the\ntest of literature, the test of the short-story, and the test of\nnarration and of description. The child would be handicapped in life\nto be ignorant of these tales.\n\nTales suitable for the little child may be viewed under these seven\nclasses of available types: (1) the accumulative, or clock story; (2)\nthe animal tale; (3) the humorous tale; (4) the realistic tale; (5)\nthe romantic tale; (6) the old tale; and (7) the modern tale.\n\n\nI. The Accumulative Tale.\n\nThe accumulative tale is the simplest form of the tale. It may be:--\n\n     (1) A tale of simple repetition.\n\n     (2) A tale of repetition with an addition, incremental iteration.\n\n     (3) A tale of repetition, with variation.\n\nRepetition and rhythm have grown out of communal conditions. The old\nstories are measured utterances. At first there was the spontaneous\nexpression of a little community, with its gesture, action, sound, and\ndance, and the word, the shout, to help out. There was the group which\nrepeated, which acted as a chorus, and the leader who added his\nindividual variation. From these developed the folk-tale with the\ndialogue in place of the chorus.\n\nOf the accumulative tales, _The House that Jack Built_ illustrates the\nfirst class of tales of simple repetition. This tale takes on a new\ninterest as a remarkable study of phonics. If any one were so happy as\nto discover the phonic law which governs the euphony produced by the\nsuccession of vowels in the lines of Milton's poetry, he would enjoy\nthe same law worked out in _The House that Jack Built_. The original,\nas given by Halliwell in his _Nursery Rhymes of England_, is said to\nbe a Hebrew hymn, at first written in Chaldaic. To the Hebrews of the\nMiddle Ages it was called the _Haggadah_, and was sung to a rude chant\nas part of the Passover service. It first appeared in print in 1590,\nat Prague. Later, in Leipzig, it was published by the German scholar,\nLiebrecht. It begins:--\n\n     A kid, a kid, my father bought\n     For two pieces of money:\n     A kid, a kid,\n     Then came the cat and ate the kid, etc.\n\nThen follow the various repetitive stanzas, the last one turning back\nand reacting on all the others:--\n\n     Then came the Holy One, blessed be He,\n     And killed the angel of death,\n     That killed the butcher,\n     That slew the ox,\n     That drank the water,\n     That quenched the fire,\n     That burned the staff,\n     That beat the dog,\n     That bit the cat,\n     That ate the kid,\n     That my father bought\n     For two pieces of money:\n     A kid, a kid.\n\nThe remarkable similarity to _The Old Woman, and Her Pig_[8] at once\nproclaims the origin of that tale also. The interpretation of this\ntale is as follows: The kid is the Hebrews; the father by whom it was\npurchased, is Jehovah; the two pieces of money are Aaron and Moses;\nthe cat is the Assyrians; the dog is the Babylonians; the staff is the\nPersians; the fire is the Greek Empire and Alexander; the water is the\nRomans; the ox is the Saracens; the butcher is the Crusaders; and the\nangel of death is the Turkish Power. The message of this tale is that\nGod will take vengeance over the Turks and the Hebrews will be\nrestored to their own land.\n\nAnother tale of simple repetition, whose fairy element is the magic\nkey, is _The Key of the Kingdom_, also found in Halliwell's _Nursery\nRhymes of England_:--\n\n     This is the key of the kingdom.\n     In that kingdom there is a city,\n     In that city there is a town,\n     In that town there is a street,\n     In that street there is a lane,\n     In that lane there is a yard,\n     In that yard there is a house,\n     In that house there is a room,\n     In that room there is a bed,\n     On that bed there is a basket,\n     In that basket there are some flowers.\n     Flowers in the basket, basket on the bed,\n       bed in the room, etc.\n\n_The Old Woman and Her Pig_ illustrates the second class of\naccumulative tale, where there is an addition, and like _Titty Mouse\nand Tatty Mouse_, where the end turns back on the beginning and\nchanges all that precedes. Here there is a more marked plot. This same\ntale occurs in Shropshire Folk-Lore, in the _Scotch Wife and Her Bush\nof Berries_, in _Club-Fist_, an American folk-game described by\nNewell, in Cossack fairy tales, and in the Danish, Spanish, and\nItalian. In the Scandinavian, it is _Nanny, Who Wouldn't Go Home to\nSupper_, and in the Punjab, _The Grain of Corn_, also given in _Tales\nof Laughter_. I have never seen a child who did not like it or who was\nnot pleased with himself for accomplishing its telling. It lends\nitself most happily to illustration. _Titty Mouse and Tatty Mouse_\npleases because of the liveliness of its images, and because of the\ncatastrophe at the end, which affects the child just as the tumble of\nhis huge pile of blocks--the crash and general upheaval delight him.\nThis tale has so many variants that it illustrates well the diffusion\nof fairy tales. It is Grimm's _The Spider and the Flea_, which as we\nhave seen, is appealing in its simplicity; the Norse _The Cock Who\nFell into the Brewing Vat_; and the Indian _The Death and Burial of\nPoor Hen_. The curious succession of incidents may have been invented\nonce for all at some definite time, and from thence spread to all the\nworld.\n\n_Johnny Cake_ and _The Gingerbread Man_ also represent the second\nclass of accumulative tale, but show a more definite plot; there is\nmore story-stuff and a more decided introduction and conclusion. _How\nJack Went to Seek His Fortune_ also shows more plot. It contains a\ntheme similar to that of _The Bremen Town Musicians_, which is\ndistinctly a beast tale where the element of repetition remains to\nsustain the interest and to preserve unity, but where a full-fledged\nshort-story which is structurally complete, has developed. A fine\naccumulative tale belonging to this second class is the Cossack _Straw\nOx_, which has been described under \"The Short-Story.\" Here we have a\nsingle line of sequence which gets wound up to a climax and then\nunwinds itself to the conclusion, giving the child, in the plot,\nsomething of that pleasure which he feels in winding up his toy\nanimals to watch them perform in the unwinding.\n\n_The Three Bears_ illustrates the third class of repetitive story,\nwhere there is repetition and variation. Here the iteration and\nparallelism have interest like the refrain of a song, and the\ntechnique of the story is like that of _The Merchant of Venice_. This\nis the ideal fairy story for the little child. It is unique in that it\nis the only instance in which a tale written by an author has become a\nfolk-tale. It was written by Southey, and appeared in _The Doctor_, in\nLondon, in 1837. Southey may have used as his source, _Scrapefoot_,\nwhich Joseph Jacobs has discovered for us, or he may have used _Snow\nWhite_, which contains the episode of the chairs. Southey has given to\nthe world a nursery classic which should be retained in its purity of\nform. The manner of the Folk, in substituting for the little old woman\nof Southey's tale, Goldilocks, and the difference that it effects in\nthe tale, proves the greater interest children naturally feel in the\ntale with a child. Similarly, in telling _The Story of Midas_ to an\naudience of eager little people, one naturally takes the fine old myth\nfrom Ovid as Bulfinch gives it, and puts into it the Marigold of\nHawthorne's creation. And after knowing Marigold, no child likes the\nstory without her. Silver hair is another substitute for the little\nOld Woman in _The Three Bears_. The very little child's reception to\n_Three Bears_ will depend largely on the previous experience with\nbears and on the attitude of the person telling the story. A little\ngirl who was listening to _The Three Bears_ for the first time, as she\nheard how the Three Bears stood looking out of their upstairs window\nafter Goldilocks running across the wood, said, \"Why didn't Goldilocks\nlie down beside the Baby Bear?\" To her the Bear was associated with\nthe friendly Teddy Bear she took with her to bed at night, and the\nstory had absolutely no thrill of fear because it had been told with\nan emphasis on the comical rather than on the fearful. Similar in\nstructure to _The Three Bears_ is the Norse _Three Billy-Goats_, which\nbelongs to the same class of delightful repetitive tales and in which\nthe sequence of the tale is in the same three distinct steps.\n\n\nII. The Animal Tale\n\nThe animal tale includes many of the most pleasing children's tales.\nIndeed some authorities would go so far as to trace all fairy tales\nback to some ancestor of an animal tale; and in many cases this\ncertainly can be done just as we trace _Three Bears_ back to\n_Scrapefoot_. The animal tale is either an old beast tale, such as\n_Scrapefoot_ or _Old Sultan_; or a fairy tale which is an elaborated\ndevelopment of a fable, such as _The Country Mouse and the City Mouse_\nor the tales of _Reynard the Fox_ or Grimm's _The King of the Birds_,\nand _The Sparrow and His Four Children_; or it is a purely imaginary\ncreation, such as Kipling's _The Elephant's Child_ or Andersen's _The\nBronze Pig_.\n\nThe beast tale is a very old form which was a story of some successful\nprimitive hunt or of some primitive man's experience with animals in\nwhich he looked up to the beast as a brother superior to himself in\nstrength, courage, endurance, swiftness, keen scent, vision, or\ncunning. Later, in more civilized society, when men became interested\nin problems of conduct, animals were introduced to point the moral of\nthe tale, and we have the fable. The fable resulted when a truth was\nstated in concrete story form. When this truth was in gnomic form,\nstated in general terms, it became compressed into the proverb. The\nfable was brief, intense, and concerned with the distinguishing\ncharacteristics of the animal characters, who were endowed with human\ntraits. Such were the _Fables of \u00c6sop_. Then followed the beast epic,\nsuch as _Reynard the Fox_, in which the personality of the animals\nbecame less prominent and the animal characters became types of\nhumanity. Later, the beast tale took the form of narratives of\nhunters, where the interest centered in the excitement of the hunt and\nin the victory of the hunter. With the thirst for universal knowledge\nin the days following Bacon there gradually grew a desire to learn\nalso about animals. Then followed animal anecdotes, the result of\nobservation and imagination, often regarding the mental processes of\nanimals. With the growth of the scientific spirit the interest in\nnatural history developed. The modern animal story since 1850 has a\nbasis of natural science, but it also seeks to search the motive back\nof the action, it is a psychological romance. The early modern animal\ntales such as _Black Beauty_ show sympathy with animals, but their\npsychology is human. In Seton Thompson's _Krag_, which is a\nmasterpiece, the interest centers about the personality and the\nmentality of the animal and his purely physical characteristics.\nPerhaps it is true that these physical characteristics are somewhat\nimaginary and over-drawn and that overmuch freedom has been used in\ninterpreting these physical signs. In Kipling's tales we have a later\nevolution of the animal tale. His animals possess personality in\nemotion and thought. In the forest-friends of Mowgli we have humanized\nanimals possessing human power of thinking and of expressing. In real\nlife animal motives seem simple, one dominant motive crowds out all\nothers. But Kipling's animals show very complex motives, they reason\nand judge more than our knowledge of animal life justifies. In the\n_Just-So Stories_ Kipling has given us the animal _pourquois_ tale\nwith a basis of scientific truth. Of these delightful fairy tales,\n_The Elephant's Child_ and _How the Camel Got His Hump_ may be used in\nthe kindergarten. Perhaps the latest evolution of the animal tale is\nby Charles G.D. Roberts. The animal characters in his _Kindred of the\nWild_ are given animal characteristics. They have become interesting\nas exhibiting these traits and not as typifying human motives; they\nshow an animal psychology. The tales have a scientific basis, and the\ninterest is centered in this and not in an exaggeration of it.\n\nHaving viewed the animal tale as a growth let us look now at a few\nindividual tales:--\n\nOne of the most pleasing animal tales is _Henny_ _Penny_, or _Chicken\nLichen_, as it is sometimes called, told by Jacobs in _English Fairy\nTales_. Here the enterprising little hen, new to the ways of the\nworld, ventures to take a walk. Because a grain of corn falls on her\ntop-knot, she believes the sky is falling, her walk takes direction,\nand thereafter she proceeds to tell the king. She takes with her all\nshe meets, who, like her, are credulous,--Cocky Locky, Ducky Daddies,\nGoosey Poosey, and Turky Lurky,--until they meet Foxy Woxy, who leads\nthem into his cave, never to come out again. This is similar to the\ndelightful Jataka tale of _The Foolish Timid Rabbit_, which before has\nbeen outlined for telling, which has been re-told by Ellen C. Babbit.\nIn this tale a Rabbit, asleep under a palm tree, heard a noise, and\nthought \"the earth was all breaking up.\" So he ran until he met\nanother Rabbit, and then a hundred other Rabbits, a Deer, a Fox, an\nElephant, and at last a Lion. All the animals except the Lion accepted\nthe Rabbit's news and followed. But the Lion made a stand and asked\nfor facts. He ran to the hill in front of the animals and roared three\ntimes. He traced the tale back to the first Rabbit, and taking him on\nhis back, ran with him to the foot of the hill where the palm tree\ngrew. There, under the tree, lay a cocoanut. The Lion explained the\nsound the Rabbit had heard, then ran back and told the other animals,\nand they all stopped running. _Brother Rabbit Takes Some Exercise_, a\ntale from _Nights with Uncle Remus_ is very similar to _Henny_ _Penny_\nand could be used at the same time. It is also similar to Grimm's\n_Wolf and Seven Kids_, the English _Story of Three Pigs_, the Irish\n_The End of the World_, and an Italian popular tale.\n\n_The Sheep and the Pig_, adapted from the Scandinavian by Miss Bailey\nin _For the Children's Hour_, given also in Dasent's _Tales from the\nField_, is a delightfully vivacious and humorous tale which reminds\none of _Henny Penny_. A Sheep and Pig started out to find a home, to\nlive together. They traveled until they met a Rabbit and then followed\nthis dialogue:\n\n     _R_. \"Where are you going?\"\n\n     _S. and P_. \"We are going to build us a house.\"\n\n     _R_. \"May I live with you?\"\n\n     _S. and P_. \"What can you do to help?\"\n\nThe Rabbit scratched his leg with his left hind foot for a minute and\nsaid, \"I can gnaw pegs with my sharp teeth and I can put them in with\nmy paws.\" \"Good,\" said the Sheep and the Pig, \"you may come with us!\"\nThen they met a gray Goose who could pull moss and stuff it in cracks,\nand a Cock who could crow early and waken all. So they all found a\nhouse and lived in it happily.\n\nThe Spanish _Media Pollito_, or _Little Half-Chick_, is another\naccumulative animal tale similar to _Henny Penny_, and one which is\nworthy of university study. The disobedient but energetic hero who\nwent off to Madrid is very appealing and constantly amusing, and the\ntale possesses unusual beauty. The interest centers in the character.\nThe beauty lies in the setting of the adventures, as Medio Pollito\ncame to a stream, to a large chestnut tree, to the wind, to the\nsoldiers outside the city gates, to the King's Palace at Madrid, and\nto the King's cook, until in the end he reached the high point of\nimmortalization as the weather-vane of a church steeple.\n\n_The Story of Three Pigs_ could contend with _The Three Bears_ for the\nposition of ideal story for little people. It suits them even better\nthan _The Three Bears_, perhaps because they can identify themselves\nmore easily with the hero, who is a most winning, clever individual,\nthough a Pig. The children know nothing of the standards of the Greek\ndrama, but they recognize a good thing; and when the actors in their\nstory are great in interest and in liveliness, they respond with a\ncorresponding appreciation. The dramatic element in _The Three Pigs_\nis strong and all children love to dramatize it. The story is the\nItalian _Three Goslings_, the Negro _Tiny Pig_, the Indian _Lambikin_,\nand the German _The Wolf and Seven Kids_. This tale is given by Andrew\nLang in his _Green Fairy Book_. The most satisfactory presentation of\nthe story is given by Leslie Brooke in his _Golden Goose Book_. The\nGerman version occurred in an old poem, _Reinhart Fuchs_, in which the\nKid sees the Wolf through a chink. Originally the characters must have\nbeen Kids, for little pigs do not have hair on their \"chinny chin\nchins.\"\n\nOne of the earliest modern animal tales is _The Good-Natured Bear_,[9]\nby Richard Hengist Horne, the English critic. This tale was written in\n1846, just when men were beginning to gain a greater knowledge of\nanimal life. It is both psychological and imaginative. It was brought\nto the attention of the English public in a criticism, _On Some\nIllustrated Christmas Books_,[10] by Thackeray, who considered it one\nof the \"wittiest, pleasantest, and kindest of books, and an admirable\nstory.\" It is now out of print, but it seems to be worthy of being\npreserved and reprinted. The story is the autobiography of a Bear, who\nfirst tells about his interesting experiences as a Baby Bear. He first\ngives to Gretchen and the children gathered about him an account of\nhis experience when his Mother first taught him to walk alone.\n\n\nIII. The Humorous Tale\n\nThe humorous tale is one of the most pleasing to the little child. It\npleases everybody, but it suits him especially because the essence of\nhumor is a mixture of love and surprise, and both appeal to the child\ncompletely. Humor brings joy into the world, so does the little child,\ntheir very existence is a harmony. Humor sees contrasts, shows good\nsense, and feels compassion. It stimulates curiosity. Its laughter is\nimpersonal and has a social and spiritual effect. It acts like fresh\nair, it clarifies the atmosphere of the mind and it enables one to see\nthings in a sharply defined light. It reveals character; it breaks up\na situation, reconstructs it, and so views life, interprets it. It\nplays with life, it frees the spirit, and it invigorates the soul.\n\nSpeaking of humor, Thackeray, in \"A Grumble About Christmas Books,\"\n1847, considered that the motto for humor should be the same as the\ntalisman worn by the Prioress in Chaucer:--\n\n     About hire arm a broche of gold ful shene,\n     On which was first ywritten a crowned _A_,\n     And after, _Amor vincit omnia_.\n\nHe continued: \"The works of the real humorist always have this sacred\npress-mark, I think. Try Shakespeare, first of all, Cervantes,\nAddison, poor Dick Steele, and dear Harry Fielding, the tender and\ndelightful Jean Paul, Sterne, and Scott,--and Love is the humorist's\nbest characteristic and gives that charming ring to their laughter in\nwhich all the good-natured world joins in chorus.\"\n\nThe humorous element for children appears in the repetition of phrases\nsuch as we find in _Three Bears_, _Three Pigs_, and _Three\nBilly-Goats_; in the contrast in the change of voice so noticeable\nalso in these three tales; in the contrast of ideas so conspicuous in\nKipling's _Elephant's Child_; and in the element of surprise so\nevident when Johnny Cake is eaten by the Fox, or when Little Hen eats\nthe bread, or when Little Pig outwits the Wolf. The humorous element\nfor children also lies in the incongruous, the exaggerated, or in the\ngrotesque, so well displayed in Lear's _Nonsense Rhymes_, and much of\nthe charm of _Alice in Wonderland_. The humorous element must change\naccordingly for older children, who become surprised less easily, and\nwhose tales therefore, in order to surprise, must have more clever\nideas and more subtle fancy.\n\n_The Musicians of Bremen_ is a good type of humorous tale. It shows\nall the elements of true humor. Its philosophy is healthy; it views\nlife as a whole and escapes tragedy by seeing the comic situation in\nthe midst of trouble. It is full of the social good-comradeship which\nis a condition of humor. It possesses a suspense that is unusual, and\nis a series of surprises with one grand surprise to the robbers at\ntheir feast as its climax. The Donkey is a noble hero who breathes a\nspirit of courage like that of the fine Homeric heroes. His\nachievement of a home is a mastery that pleases children. And the\nmessage of the tale, which after all, is its chief worth--that there\nought to be room in the world for the aged and the worn out, and that\n\"The guilty flee when no man pursueth\"--appeals to their compassion\nand their good sense. The variety of noises furnished by the different\ncharacters is a pleasing repetition with variation that is a special\nelement of humor; and the grand chorus of music leaves no doubt as to\nthe climax. We must view life with these four who are up against the\nfacts of life, and whose lot presents a variety of contrast. The\nDonkey, incapacitated because of old age, had the courage to set out\non a quest. He met the Dog who could hunt no longer, stopping in the\nmiddle of the road, panting for breath; the Cat who had only stumps\nfor teeth, sitting in the middle of the road, wearing an unhappy heart\nbehind a face dismal as three rainy Sundays; and the Rooster who just\noverheard the cook say he was to be made into soup next Sunday,\nsitting on the top of the gate crowing his last as loud as he could\ncrow. The Donkey, to these musicians he collected, spoke as a leader\nand as a true humorist.\n\nIn a simple tale like _The Bremen Town Musicians_ it is surprising how\nmuch of interest can develop: the adventure in the wood; the motif of\nsome one going to a tree-top and seeing from there a light afar off,\nwhich appears in _Hop-o'-my-Thumb_ and in many other tales; the\nexample of co\u00f6peration, where all had a unity of purpose; an example\nof a good complete short-story form which illustrates introduction,\nsetting, characters and dialogue--all these proclaim this one of the\nfine old stories. In its most dramatic form, and to Jacobs its most\nimpressive one, it appears in the Celtic tales as _Jack and His\nComrades_. It may have been derived from _Old Sultan_, a Grimm tale\nwhich is somewhat similar to _The Wolf and the Hungry Dog_, in\nSteinhowel, 1487. _How Jack Sought His Fortune_ is an English tale of\nco\u00f6peration which is similar but not nearly so pleasing. A Danish tale\nof cooperation, _Pleiades_, is found in Lansing's _Fairy Tales_. _How\nSix Traveled Through the World_ is a Grimm tale which, though suited\nto older children, contains the same general theme.\n\nVery many of the tales suited to kindergarten children which have been\nmentioned in various chapters, contain a large element of humor. The\nnonsense drolls are a type distinct from the humorous tale proper, yet\ndistinctly humorous. Such are the realistic _Lazy Jack_, _Henny\nPenny_, and _Billy Bobtail_. Then since repetition is an element of\nhumor, many accumulative tales rank as humorous: such as _Lambikin_,\n_The Old Woman and Her Pig_, _Medio Pollito_, _The Straw Ox_, _Johnny\nCake_, and _Three Billy-Goats_. Among the humorous tales proper are\nAndersen's _Snow Man_; _The Cat and the Mouse in Partnership_; _The\nRabbit Who Wanted Red Wings_; _The Elephant's Child_; and very many of\nthe Uncle Remus Tales, such as _Why the Hawk Catches Chickens_,\n_Brother Rabbit and Brother Tiger_, and _Heyo, House_! all in _Uncle\nRemus and the Little Boy_. _The Story of Little Black Mingo_ in _Tales\nof Laughter_, is a very attractive humorous tale, but it is more\nsuited to the child of the second grade.\n\n_Drakesbill_ is a French humorous accumulative tale with a plot\nconstructed similarly to that of the Cossack _Straw Ox_. Drakesbill,\nwho was so tiny they called him Bill Drake, was a great worker and\nsoon saved a hundred dollars in gold which he lent to the King. But as\nthe King never offered to pay, one morning Drakesbill set out, singing\nas he went, \"Quack, quack, quack, when shall I get my money back?\" To\nall the objects he met and to their questions he replied, \"I am going\nto the King to ask him to pay me what he owes me.\" When they begged,\n\"Take me with you!\" he was willing, but he said, \"You must make\nyourself small, get into my mouth, and creep under my tongue!\" He\narrived at the palace with his companions concealed in his mouth: a\nFox, a Ladder, Laughing River, and Wasp-Nest. On asking to see the\nKing, he was not escorted with dignity but sent to the poultry-yard,\nto the turkeys and chickens who fought him. Then he surprised them by\ncalling forth the Fox who killed the fowls. When he was thrown into a\nwell, he called out the Ladder to help him. When about to be thrown\ninto the fire, he called out the River who overwhelmed the rest and\nleft him serenely swimming. When surrounded by the King's men and\ntheir swords he called out the Wasp-Nest who drove away all but\nDrakesbill, leaving him free to look for his money. But he found none\nas the King had spent all. So he seated himself upon the throne and\nbecame King. The element of humor here, as has been mentioned\npreviously, is that Drakesbill, after every rebuff of fortune\nmaintained his happy, fresh vivacity, and triumphantly repeated his\none cry, \"Quack, quack, quack, when shall I get my money back?\" There\nis humor, too, in the repetition of dialogue, as on his way to the\nKing he met the various characters and talked to them. Humor lies also\nin the real lively surprises which Drakesbill so effectively gave\nduring his visit to the King. One can see how this tale might have\nbeen a satire reflecting upon a spendthrift King.\n\n\nIV. The Realistic Tale\n\nThe realistic fairy tale has a great sympathy with humble life and\ndesires to reproduce faithfully all life worth while. The spirit of it\nhas been expressed by Kipling--\n\n                         each in his separate star,\n     Shall draw the Thing as he sees It, for the God of Things as They\n       are.\n\nSometimes the realistic story has a scientific spirit and interest. A\nrealistic tale that is good will present not only what is true but\nwhat is possible, probable, or inevitable, making its truth\nimpressive. Very often it does not reach this ideal. A transcript of\nactual life may be selected, but that is a photograph and not a\npicture with a strong purpose to make one point, and with artistic\ndesign. The characters, though true to life, may be lifeless and\ncolorless, and their doings and what happens to them uninteresting.\nFor this reason, many modern writers of tales for children, respecting\nthe worth of the realistic, neglect to comply with what the realistic\ndemands, and produce insipid, unconvincing tales. The realistic tale\nshould deal with the simple and the ordinary rather than with the\nexceptional; and the test is not how much, but how little, credulity\nit arouses.\n\nGrimm's _Hans in Luck_ is a perfect realistic tale, as are Grimm's\n_Clever Elsa_ and the Norse _Three Sillies_, although these tales are\nsuited to slightly older children. The drolls often appear among the\nrealistic tales, as if genuine humor were more fresh when related to\nthe things of actual life. The English _Lazy Jack_ is a delightful\nrealistic droll which contains motifs that appear frequently among the\ntales. The Touchstone motif of a humble individual causing nobility to\nlaugh appears in Grimm's _Dummling and His Golden Goose_. It appears\nalso in _Zerbino the Savage_, a most elaborated Neapolitan tale retold\nby Laboulaye in his _Last Fairy Tales_; a tale full of humor, wit, and\nsatire that would delight the cultured man of the world.\n\nIn _Lazy Jack_ the setting is in humble life. A poor mother lived on\nthe common with her indolent son and managed to earn a livelihood by\nspinning. One day the mother lost patience and threatened to send from\nhome this idle son if he did not get work. So he set out. Each day he\nreturned to his mother with his day's earnings. The humor lies in what\nhe brought, in how he brought it, and in what happened to it; in the\nadmonition of his mother, \"You should have done so and so,\" and Jack's\none reply, \"I'll do so another time\"; in Jack's literal use of his\nmother's admonition, and the catastrophe it brought him on the\nfollowing day, and on each successive day, as he brought home a piece\nof money, a jar of milk, a cream cheese, a tom-cat, a shoulder of\nmutton, and at last a donkey. The humor lies in the contrast between\nwhat Jack did and what anybody \"with sense\" knows he ought to have\ndone, until when royalty beheld him carrying the donkey on his\nshoulders, with legs sticking up in the air, it could bear no more,\nand burst into laughter. This is a good realistic droll to use because\nit impresses the truth, that even a little child must reason and judge\nand use his own common sense.\n\n_The Story of the Little Red Hen_ is a realistic tale which presents a\nsimple picture of humble thrift. Andersen's _Tin Soldier_ is a\nrealistic tale which gives an adventure that might happen to a real\ntin soldier. _The Old Woman and her Pig_, whose history has been given\nunder _The Accumulative Tale_, is realistic. Its theme is the simple\nexperience of an aged peasant who swept her house, who had the unusual\nmuch-coveted pleasure of finding a dime, who went to market and bought\na Pig for so small a sum. But on the way home, as the Pig became\ncontrary when reaching a stile, and refused to go, the Old Woman had\nto seek aid. So she asked the Dog, the Stick, the Fire, etc. She asked\naid first from the nearest at hand; and each object asked, in its turn\nsought help from the next higher power. One great source of pleasure\nin this tale is that each object whose aid is sought is asked to do\nthe thing its nature would compel it to do--the Dog to bite, the Stick\nto beat, etc.; and each successive object chosen is the one which, by\nthe law of its nature, is a master to the preceding one. The Dog, by\nvirtue of ability to bite, has power over the Pig; the Stick has\nability to master the Dog; and Water in its power to quench is master\nover Fire. Because of this intimate connection of cause and effect,\nthis tale contributes in an unusual degree to the development of the\nchild's reason and memory. He may remember the sequence of the plot or\nremake the tale if he forgets, by reasoning out the association\nbetween the successive objects from whom aid was asked. It is through\nthis association that the memory is exercised.\n\n_How Two Beetles Took Lodgings_, in _Tales of Laughter_, is a\nrealistic story which has a scientific spirit and interest. Its basis\nof truth belongs to the realm of nature study. Its narration of how\ntwo Beetles set up housekeeping by visiting an ant-hill and helping\nthemselves to the home and furnishings of the Ants, would be very well\nsuited either to precede or to follow the actual study of an ant-hill\nby the children. The story gives a good glimpse of the home of the\nAnts, of their manner of living, and of the characteristics of the\nAnts and Beetles. It is not science mollified, but a good story full\nof life and humor, with a basis of scientific truth.\n\nMany tales not realistic contain a large realistic element. The fine\nold romantic tales, such as _Cinderella_, _Sleeping Beauty_, and\n_Bremen Town Musicians_, have a large realistic element. In _The\nLittle Elves_ we have the realistic picture of a simple German home.\nIn _Beauty and the Beast_ we have a realistic glimpse of the three\nvarious ways the wealthy merchant's daughters accommodated themselves\nto their father's loss of fortune, which reminds us of a parallel\ntheme in Shakespeare's _King Lear_. In _Red Riding Hood_ we have the\nrealistic starting out of a little girl to visit her grandmother. This\nrealistic element appeals to the child because, as we have noted, it\naccords with his experience, and it therefore seems less strange.\n\nIn _Titty Mouse and Tatty Mouse_ the setting is realistic but becomes\ntransformed into the romantic when natural doings of everyday life\ntake on meaning from the unusual happening in the tale. It is\nrealistic for Titty Mouse and Tatty Mouse to live in a little house,\nto get some corn, to make a pudding, and to put it on to boil. But\nwhen the pot tumbled over and scalded Titty, the romantic began. The\nstool which was real and common and stood by the door became\ntransformed with animation, it talked: \"Titty's dead, and so I weep\";\nand it hopped! Then a broom caught the same animation from the same\ntheme, and swept; a door jarred; a window creaked; an old form ran\nround the house; a walnut tree shed its leaves; a little bird moulted\nhis pretty feathers; a little girl spilled her milk; a man tumbled off\nhis ladder; and the walnut tree fell with a crash, upsetting\neverything and burying Titty in the ruins. They all learned to convey\nthe same message. The common and customary became uncommon and unusual\nwith extraordinary life, feeling, and lively movement.\n\nOther romantic tales with a large realistic element are _The Three\nBears_, _The Three Pigs_, and _The Three Billy-Goats_, animal tales\nwhich of necessity must be largely realistic, for their foundation is\nin the facts of the nature, habits, and traits of the animal\ncharacters they portray.\n\n\nV. The Romantic Tale\n\nThe romantic tale reflects emotion and it contains adventure and the\npicturesque; it deals with dreams, distant places, the sea, the sky,\nand objects of wonder touched with beauty and strangeness. The purpose\nof the romantic is to arouse emotion, pity, or the sense of the\nheroic; and it often exaggerates character and incidents beyond the\nnormal. The test of the romantic tale as well as of the realistic tale\nis in the reality it possesses. This reality it will possess, not only\nbecause it is true, but because it is also true to life. And it is to\nbe remembered that because of the unusual setting in a romantic tale\nthe truth it presents stands out very clearly with much\nimpressiveness. _Red Riding Hood_ is a more impressive tale than _The\nThree Bears_.\n\n_Cinderella_ is a good type of the old romantic tale. It has a\nnever-ending attraction for children just as it has had for all\npeoples of the world; for this tale has as many as three hundred and\nforty-five variants, which have been examined by Miss Cox. In these\nvariants there are many common incidents, such as the hearth abode,\nthe helpful animal, the heroine disguise, the ill-treated heroine, the\nlost shoe, the love-sick prince, magic dresses, the magic tree, the\nthreefold flight, the false bride, and many others. But the one\nincident which claims the tale as a Cinderella tale proper, is the\nrecognition of the heroine by means of her shoe. In the Greek\n_Rhodope_, the slipper is carried off by an eagle and dropped into the\nlap of the King of Egypt, who seeks and marries the owner. In the\nHindu tale the Rajah's daughter loses her slipper in the forest where\nit is found by the Prince. The interpretation of _Cinderella_ is that\nthe Maiden, the Dawn, is dull and gray away from the brightness of the\nsun. The Sisters are the Clouds that shadow the Dawn, and the\nStepmother is Night. The Dawn hurries away from the pursuing Prince,\nthe Sun, who, after a long search, overtakes her in her glorious robes\nof sunset.\n\nThis tale is the Hindu _Sodewa Bai_, the Zuni _Poor Turkey Girl_, and\nthe English _Rushen Coatie, Cap-o'-Rushes_, and _Catskin_. _Catskin_,\nwhich Mr. Burchell told to the children of the Vicar of Wakefield, is\nconsidered by Newell as the oldest of the Cinderella types, appearing\nin Straparola in 1550, while _Cinderella_ appeared first in Basile in\n1637. _Catskin_, in ballad form as given by Halliwell, was printed in\nAldermary Churchyard, England, in 1720; and the form as given by\nJacobs well illustrates how the prose tale developed from the old\nballad. The two most common forms of _Cinderella_ are Perrault's and\nGrimm's, either of which is suited to the very little child.\nPerrault's _Cinderella_ shows about twenty distinct differences from\nthe Grimm tale:--\n\n     (1) It omits the Mother's death-bed injunction to Cinderella.\n\n     (2) It omits the wooden shoes and the cloak.\n\n     (3) The Stepmother assigns more modern tasks. It omits the\n         pease-and-beans task.\n\n     (4) It shows Cinderella sleeping in a garret instead of on\n         the hearth.\n\n     (5) It omits the Father.\n\n     (6) It omits the hazel bough.\n\n     (7) It omits the three wishes.\n\n     (8) It substitutes the fairy Godmother for the hazel tree\n         and the friendly doves.\n\n     (9) It substitutes transformation for tree-shaking.\n\n    (10) It omits the episode of the pear tree and of the\n         pigeon-house.\n\n    (11) It omits the use of pitch and axe-cutting.\n\n    (12) It omits the false bride and the two doves.\n\n    (13) It substitutes two nights at the ball for three nights.\n\n    (14) It makes C. forgiving and generous at the end. The Sisters\n         are not punished.\n\n    (15) It contains slippers of glass instead of slippers of gold.\n\n    (16) It simplifies the narrative, improves the structure, and puts\n         in the condition, which is a keystone to the structure.\n\n    (17) It has no poetical refrain.\n\n    (18) It is more direct and dramatic.\n\n    (19) It draws the characters more clearly.\n\n    (20) Is it not more artificial and conventional?\n\nThis contrast shows the Grimm tale to be the more poetical, while it\nis the more complex, and contains more barbarous and gruesome elements\nunsuited to the child of to-day. Of the two forms, the Grimm tale\nseems the superior tale, however, and if rewritten in a literary form\nsuited to the child, might become even preferable.\n\n_Sleeping Beauty_, which is another romantic tale that might claim to\nbe the most popular fairy tale, has for its theme the long sleep of\nwinter and the awakening of spring. The Earth goddess, pricked by\nwinter's dart, falls into a deep sleep from which she is awakened by\nthe Sun who searches far for her. This tale is similar to the Norse\n_Balder_ and the Greek _Persephone_. Some of its incidents appear also\nin _The Two Brothers_, an Egyptian tale of the Nineteenth Dynasty of\nSeti II, in which the Hathors who pronounce the fate of the Prince\ncorrespond to the wicked old Fairy. The spindle whose prick caused\nslumber is the arrow that wounded Achilles, the thorn which pricked\nSiegfried, the mistle-toe which wounded Balder, and the poisoned nail\nof the demon in _Surya Bai_. In the northern form of the story we find\nthe ivy, which is the one plant that can endure winter's touch. The\ntheme of the long sleep occurs in the medi\u00e6val legend of _The Seven\nSleepers of Ephesus_, in the English _The King of England and His\nThree Sons_, poetically as Tennyson has given it in his _Day-Dream_,\nand in the _Story of Brunhilde_, in _Siegfried_. Here a hedge of\nflames encircles Brunhilde who is awakened at the touch of Siegfried's\nmagic sword, just as Sleeping Beauty is awakened by the Prince's kiss.\nThe kiss may be a survival of an ancient form of worship of some local\ngoddess. In the Hindu _Panch-Rhul Ranee_, seven ditches surmounted by\nseven hedges of spears, surround the heroine. Of the Perrault and\nGrimm versions of _Sleeping Beauty_, the Perrault version is long and\ncomplex because it contains the minor tale of the cruel stepmother\nadded to the main tale, while the Grimm _Briar Rose_ is a model of\nstructure easily separated into ten leading episodes. _Sleeping\nBeauty_ appeared in Basile's _Pentamerone_ where there is given the\nbeautiful incident of the baby sucking the spike of flax out of its\nsleeping mother's fingers. The Perrault version agrees with that of\nBasile in naming the twins, who are Sun and Moon in the _Pentamerone_,\nDay and Dawn.\n\n_Red Riding Hood_ is another romantic tale[11] that could claim to be\nthe one most popular fairy tale of all fairy tales. Similar tales\noccur in the story of the Greek Kronos swallowing his children, in the\nAlgonquin legend repeated in _Hiawatha_, and in an Aryan story of a\nDragon swallowing the sun and being killed by the sun-god, Indra. _Red\nRiding Hood_ appeals to a child's sense of fear, it gives a thrill\nwhich if not too intense, is distinctly pleasing. But it pleases less\nnoticeably perhaps because of its atmosphere of love and service, and\nbecause it presents a picture of a dear little maid. The Grandmother's\ngift of love to the child, the bright red hood, the mother's parting\ninjunction, the Wolf's change of aspect and voice to suit the\nchild--all these directly and indirectly emphasize love, tenderness,\nand appreciation of simple childhood. The child's errand of gratitude\nand love, the play in the wood, the faith in the woodcutter's\npresence--all are characteristic of a typical little maid and one to\nbe loved. There is in the tale too, the beauty of the wood--flowers,\nbirds, and the freshness of the open air. The ending of the tale is\nvaried. In Perrault the Wolf ate Grandmother and then ate Red Riding\nHood. In Grimm one version gives it that the Hunter, hearing snoring,\nwent to see what the old lady needed. He cut open the Wolf, and\nGrandmother and Red Riding Hood became alive. He filled the Wolf with\nstones. When the Wolf awoke, he tried to run, and died. All three were\nhappy; the Hunter took the skin, Grandmother had her cake and wine,\nand Red Riding Hood was safe and had her little girl's lesson of\nobedience. Another Grimm ending is that Little Red-Cap reached the\nGrandmother before the Wolf, and after telling her that she had met\nhim, they both locked the door. Then they filled a trough with water\nin which the sausages had been boiled. When the Wolf tried to get in\nand got up on the roof, he was enticed by the odor, and fell into the\ntrough. A great deal of freedom has been used in re-telling the ending\nof this tale, usually with the purpose of preventing the Wolf from\neating Red Riding Hood. In regard to the conclusion of _Red Riding\nHood_, Thackeray said: \"I am reconciled to the Wolf eating Red Riding\nHood because I have given up believing this is a moral tale altogether\nand am content to receive it as a wild, odd, surprising, and not\nunkindly fairy story.\"\n\nThe interpretation of _Red Riding Hood_--which the children need not\nknow--is that the evening Sun goes to see her Grandmother, the Earth,\nwho is the first to be swallowed up by the Wolf of Night and Darkness.\nThe red cloak is the twilight glow. The Hunter may be the rising Sun\nthat rescues all from Night. _Red Riding Hood_ has been charmingly\nelaborated in Tieck's _Romantic Poems_, and a similar story appears in\na Swedish popular song, _Jungfrun i'Blaskagen_, in _Folkviser_ 3; 68,\n69.\n\n\n\n\nVI, VII. The Old Tale and the Modern Tale.\n\n\nThe old fairy tale is to be distinguished from the modern fairy tale.\nMost of the tales selected have been old tales because they possess\nthe characteristics suited to the little child. The modern fairy tale\nmay be said to begin with Andersen's _Fairy Tales_.--Since Andersen\nhas been referred to frequently and as a study of _The Tin Soldier_\nhas already been given, Andersen's work can receive no more detailed\ntreatment here.--The modern fairy tale, since the time of Andersen,\nhas yet to learn simplicity and sincerity. It often is long and\ninvolved and presents a multiplicity of images that is confusing. It\nlacks the great art qualities of the old tale, the central unity and\nharmony of character and plot. The _idea_ must be the soul of the\nnarrative, and the problem is to make happen to the characters things\nthat are expressive of the idea. The story must hold by its interest,\nand must be sincere and inevitable to be convincing. It must\nunderstand that the method of expression must be the method of\nsuggestion and not that of detail. The old tale set no boundaries to\nits suggestion. It used concrete artistry; but because the symbol\nexpressed less it implied more. The modern tale is more definitely\nintentional and it often sets boundaries to its suggestion because the\nsymbol expresses so much. Frequently it emphasizes the satiric and\ncritical element, and its humor often is heavy and clumsy. To be\nliterature, as has been pointed out, besides characters, plot,\nsetting, and dialogue, a classic must present truth; it must have\nemotion and imagination molded with beauty into the form of language;\nand it must have the power of a classic to bestow upon the mind a\npermanent enrichment. Any examination of the modern fairy tale very\nfrequently shows a failure to meet these requirements.\n\nThe modern tale is not so poor, however, when we mention such tales as\nLewis Carroll's _Alice in Wonderland_, Oscar Wilde's _Happy Prince_,\nAlice Brown's _Gradual Fairy_, Frances Browne's _Prince Fairyfoot_,\nMiss Mulock's _Little Lame Prince_, Barrie's _Peter Pan_, Jean\nIngelow's _Mopsa, the Fairy_ and _The Ouphe in the Wood_, Field's _The\nStory of Claus_, Stockton's _Old Pipes and the Dryad_, Kingsley's\n_Water Babies_, Ruskin's _King of the Golden River_, Collodi's\n_Pinocchio_, Maeterlinck's _Blue-Bird_, Kipling's _Just-So Stories_\nand the tales of the _Jungle Books_, Selma Lagerl\u00f6f's _Wonderful\nAdventures of Nils_, the _Uncle Remus Tales_ of Harris, etc. But these\nclassics are, with a few exceptions, the richness of the primary and\nelementary literature. The modern fairy tale suited to the\nkindergarten child, is at a disadvantage, for most likely it is hidden\naway in some magazine, waiting for appreciation to bring some\nattention to it. And in these complex modern days it is difficult to\nsecure a tale whose simplicity suits the little child.\n\nAmong the best tales for little people are Miss Harrison's _Hans and\nthe Four Giants_ and _Little Beta and the Lame Giant_. In _Little Beta\nand the Lame Giant_ a natural child is placed in unusual surroundings,\nwhere the gentleness of the giant and the strength of love in the\nlittle girl present strong contrasts that please and satisfy. _The Sea\nFairy and the Land Fairy_ in _Some Fairies I have Met_, by Mrs.\nStawell, though possessing much charm and beauty, is too complicated\nfor the little people. It is a quarrel of a Sea Fairy and a Land\nFairy. It is marked by good structure, it presents a problem in the\nintroduction, has light fancy suited to its characters, piquant\ndialogue, good description, visualized expressions, and it presents\ndistinct pictures. Its method is direct and it gets immediately into\nthe story. Its method of personification, which in this, perhaps the\nbest story of the collection, is rather delightful, in some of the\nothers is less happy and is open to question. _How Double Darling's\nOld Shoes Became Lady Slippers_, by Candace Wheeler, in _St.\nNicholas_, is a really delightful modern fairy story suited to be read\nto the little child. It is the experience of a little girl with new\nshoes and her dream about her old shoes. But the story lacks in\nstructure, there is not the steady rise to one great action, the\nepisode of the Santa Claus tree is somewhat foreign and unnecessary,\nand the conclusion falls flat because the end seems to continue after\nthe problem has been worked out.\n\nIn _The Dwarf's Tailor_, by Underhill, there is much conversation\nabout things and an indirect use of language, such as \"arouse them to\nreply\" and \"continued to question,\" which is tedious. The humor is at\ntimes heavy, quoting proverbs, such as \"The pitcher that goes too\noften to the well is broken at last.\" The climax is without interest.\nThe scene of the Dwarfs around the fire--in which the chief element of\nhumor seems to be that the Tailor gives the Dwarf a slap--is rather\nfoolish than funny. The details are trite and the transformation\nmisses being pleasing. Again there is not much plot and the story does\nnot hold by its interest. In _The Golden Egg and the Cock of Gold_, by\nScudder, the conversation is not always to the point, is somewhat on\nthe gossipy order, is trite, and the suspense is not held because the\nclimax is told beforehand. Mrs. Burton Harrison's _Old Fashioned Fairy\nBook_ is very pleasing, but it was written for her two sons, who were\nolder children. It has the fault of presenting too great a variety of\nimages and it lacks simplicity of structure. Its _Juliet_, or _The\nLittle White Mouse_, which seems to be a re-telling of D'Aulnoy's\n_Good Little Mouse_, contains a good description of the old-time fairy\ndress. _Deep Sea Violets_, perhaps the best-written story in the book,\ngives a good picture of a maiden taken to a Merman's realm. _Rosy's\nStay-at-Home Parties_ has delightful imagination similar to that of\nAndersen.\n\n_Five Little Pigs_, by Katherine Pyle, is a delightful little modern\nstory, which could be used with interest by the child who knows _The\nStory of Three Little Pigs_. _The Little Rooster_, by Southey, is a\nvery pleasing realistic tale of utmost simplicity which, because of\nits talking animals, might be included here. A criticism of this tale,\ntogether with a list of realistic stories containing some realistic\nfairy tales suited to the kindergarten, may be read in _Educational\nFoundations_, October, 1914. _The Hen That Hatched Ducks_, by Harriet\nBeecher Stowe, is a pleasing and sprightly humorous tale of Madam\nFeathertop and her surprising family of eight ducks, and of Master\nGray Cock, Dame Scratchard and Dr. Peppercorn. A modern tale that is\nvery acceptable to the children is _The Cock, the Mouse, and the\nLittle Red Hen_, by F\u00e9licit\u00e9 Lef\u00e8vre, which is a re-telling of the\n_Story of the Little Red Hen_ combined with the story of _The Little\nRid Hin_. In this tale the two old classic stories are preserved but\nre-experienced, with such details improvised as a clever child would\nhimself naturally make. These additional details appeal to his\nimagination and give life-likeness and freshness to the tale, but they\ndo not detract from the impression of the original or confuse the\nidentity of the characters in the old tales.\n\nOne must not forget _Peter Rabbit_--that captivating, realistic fairy\ntale by Beatrix Potter--and his companions, _Benjamin Bunny, Pigling\nBland, Tom Kitten_, and the rest, of which children never tire. _Peter\nRabbit_ undoubtedly holds a place as a kindergarten classic. In\nsomewhat the same class of merry animal tales is _Tommy and the\nWishing Stone_, a series of tales by Thornton Burgess, in _St.\nNicholas_, 1915. Here the child enjoys the novel transformation of\nbecoming a Musk-rat, a Ruffed Grouse, a Toad, Honker the Goose, and\nother interesting personages. A modern fairy tale which is received\ngladly by children is _Ludwig and Marleen_, by Jane Hoxie. Here we\nhave the friendly Fox who grants to Ludwig the wishes he asks for\nMarleen. The theme parallels for the little people the charm of _The\nFisherman and His Wife_, a Grimm tale suited to the second grade.\nAmong modern animal tales _The Elephant's Child_[12], one of the\n_Just-So Stories_ by Rudyard Kipling, ranks high as a fairy tale\nproduced for little children by one of the great literary masters of\nthe short-story.\n\nA modern tale that is a bit of pure imagination and seems an attempt\nto follow Grimm and Andersen, is _A Quick-Running Squash_, in\nAspinwall's _Short Stories for Short People_. It uses the little boy's\ninterest in a garden--his garden.--Interest centers about the fairy,\nthe magic seed, the wonderful ride, and the happy ending. It uses the\nsimple, everyday life and puts into it the unusual and the wonderful\nwhere nothing is impossible. It blends the realistic and the romantic\nin a way that is most pleasing. _The Rich Goose_, by Leora Robinson,\nin the _Outlook_, is an accumulative tale with an interesting ending\nand surprise. _Why the Morning Glory Climbs_, by Elizabeth McCracken,\nin Miss Bryant's _How to Tell Stories_, is a simple fanciful tale.\n_The Discontented Pendulum_, by Jane Taylor, in Poulssen's _In the\nChild's World_, is a good illustration of the modern purely fanciful\ntale. _What Bunch and Joker saw in the Moon_, in _Wide-Awake\nChatterbox_, about 1887, is a most delightful modern fanciful tale,\nalthough it is best suited to the child of nine or ten. _Greencap_, by\nRuth Hays, in _St. Nicholas_, June, 1915, appeals to the child through\nthe experience of Sarah Jane, whose Mother and Father traveled to\nIndia. Sarah went to live with Aunt Jane and there met Greencap who\ngranted the proverbial \"three wishes.\" _Alice in Wonderland_ ranks in\na class by itself among modern fanciful tales but it is better suited\nto the child of the third and fourth grades.\n\nA modern fairy tale which is suited to the child's simplicity and\nwhich will stimulate his own desire to make a tale, is _The Doll Who\nWas Sister to a Princess_, one of the _Toy Stories_ by Carolyn Bailey\nwhich have been published by the _Kindergarten Review_ during 1914-15.\nAmong modern tales selected from _Fairy Stories Re-told from St.\nNicholas_, appear some interesting ones which might be read to the\nlittle child, or told in the primary grades. Among these might be\nmentioned:--\n\n     _The Ballad of the Blacksmith's Sons_, a modern tale in verse by\n     Mary E. Wilkins.\n\n     _Casperl_, by H.C. Bunner, a modern Sleeping Beauty tale. This\n     tale has the virtue of not being complex and elaborate. It has\n     the underlying idea that \"People who are helping others have a\n     strength beyond their own.\"\n\n     _Ten Little Dwarfs_, by Sophie Dorsey, from the French of Emile\n     Souvestre. It tells of the ten little Dwarfs who lived in the\n     Good-wife's fingers.\n\n     _Wondering Tom_, by Mary Mapes Dodge. This is a bright story of a\n     boy who Hamlet-like, hesitated to act. Tom was always\n     wondering. The story contains a fairy, Kumtoo-thepoynt, who sat\n     on a toadstool and looked profound. It is realistic and\n     romantic and has fine touches of humor. It tells how Wondering\n     Tom became transformed into a Royal Ship-Builder.\n\n     _How An Elf Set Up Housekeeping_, by Anne Cleve. This is a good\n     tale of fancy. An Elf set up housekeeping in a lily and obtained\n     a curtain from a spider, down from a thistle, a stool from a toad\n     who lived in a green house in the wood, etc.\n\n     _The Wish-Ring_, translated from the German by Anne Eichberg.\n     This is a tale with the implied message that \"The best way to\n     secure one's best wish is to work for it.\"\n\n     _The Hop-About Man_, by Agnes Herbertson, in _Little Folks\n     Magazine_, is a very pleasing modern romantic fairy tale for\n     little children. Wee Wun was a gnome who lived in the\n     Bye-Bye meadow in a fine new house which he loved. As he\n     flew across the Meadow he had his pockets full of blue\n     blow-away seeds. In the Meadow he found a pair of shoes, of\n     blue and silver, and of course he took them home to his new\n     house. But first he scattered the blue blow-away seeds over\n     the garden wall in the Stir-About-Wife's garden where golden\n     dandelions grew. And the seeds grew and crowded out the\n     dandelions. Next day Wee Wun found a large blue seed which\n     he planted outside his house; and on the following morning a\n     great blue blow-away which had grown in a night, made his\n     house dark. So he went to the Green Ogre to get him to take\n     it away. When he came home he found, sitting in his chair,\n     the Hop-About-Man, who had come to live with him. He had\n     been forewarned of this coming by the little blue shoes when\n     they hopped round the room singing:--\n\n          Ring-a-ding-dill, ring-a-ding-dill,\n          The Hop-About-Man comes over the hill.\n          Why is he coming, and what will he see?\n          Rickety, rackety,--one, two, three.\n\nThe story then describes Wee Wun's troubles with the Hop-About-Man,\nwho remained an unwelcome inhabitant of the house where Wee Wun liked\nto sit all alone. The Hop-About-Man made everything keep hopping about\nuntil Wee Wun would put all careless things straight, and until he\nwould give back to him his blue-and-silver shoes. One day, Wee Wun\nbecame a careful housekeeper and weeded out of the dandelion garden\nall the blue blow-away plants that grew from the seeds he had\nscattered there in the Stir-About-Wife's garden, and when he came home\nhis troubles were over, and the Hop-About-Man was gone.\n\nPerhaps one reason for the frequent failure of the modern fairy tale\nis that it fails to keep in harmony with the times. Just as the modern\nnovel has progressed from the romanticism of Hawthorne, the realism of\nThackeray, through the psychology of George Eliot, and the philosophy\nof George Meredith, so the little child's story--which like the adult\nstory is an expression of the spirit of the times--must recognize\nthese modern tendencies. It must learn, from _Alice in Wonderland_ and\nfrom _A Child's Garden of Verses_, that the modern fairy tale is not a\n_Cinderella_ or _Sleeping Beauty_, but the modern fairy tale is the\nchild's mind. The real fairy world is the strangeness and beauty of\nthe child mind's point of view. It is the duty and privilege of the\nmodern fairy tale to interpret the child's psychology and to present\nthe child's philosophy of life.\n\n\n\nREFERENCES\n\n     Century Co.: _St. Nicholas Magazine_, 1915; _St. Nicholas Fairy\n       Stories Re-told_.\n\n     Gates, Josephine: \"And Piped Those Children Back Again,\" (Pied\n       Piper) _St. Nicholas_, Nov., 1914.\n\n     Hays, Ruth: \"Greencap,\" _St. Nicholas_, June, 1915.\n\n     Hazlitt, William; _Essays_. (\"Wit and Humor.\") Camelot Series.\n       Scott.\n\n     Hooker, B.: \"Narrative and the Fairy Tale,\" _Bookman_, 33: June\n       and July, 1911, pp. 389-93, pp. 501-05.\n\n     _Ibid_: \"Types of Fairy Tales,\" _Forum_, 40: Oct., 1908, pp.\n       375-84.\n\n     Martin, John: _John Martin's Book_ (Magazine), 1915\n\n     Meredith, George: _The Comic Spirit_. Scribners.\n\n     Moulton, Alice O'Grady, and Literature Committee: \"Humorous\n       Tales\" _Kindergarten Review_, Dec, 1914.\n\n     Perry, Bliss: _A Study of Prose Fiction_. (\"The Romantic\" and\n       \"The Realistic\") Houghton.\n\n\n\n\n\nCHAPTER VI\n\nSOURCES OF MATERIAL FOR FAIRY TALES: A LIST OF FAIRY TALES, PICTURES,\nPICTURE-BOOKS, POEMS, AND BOOKS\n\n     Shall we permit our children, without scruple, to hear any\n     fables composed by any authors indifferently, and so to\n     receive into their minds opinions generally the reverse of\n     those which, when they are grown to manhood, we shall think\n     they ought to entertain?--PLATO, in _The Republic_.\n\nAny list of fairy tales for little children must be selected from\nthose books which, as we have noted, contain the best collections of\nfolk-lore, and from books which contain tales that rank as classics.\nAn examination of the tales of Perrault, of Grimm, of Dasent, of\nAndersen, of Jacobs, of Harris, and of miscellaneous tales, to see\nwhat are suited to the little child, would result in the following\nlists of tales. Those most worthy of study for the kindergarten are\nmarked with an asterisk and those suited to the first grade are marked\n\"1.\" No attempt has been made to mention all the varied sources of a\ntale or its best version. The Boston Public Library issues a _Finding\nList of Fairy Tales and Folk Stories_, which may be procured easily,\nand the Carnegie Library at Pittsburg issues in its monthly bulletin\nfor December, 1913, vol. 18, no. 10, a _List of Folk-Tales_, and other\nstories which may be dramatized. The Baker, Taylor Company, in 1914,\nissued a _Graded Guide to Supplementary Reading_, which contains a\nlist of many of the best editions of folk and fairy tales suited to\nprimary grades. A list of school editions is included in this book.\nBut one cannot fail to be impressed with the general low literary\nstandard of many school editions of fairy tales when judged by the\nstandards here applied to the tales themselves.--\n\n  I. A List of Fairy Tales and Folk Tales\n\n     Tales of Perrault:\n\n       * CINDERELLA.\n       1 LITTLE THUMB.\n       1 PUSS-IN BOOTS.\n       * RED RIDING HOOD.\n       1 SLEEPING BEAUTY.\n       1 THE THREE WISHES.\n\n\n     Tales of the Grimms:\n\n       1 BIRDIE AND LENA.\n       1 BRIAR ROSE.\n       * THE CAT AND THE MOUSE IN PARTNERSHIP.\n       1 CHANTICLEER AND PARTLET.\n         1. HOW THEY WENT TO THE HILLS TO EAT NUTS.\n         2. THE VISIT TO M KORBES.\n         3. THE DEATH OF PARTLETT.\n       * CINDERELLA.\n       * THE ELVES AND THE SHOEMAKER.\n         THE FOX AND THE GEESE.\n       1 THE HARE AND THE HEDGEHOG.\n       1 THE HOUSE IN THE WOOD.\n       * THE KING OF THE BIRDS.\n       1 LITTLE BROTHER AND SISTER\n       1 THE LITTLE LAMB AND THE LITTLE FISH.\n       * LITTLE RED-CAP.\n       1 LITTLE SNOW WHITE.\n       1 LITTLE TWO-EYES.\n         MOTHER HOLLE.\n       1 THE NOSE.\n       1 SNOW WHITE AND ROSE RED.\n       * THE SPARROW AND HIS FOUR CHILDREN.\n         STAR DOLLARS.\n       * THE SPIDER AND THE FLEA.\n       * THE STRAW, THE COAL, AND THE BEAN.\n       * THE TOWN MUSICIANS OF BREMEN.\n         THE WILLOW WREN AND THE BEAR.\n       * THE WOLF AND THE SEVEN KIDS.\n       * THE WONDERFUL PORRIDGE POT.\n\n   Norse Tales:\n\n         COCK AND HEN.\n         THE COCK AND HEN A-NUTTING.\n         THE COCK AND HEN THAT WENT TO THE DOVREFELL.\n         COCK, CUCKOO, AND BLACK COCK.\n       * DOLL I' THE GRASS.\n       1 GERTRUDE'S BIRD.\n       1 KATIE WOODENCLOAK (read).\n       1 THE LAD WHO WENT TO THE NORTH WIND.\n       1 LORD PETER (read).\n         ONE'S OWN CHILDREN ABE ALWAYS PRETTIEST.\n       * THREE BILLY GOATS.\n       1 THUMBIKIN (read).\n       * WHY THE BEAR IS STUMPY-TAILED (pourquois).\n\n\n     English Tales, by Jacobs:\n\n       * THE CAT AND THE MOUSE.\n       * HENNY PENNY.\n       1 THE HISTORY OF TOM THUMB.\n       * HOW JACK WENT TO SEEK HIS FORTUNE.\n       1 JACK AND THE BEAN-STALK.\n       * JOHNNY CAKE.\n       * LAZY JACK.\n       * THE MAGPIE'S NEST.\n       1 MASTER OF ALL MASTERS.\n       * M MIACCA.\n       1 M VINEGAR.\n       * THE OLD WOMAN AND HER PIG.\n       * PUDDOCK, MOUSIE, AND RATTON.\n       1 SCRAPEFOOT.\n       * THE STORY OF THREE BEARS.\n       * THE STORY OF THREE LITTLE PIGS.\n       * TEENY TINY.\n       * TITTY MOUSE AND TATTY MOUSE.\n\n\n     Modern Fairy Tales, by Andersen:\n\n       * THE FIR TREE.\n       * FIVE PEAS IN A POD.\n       1 THE HAPPY FAMILY (retold in _Tales of Laughter_).\n         LITTLE IDA'S FLOWERS (read).\n       * OLE-LUK-OLE (read to end of Thursday).\n         THURSDAY, WEDDING OF A MOUSE.\n       * THE PRINCESS AND THE PEA.\n       * THE SNOW MAN.\n       1 THE STEADFAST TIN SOLDIER.\n         THE TOP AND THE BALL.\n       * THUMBELINA.\n         WHAT THE MOON SAW:\n       * LITTLE GIRL AND CHICKENS.\n       * THE NEW FROCK (realistic).\n       * LITTLE CHIMNEY SWEEP.\n       * BEAR WHO PLAYED \"SOLDIERS.\"\n       * BREAD AND BUTTER.\n\n\n     Uncle Remus Tales, by Harris, in _Nights with Uncle Remus_:\n\n       * BRER RABBIT AND THE LITTLE TAR BABY.\n       * BROTHER RABBIT AND THE LITTLE GIRL.\n       * BROTHER RABBIT TAKES A WALK.\n       * BROTHER RABBIT TAKES SOME EXERCISE.\n       * CUTTA CORD-LA (similar to Wolf and Seven Kids).\n       * How BROTHER RABBIT BROKE UP A PARTY.\n       * How BROTHER RABBIT FRIGHTENS HIS NEIGHBORS.\n       * How M ROOSTER LOST HIS DINNER (read).\n       * IN SOME LADY'S GARDEN.\n       * M BENJAMIN RAM (Brother Rabbit's Riddle).\n       * THE MOON IN THE MILL-POND (pourquois).\n       * WHY BROTHER BEAK HAS NO TAIL (pourquois).\n       * WHY M DOG RUNS AFTER BROTHER RABBIT.\n       * WHY GUINEA FOWLS ARE SPECKLED (pourquois).\n\n\n     Uncle Remus Tales, by Harris, in _Uncle Remus and the Little\n        Boy_:\n\n       * BROTHER BILLY GOAT'S DINNER.\n         BROTHER FOX SMELLS SMOKE.\n       * BROTHER RABBIT AND BROTHER TIGER.\n       * BROTHER RABBIT AND BROTHER LION (similar to _The Dog and His\n           Shadow_).\n       * BROTHER MUD-TURTLE'S TRICKERY.\n       * BROTHER RABBIT'S MONEY MINT.\n       1 BROTHER WOLF SAYS GRACE.\n       1 THE FIRE TEST (Use with _Three Pigs_).\n         FUN AT THE FERRY.\n       * HEYO, HOUSE.\n         THE LITTLE RABBITS.\n         MRS. PARTRIDGE HAS A FIT.\n         WHY BROTHER FOX'S LEGS ARE BLACK.\n       * WHY THE HAWK CATCHES CHICKENS.\n\n     Tale, by Harris, in _Little Mr. Thimblefinger_:\n\n       * WHY BILLY-GOAT'S TAIL IS SHORT.\n\n     Miscellaneous Tales:\n\n       * THE ADVENTURES OF LITTLE FIELD MOUSE, _Stories to Tell_,\n           Bryant.\n       * BETA AND THE LAME GIANT, Miss Harrison, _In Storyland_.\n       * BILLY BOBTAIL, Jane Hoxie, _Kindergarten Stories; Child-Lore\n           Dramatic Reader_, Scribners.\n       * BLUNDER AND THE WISHING GATE, Louise Chollet, in _Child Life\n           in Prose_, Whittier.\n       * THE BOY AND THE GOAT, OR THE GOAT IN THE TURNIP FIELD\n           (Norwegian), _Primer_, Free and Treadwell; _Child-Lore\n           Dramatic Reader_, Scribners.\n       * THE CAP THAT MOTHER MADE OR ANDER'S NEW CAP (Swedish),\n           _Swedish Fairy Tales_, McClurg; _For the Story-Teller_,\n           Bailey.\n       1 THE CAT AND THE PARROT OR THE GREEDY CAT, _HOW to Tell\n           Stories_, Bryant; _Tales of Laughter_, Wiggin and Smith.\n       1 THE CAT THAT WAITED, _Classics in Dramatic Form_, vol. I,\n           Stevenson.\n       * THE CAT, THE COCK, AND THE FOX, _Tales of Laughter_, Wiggin\n           and Smith.\n       1 CLYTIE, _Nature Myths_, Flora Cooke.\n       1 THE COCK, THE MOUSE, AND THE LITTLE RED HEN, F\u00e9licit\u00e9\n           Lef\u00e8vre, Jacobs.\n       * THE COUNTRY MOUSE AND THE CITY MOUSE, _\u00c6sop's Fables_, Joseph\n           Jacobs.\n       * DAME WIGGINS AND HER CATS, Mrs. Sharp, in _Six Nursery\n           Classics_, Heath.\n       * THE DISCONTENTED PENDULUM, Jane Taylor, in _In the Child's\n           World_, Poulsson.\n       * THE DOLL WHO WAS SISTER TO A PRINCESS, THE TOY STORIES,\n           Carolyn Bailey, _Kindergarten Review_, Dec., 1914.\n       * DRAKESBILL, _The Story-Teller's Book_, O'Grady and Throop;\n           _The Fairy Ring_, Wiggin and Smith; _Firelight Stories_,\n           Bailey.\n       * THE ELEPHANT'S CHILD, _Just-So Stories_, Kipling.\n       1 THE FIRST CHRISTMAS TREE, _A Little Book of Profitable\n           Tales_, Eugene Field.\n       1 THE FIVE LITTLE PIGS, Katherine Pyle, in _Wide Awake Second\n           Reader_, Little.\n       * THE FOOLISH TIMID RABBIT, _Jataka Tales Retold_, Babbit.\n         THE GOLDEN COCK, _That's Why Stories_, Bryce.\n       1 GOLDEN ROD AND ASTER, _Nature Myths_, Cooke.\n         THE GRAIN OF CORN _(Old Woman and Her Pig), Tales of the\n           Punjab_, Steel.\n       1 GREENCAP, Ruth Hays, in _St. Nicholas_, June, 1915.\n       1 HANS AND THE FOUR BIG GIANTS, Miss Harrison, _In Storyland_.\n       1 THE HEN THAT HATCHED DUCKS, Harriet Beecher Stowe, in _Child\n           Life in Prose_, Whittier.\n       * THE HOP-ABOUT-MAN, Agnes Herbertson, in _The Story-Teller's\n           Book_, O'Grady and Throop; in _Little Folks' Magazine_.\n       * THE HOUSE THAT JACK BUILT, _Six Nursery Classics_, D.C.\n           Heath.\n       1 HOW BROTHER RABBIT FOOLED THE WHALE, _Stories to Tell_,\n           Bryant.\n       * HOW THE CAMEL GOT HIS HUMP, _Just-So Stories_, Kipling.\n       1 HOW THE CHIPMUNK GOT THE STRIPES ON ITS BACK, _Nature Myths_,\n           Cooke.\n       * HOW DOUBLE DARLING'S OLD SHOES BECAME LADY SLIPPERS, Candace\n           Wheeler, in _St. Nicholas_, March, 1887; vol. 14, pp.\n           342-47.\n       * HOW FIRE WAS BROUGHT TO THE INDIANS, _The Book of Nature\n           Myths_, Holbrook.\n       * HOW SUN, MOON, AND WEST WIND WENT OUT TO DINNER, _Old Deccan\n           Days_, Fr\u00e8re.\n       1 THE JACKAL AND THE ALLIGATOR, _Stories to Tell_, Bryant.\n       1 THE JACKALS AND THE LION, _Stories to Tell_, Bryant.\n       1 KING SOLOMON AND THE ANTS, _Nature Myths_, Cooke.\n       * THE LAMBIKIN, _Tales of the Punjab_, Steel; _Indian Tales_,\n           Jacobs.\n       * LITTLE JACK ROLLAROUND, _Stories to Tell_, Bryant.\n       * THE LITTLE RABBIT WHO WANTED RED WINGS, _For the\n           Story-Teller_, Bailey.\n       * THE LITTLE RED HEN, _Stories to Tell_, Bryant.\n       * THE LITTLE RED HIN (Irish dialect verse), _Stories to Tell_,\n           Bryant.\n       * THE LITTLE ROOSTER, Robert Southey, in _Boston Collection of\n           Kindergarten Stories_, Hammett & Co.\n       * LITTLE SPIDER'S FIRST WEB, _Primer_, Free and Treadwell.\n       * LITTLE TOP-KNOT (Swedish), _First Reader_, Free and\n           Treadwell.\n       * LITTLE TUPPEN, _Fairy Stories and Fables_, Baldwin; _Primer_,\n           Free and Treadwell.\n       * LUDWIG AND MARLEEN, Jane Hoxie, in _Kindergarten Review_,\n           vol. xi, no. 5.\n       * MEDIO POLLITO, THE LITTLE HALF-CHICK (Spanish), _The Green\n           Fairy Book_, Lang.\n       * MEZUMI, THE BEAUTIFUL, OR THE RAT PRINCESS (Japanese),\n           _Birch-Tree Fairy Book_, Johnson; _Tales of Laughter_,\n           Wiggin and Smith.\n       1 M ELEPHANT AND M FROG, _Firelight Stories_, Bailey.\n       1 THE MOON'S SILVER CLOAK, _Classics in Dramatic Form_,\n           Stevenson, vol. i.\n       1 THE MOUSE AND THE SAUSAGE, _Stories and Story-Telling_,\n           Angela Keyes.\n       * OEYVIND AND MARIT, from _The Happy Boy_, Bj\u00f6rnstjerne\n           Bj\u00f6rnson, in _The Story-Teller's Book_, O'Grady and\n           Throop; in _Child-Life in Prose_, Whittier.\n       * PETER RABBIT, _Peter Rabbit_, Beatrix Potter.\n       1 THE PIGS AND THE GIANT, Pyle, in _Child-Lore Dramatic\n           Reader_, Scribners.\n       * THE QUICK-RUNNING SQUASH, _Short Stories for Short People_,\n           Aspinwall.\n       1 THE RED-HEADED WOODPECKER, _Nature Myths_, Cooke.\n       * THE RICH GOOSE, Leora Robinson, in _The Outlook_.\n       * THE ROBIN'S CHRISTMAS SONG, _Birch-Tree Fairy Book_,\n           Johnson.\n       * (WEE) ROBIN'S YULE SONG. _Tales of Laughter_, Wiggin and\n           Smith.\n       * THE SHEEP AND THE PIG (Scandinavian), _For the Children's\n           Hour_, Bailey.\n       * THE SPARROW AND THE CROW, _Tales of the Punjab_, Steel;\n           _Birch-Tree Fairy Book_, Johnson.\n       * THE STRAW OX, _Cossack Fairy Tales_, Bain.\n       * STORY OF THE MORNING-GLORY SEED, M. Eytinge, _Boston\n           Kindergarten Stories_.\n       1 THE TALE OF A BLACK CAT, _Oak-Tree Fairy Book_, Johnson.\n       1 TOMMY AND THE WISHING-STONE, a series, by T. Burgess, in _St.\n           Nicholas_, 1915.\n       1 TRAVELS OF A FOX, _Oak-Tree Fairy Book_, Johnson.\n       1 THE TURTLE WHO COULDN'T STOP TALKING, _Jataka Tales Retold_,\n           Babbit.\n       * THE UNHAPPY PINE TREE, _Classic Stories_, McMurry.\n       1 What Bunch And Joker Saw In The Moon, _Wide Awake\n           Chatterbox_, about 1887.\n       1 The White Cat, _Fairy Tales_, D'Aulnoy; _Fairy Tales_, Vol.\n           II, Lansing.\n       *  Why The Evergreen Trees Never Lose Their Leaves, _The Book\n            Of Nature Myths_, Holbrook.\n       *  Why The Juniper Has Berries, _The Book Of Nature Myths_,\n            Holbrook.\n\n       *  Why The Morning Glory Climbs, _How to Tell Stories_, Bryant.\n\n       1 The Wish Bird, _Classics In Dramatic Form_, Vol. II,\n           Stevenson.\n\n II. Bibliography Of Fairy Tales\n\n     Baker, Franklin T.: _Bibliography Of Children's Reading_.\n       Introduction and lists. Teachers College, Columbia University.\n\n     Baker Taylor Company, The: _Graded Guide to Supplementary\n       Reading_. 1914.\n\n     Boston Public Library: _Finding List of Fairy Tales_.\n\n     Carnegie Library, Pittsburgh. _List of Folk Tales_. Bulletin,\n       Dec, 1913, Vol. 18, No. 10.\n\n     _Ibid_.: _Illustrated Editions of Children's Books_. 1915.\n\n     Harron, Julia; Bacon, Corinne; and Dana, John: _American Library\n       Economy_. Newark Free Library, Newark, New Jersey.\n\n     Haight, Rachel Webb: \"Fairy Tales.\" _Bulletin of Bibliography_,\n       1912. Boston Book Co.\n\n     Hewins, Caroline: _A.L.A. List. Books for Boys and Girls_. Third\n       Edition, 1913. A.L.A. Pub. Board, Chicago.\n\n     Kready, Laura F.: \"Picture-Books For Little Children.\"\n       _Kindergarten Review_, Sept., 1914.\n\n     Moulton, Alice O'Grady, and Literature Com. of I.K.U.: \"Humorous\n      Stories for Children.\" _Kindergarten Review_, Dec, 1914.\n\n     Salisbury, G.E., and Beckwith, M.E.: _Index to Short Stories_.\n       St. Louis Public Library. _Lists of Stories and Programs for\n       Story Hours_. Give best versions.\n\n     Widdemer, Margaret: \"A Bibliography of Books and Articles\n       Relating to Children's Reading. Part I, Children's Reading in\n       general. Part II, History of Children's Literature, etc. Part\n       III, Guidance of Children's Reading.\" _Bulletin of\n       Bibliography_, July, 1911, Oct., 1911, and Jan., 1912. Boston\n       Book Co.\n\n\nIII. A List of Picture-Books[13]\n\n       Beskow, Elsa: _Hanschen im Blaubeerenwald_. Stuttgart.\n\n       Brooke, Leslie: _The Golden Goose Book_. F. Warne.\n\n       _Ibid._: The _House in the Wood_. F. Warne.\n\n       _Ibid._: _The Truth About Old King Cole_. F. Warne.\n\n       Browning, Robert: _The Pied Piper_, Kate Greenaway, F. Warne;\n         Hope Dunlap, Rand; T. Butler Stoney, Dutton.\n\n       Caldecott, Randolph: _Picture-Books:_\n         2. _The House that Jack Built_. F. Warne.\n         3. _Hey Diddle Diddle Book_. F. Warne.\n\n       Coussens, P.W.: _A Child's Book of Stories_. Jessie W. Smith.\n         Duffield.\n\n       Crane, Walter: _Picture-Books:_\n         _Cinderella_. John Lane.\n         _Mother Hubbard_. John Lane.\n         _Red Riding Hood_. John Lane.\n         _This Little Pig_. John Lane.\n\n       Grimm, Jacob and William: _Cruikshank Fairy Book_. Cruikshank,\n         Putnam.\n\n       _Ibid._: _Das Deutsche Bilderbuch_. Jos. Scholz.\n           1. _D\u00f6rnroschen_.\n           2. _Aschenputtel_.\n           7. _Frau Holle_.\n          10. _Der Wolf und Sieben Geislein_.\n\n       _Ibid._: _Liebe M\u00e4rchen_. 10, 11, 12. Jos. Scholz.\n\n       _Ibid._: _Cherry Blossom_. Helen Stratton. Blackie and Sons.\n\n       Jerrold, Walter: _The Big Book of Fairy Tales_. Robinson.\n         Blackie.\n\n       Olfers, Sibylle: _Windschen_. J.F. Schreiber.\n\n       _Ibid.: Wurzelkindern_. J.F. Schreiber.\n\n       Sharp, Mrs.: _Dame Wiggins of Lee_. Introduction by Ruskin.\n         Kate Greenaway. George Allen.\n\n\n\n IV. A LIST OF PICTURES\n\n\n     Cinderella. 227, Meinhold. Dresden. 724, Meinhold. Dresden. 366,\n       Teubner. Leipzig.\n\n     _Canadian Magazine_, Dec., 1911, by Val Prinsep, A.\n       Elves. Arthur Rackham. _St. Nicholas_, Nov., 1914.\n\n     _Ibid.: Book of Pictures_. Century.\n\n     Hop-o'-my-Thumb. _A Child's Own Book of Fairy Tales_. Dore. H.\n       Pisan, engraver. Elizabeth S. Forbes. _Canadian Magazine_,\n       Dec., 1911.\n\n     Little Brother and Sister. Tempera Painting, Marianna Stokes.\n       _Illustrated London News_, Dec., 1907.\n\n     Perrault's Tales. Kay Nielsen. _Illustrated London News_, Dec.,\n       1913.\n\n     Red Riding Hood. Poster, Mary Stokes. _Ladies' Home Journal_.\n       230, Meinhold. Dresden. 77, Teubner. Leipzig and Berlin. G.\n       Ferrier. Engraved for _St. Nicholas_, Braun, Clement, & Co.\n       Supplement to _American Primary Teacher_, May, 1908. Picture, 2\n       ft. by 1 ft., New Specialty Shop, Phila., Pa.\n\n     Sleeping Beauty. Mouat, London. _Canadian Magazine_, Dec., 1911.\n       _Illustrated London News_, Dec., 1907.\n\n     Snow White. A series. Maxfield Parrish. Picture by Elizabeth\n       Shippen Green.\n\n     Two Series. Five pictures in each. Jessie Willcox Smith. P.F.\n       Collier & Sons.\n\n\n  V. A LIST OF FAIRY POEMS\n\n\n     Allingham, William: _The Fairy Folk_. The Posy Ring. Bangs, John\n       Kendrick: _The Little Elf_. The Posy Ring.\n\n     Bird, Robert: _The Fairy Folk_. A Child's Book of Old Verses.\n\n     Dodsley, R.: _Red Caps of Fairies. Fuimus Troes_, Old Plays.\n\n     Drayton, Michael: _Nymphal III_, Poets' Elysium.\n\n     Herford, Oliver: _The Elf and the Dormouse_. The Posy Ring.\n\n     Hood, Thomas: _A Plain Direction_. Heart of Oak Books, III.\n\n     _Ibid._: _Queen Mab_. A Child's Book of Old Verses.\n\n     Howitt, Mary: _The Fairies of the Caldon-Low_. The Posy Ring.\n\n     _Ibid._: _Mabel on Midsummer Day_. The Story-Teller's Book,\n       O'Grady and Throop.\n\n     Lyly, John: _The Urchin's Dance and Song. Song of the First\n       Fairy_. _Song of the Second Fairy_. Maydes Metamorphosis.\n\n     McDermot, Jessie: _A Fairy Tale_. Fairy Tales. Rolfe. Amer. Book\n       Co.\n\n     Noyes, Alfred: _The Magic Casement_. An anthology of fairy\n       poetry, with an introduction. Dutton.\n\n     Percy, Bishop: _The Fairy Queen_. Reliques of Ancient Poetry;\n       from The Mysteries of Love and Eloquence, London, 1658.\n\n     Shakespeare, William: _Ariel's Song_; _A Fairy Song_; \"_I know a\n       bank_\"; _The Song of the Fairies_. Shakespeare's Dramas.\n\n     Stevenson, Robert L. _Fairy Bread_; _The Little Land_. A Child's\n       Garden of Verses.\n\n     Unknown Author: _The Fairy_. \"_Oh, who is so merry_.\" A Child's\n       Book of Old Verses. Duffield.\n\n     Wilkins, Mary E.: _The Ballad of the Blacksmith's Sons_. Fairy\n       Stories Retold from _St. Nicholas_. Century.\n\n\n\n VI. MAIN STANDARD FAIRY TALE BOOKS\n\n\n     Andersen, Hans Christian: _Fairy Tales_. 2 vols. Pedersen &\n       Stone. Houghton.\n\n     _Ibid._: _Fairy Tales_. Edited by W.A. and J.K. Craigie. Oxford\n       University Press.\n\n     _Ibid._: _Fairy Stories for Youngest Children_. Lucas.\n       Stratton. Blackie. (English edition.)\n\n     _Ibid._: _Fairy Tales_. Mrs. Lucas. T.C. and W. Robinson.\n       Dutton.\n\n     _Ibid._: _Fairy Tales_. Mrs. Lucas. Helen Stratton. Dodge.\n\n     _Ibid._: _Fairy Tales_. Maria L. Kirk. Lippincott.\n\n     Andersen, Hans Christian: _Fairy Tales_. Edmund Dulac. Hodder &\n       Stoughton.\n\n     _Ibid.: Fairy Tales_. W.H. Robinson. Holt.\n\n     _Ibid.: Fairy Tales_. Braekstad. Tegner. Introd. by Gosse.\n         Century.\n\n     Asbj\u00f6rnsen, P.C.: _Fairy Tales from the Far North_. Burt.\n\n     _Ibid.: Round the Yule Log_. Introd. by Gosse. Braekstad.\n       Lippincott.\n\n     Dasent, Sir George W.: _Popular Tales from the North_. Routledge.\n       Dutton.\n\n     _Ibid.: Popular Tales from the North_. Putnam.\n\n     _Ibid.: Tales from the Field_. Putnam.\n\n     Grimm, Jacob and William: _Household Tales_. Margaret Hunt.\n       Bonn's Libraries, Bell & Co.\n\n     _Ibid.: Household Tales_. Lucy Crane. Walter Crane. Macmillan.\n\n     _Ibid.: Fairy Tales_. Helen Stratton. Dodge.\n\n     _Ibid.: German Popular Stories_. Tr. Edgar Taylor. Introd. by\n       Ruskin. 22 illustrations by Cruikshank. Chatto & Windus.\n\n     _Ibid_.: _Fairy Tales_. Johann & Leinweber. McLoughlin.\n\n     _Ibid.: Fairy Tales_. Arthur Rackham. Doubleday.\n\n     _Ibid.: Fairy Tales_. Hope Dunlap. Rand.\n\n     Harris, Joel Chandler: _Uncle Remus, His Songs and Sayings_.\n       Appleton.\n\n     _Ibid.: Nights With Uncle Remus_. Church. Houghton.\n\n     _Ibid_.: _Uncle Remus and His Friends_. Frost. Houghton.\n\n     _Ibid.: Uncle Remus and the Little Boy_. J.M. Comte. Small.\n\n     Jacobs, Joseph: _English Fairy Tales_. 2 vols. Batten. Putnam.\n\n     _Ibid.: Celtic Fairy Tales_. 2 vols. Batten. Putnam.\n\n     _Ibid.: Indian Fairy Tales_. Batten. Putnam.\n\n     _Ibid.: The Most Delectable History of Reynard the Fox_.\n\n     Frank Calderon. Macmillan.\n\n     _Ibid.: Europa's Fairy Tales_. Batten. Putnam.\n\n     O'Shea, M.V.: _Old World Wonder Stories_. Heath.\n\n     Perrault, Charles: _Tales of Mother Goose_. Welsh. Heath.\n\n     _Ibid_.: _Fairy Tales_. Appleton. Estes.\n\n     Perrault, Charles: _Tales of Passed Times_. Temple Classics. C.\n       Robinson. Dutton.\n\n     _Ibid.: Popular Tales_. Edited by Andrew Lang. French; and\n       English translation of original edition. Oxford, Clarendon\n       Press.\n\n\nVII. FAIRY TALES OF ALL NATIONS\n\n     Celtic. Jacobs. 1911. Putnam.\n\n     Chinese. Pitnam. 1910. Crowell.\n\n     Cossack. Bain. 1899. Burt.\n\n     Danish. Bay. 1899. Harper.\n\n     Donegal. McManus. 1900. Doubleday.\n\n     English. Jacobs. 1904. Putnam.\n\n     _Ibid_.: Folk and Fairy Stories. Hartland, born 1848. Camelot\n       series.\n\n     French. DeSegur. 1799-1874. Winston.\n\n     German. Grimm. 1812, 1822. Bonn's Libraries.\n\n     Hungarian. Pogany. 1914. Stokes.\n\n     Indian. _Old Deccan Days_. Fr\u00e8re. 1868. McDonough.\n\n     _Ibid.: Tales of the Sun_. Mrs. Kingscote. 1890. W.H. Allen.\n\n     _Ibid.: Buddhist Birth Stories_. Rhys Davids. 1880. Trubner.\n\n     _Ibid.: Fairy Tales_. Stokes. 1880. Ellis & White.\n\n     _Ibid.: Folk Tales of Bengal_. Day. 1883. Macmillan.\n\n     _Ibid.: Wide Awake Stories_. Steel and Temple. 1884. Trubner.\n\n     _Ibid.: Folk-Tales of Kashmir_. Knowles. 1887. Trubner.\n\n     _Ibid.: Tales of the Punjab_. Steel. 1894. Macmillan.\n\n     Irish. Yeats. 1902. Burt.\n\n     Italian. Macdonell. 1911. Stokes.\n\n     _Ibid_.: Crane. 1885. Macmillan.\n\n     Japanese. Ozaki. 1909. Dutton.\n\n     Manx. Morrison. 1899. Nutt.\n\n     New World. Kennedy. 1904. Dutton.\n\n     Norse. Dasent. 1820-1896. Lippincott.\n\n     _Ibid_.: Mabie. 1846-. Dodd.\n\n     Papuan. Kerr. 1910. Macmillan.\n\n     Persian. Stephen. 1892. Dutton.\n\n     _Ibid_.: Clouston. 1907. Stokes.\n\n     Russian. Dole. 1907. Crowell.\n\n     _Ibid_.: Bain. Bilibin. 1914. Century.\n\n     Scottish. Grierson. 1910. Stokes.\n\n     South African. Honey. 1910. Baker & Taylor.\n\n     Welsh. Thomas. 1908. Stokes.\n\n\nVIII. MISCELLANEOUS EDITIONS OF FAIRY TALES\n\n     D'Aulnoy, Madame: _Fairy Tales_. Trans, by Planch\u00e9. Gordon\n       Browne. McKay.\n\n     _Ibid.: Fairy Tales_. Introd. by Anne T. Ritchie. Scribners.\n\n     Austin, M.H.: _Basket Woman_. Houghton.\n\n     Babbit, Ellen: _Jataka Tales Retold_. Century.\n\n     Bailey, Carolyn: _Firelight Stories_. Bradley.\n\n     Bailey and Lewis: _For the Children's Hour_. Bradley.\n\n     Baldwin, James: _Fairy Stories and Fables_. Amer. Book Co.\n\n     Barrie, J.M.: _Peter Pan in Kensington Gardens_. Rackham.\n       Scribners.\n\n     Baumbach, Rudolf: _Tales from Wonderland_. Simmons.\n\n     Bertelli, Luigi: _The Prince and His Ants_. Holt.\n\n     Bryant, Sara C.: _Best Stories to Tell to Children_. Houghton.\n\n     Burgess, Thornton: _Old Mother West Wind_. Little.\n\n     _Ibid.: The Adventures of Reddy Fox_. Little.\n\n     _Ibid.: The Adventures of Johnny Chuck_. Little.\n\n     _Ibid.: Tommy and the Wishing-stone_. Animal Tales. _St.\n       Nicholas_, 1915.\n\n     Chapin, Anna: _The Now-a-Days Fairy Book_. Jessie W. Smith. Dodd.\n\n     Chisholm, Louey: _In Fairyland_. Katherine Cameron. Putnam.\n\n     _Ibid.: Little Red Riding Hood; Cinderella_; (I Read Them\n       Myself series). Dodge.\n\n     Collection: _Half a Hundred Stories for Little People_. Bradley.\n\n     Cooke, Flora J.: _Nature Myths and Stories_. Flanagan.\n\n     Cowell, E.B.: _The Jatakas or Stories of the Buddha's Former\n       Births_. Tr. from the Pali. 6 vols. Cambridge University\n       Press. Putnam. 1895-1907.\n\n     Crothers, Samuel McChord: _Miss Muffet's Christmas Party_.\n       Houghton.\n\n     Emerson, Ellen: _Indian Myths_. Houghton.\n\n     Everyman Series: _157; 365; and 541_. Dutton.\n\n     France, Anatole: _The Honey Bee_. John Lane.\n\n     Grover, Eulalie O., editor: _Mother Goose_. F. Richardson.\n       Volland.\n\n     Harris, Joel C.: _Little Mr. Thimblefinger_. Houghton.\n\n     Harrison, Miss: In Storyland. Central Pub. Co., Chicago.\n     Holbrook, Florence: _The Book of Nature Myths_. Houghton.\n\n     James, Grace: _The Green Willow_: Japanese. Goble. Macmillan.\n\n     Jerrold, Walter: _The Reign of King Oberon_. Robinson. Dent.\n       Little.\n\n     Johnson, Clifton: _Fairy Books: Oak-Tree; Birch-Tree; and\n       Elm-Tree_. Little.\n\n     _Ibid._: _Book of Fairy Tale Bears_. Houghton.\n\n     _Ibid._: _Book of Fairy Tale Foxes_. Houghton.\n\n     Kingsley, Charles: _Water-Babies_. Warwick Goble. Macmillan.\n\n     _Ibid_.: _Water-Babies_. Introd, by Rose Kingsley. Margaret\n       Tarrant. Dutton.\n\n     Kipling, Rudyard: _Jungle Books_. 2 vols. Original edition.\n       Century.\n\n     _Ibid._: _Jungle Books_. M. and E. Detmold. Century.\n\n     _Ibid._: _Jungle Books_. A. Rackham. Doubleday.\n\n     _Ibid._: _Just-So Stories_. Doubleday.\n\n     _Ibid._: _Puck of Pook's Hill_. Doubleday.\n\n     _Ibid._: _Rewards and Fairies_. Doubleday.\n\n     Laboulaye, Edouard: _Fairy Book_. Harper.\n\n     _Ibid._: _Last Fairy Tales_. Harper.\n\n     Lang, Andrew: _Fairy Books: Red; Orange; Yellow; Green_; _Blue;\n       Violet; Gray; Crimson; Brown; Pink_. Longmans.\n\n     Lansing, Marion: _Rhymes and Stories_. Ginn.\n\n     _Ibid._: _Fairy Tales_. 2 vols. Ginn.\n\n     Leamy, Edward: Golden Spears. FitzGerald.\n\n     Lef\u00e8vr\u00e9, Felicit\u00e9: _The Cock, the Mouse, and the Little Red Hen_.\n       Tony Sarg. Jacobs, Phila.\n\n     Lindsay, Maud: _Mother Stories; More Mother Stories_. Bradley.\n\n     Maeterlinck, Madam: _The Children's Bluebird_. Dodd.\n\n     Molesworth, Mary Louise: _The Cuckoo Clock_. Maria Kirk.\n       Lippincott.\n\n     Mulock, Miss: _The Fairy Book_. Boyd Smith. Crowell.\n\n     _Ibid._: _Fairy Book_. 32 illus. by W. Goble. Macmillan.\n\n     _Ibid._: _Little Lame Prince_. Hope Dunlap. Rand.\n\n     Musset, Paul de: _Mr. Wind and Madam Rain_. Bennett. Putnam.\n\n     Nyblom, Helena: _Jolly Cable and other Swedish Fairy Tales_.\n       Folknin. Dutton.\n\n     Olcott, Frances J.: _Arabian Nights_. Tr. by Lane. Cairo text.\n       Selections. Holt.\n\n     Perrault, Charles: _The Story of Bluebeard_. Stone & Kimball,\n       Chicago.\n\n     Poulsson, E.: _In the Child's World_. Bradley.\n\n     Pyle, Howard: _The Garden Behind the Moon_. Scribners.\n\n     _Ibid._: _Wonder-Clock_. Harper.\n\n     Pyle, Katherine: _Fairy Tales from Many Lands_. Dutton.\n\n     Rackham, Arthur: _Mother Goose_. Century.\n\n     Ram\u00e9, Louise de la (Ouida): _N\u00fcrnberg Stove: Bimbi Stories for\n       Children_. Page.\n\n     Rhys, Ernest: _Fairy Gold_. Herbert Cole. Dutton.\n\n     Rolfe, William: _Fairy Tales in Prose and Verse_. Amer. Book Co.\n\n     Shakespeare, William: _Midsummer Night's Dream_. With forty\n       illustrations in color by Arthur Rackham. Doubleday.\n\n     Shedlock, Marie: _A Collection of Eastern Stories and Legends_.\n       Foreword by T. Rhys Davids. Dutton.\n\n     Smith, Jessie Willcox: _Mother Goose_. Dodd.\n\n     Stephen, A.: _Fairy Tales of a Parrot_. Ellis. Nister. Dutton.\n\n     Stockton, F.: _The Queen's Museum_. F. Richardson. Scribners.\n\n     Tappan, Eva March: _The Children's Hour: Folk Stories and\n       Fables_. Houghton.\n\n     Thorne-Thomson: _East o' the Sun and West o' the Moon_. Row.\n\n     Underhill, Zoe D.: _The Dwarf's Tailor_. Harper.\n\n     Valentine, Mrs. Laura: _Old, Old Fairy Tales_. F. Warne.\n\n     Welsh, Charles: _Fairy Tales Children Love_. Dodge.\n\n     Wheeler, W.A.: _Mother Goose Melodies_. Houghton.\n\n     Wiggin, Kate; and Smith, Nora: _The Fairy Ring: Tales of\n       Laughter: Magic Casements_: and _Tales of Wonder_. Doubleday.\n\n\n\nIX. SCHOOL EDITIONS OF FAIRY TALES\n\n\n     Alderman, E.A.: _Classics Old and New_. Amer. Book Co.\n\n     Alexander, G.: _Child Classics_. Bobbs.\n\n     Baker, F.T., and Carpenter, G.: _Language Readers_. Macmillan.\n\n     Baldwin, James: _The Fairy Reader_, I and II. Amer. Book Co.\n\n     Blaisdell, Etta (MacDonald): _Child Life in Tale and Fable_.\n       Macmillan.\n\n     Blumenthal, Verra: _Fairy Tales from the Russian_. Rand.\n\n     Brooks, Dorothy: _Stories of Red Children_. Educational.\n\n     Bryce, Catherine: _Child-Lore Dramatic Reader_. Scribners.\n\n     Burchill, Ettinger: _Progressive Road to Reading_, Readers.\n       Silver.\n\n     Chadwick, Mara P.: _Three Bears Story Primer_. Educational.\n\n     Chadwick, M.P. and Freeman, E.G.: _Chain Stories and Playlets:\n       The Cat That Was Lonesome: The Mouse That Lost Her Tail_; and\n       _The Woman and Her Pig_. World Book Co.\n\n     Coe and Christie: _Story Hour Readers_. Amer. Book Co.\n\n     Craik, Georgiana: _So Fat and Mew Mew_. Heath.\n\n     Davis, M.H. and Leung, Chow: _Chinese Fables and Folk Stories_.\n       Amer. Book. Co.\n\n     Dole, C.F.: _Crib and Fly_. Heath.\n\n     Free and Treadwell: _Reading Literature Series_. Row, Peterson.\n\n     Grover, Eulalie O.: _Folk Lore Primer_. Atkinson.\n\n     Hale, E.E.: _Arabian Nights_. Selections. Ginn.\n\n     Heath, D.C.: _Dramatic Reader_. Heath.\n\n     Henderson, Alice: _Andersen's Best Fairy Tales_. Rand.\n\n     Hix, Melvin: _Once Upon a Time Stories_. Longmans.\n\n     Holbrook, Florence: _Dramatic Reader for the Lower Grades_. Amer.\n       Book Co.\n\n     Howard, F.W.: _The Banbury Cross Stories: The Fairy Gift and Tom\n       Hickathrift_. Merrill.\n\n     Johnston, E.; and Barnum, M.: _Book of Plays for Little Actors_.\n       Amer. Book. Co.\n\n     Kennerley: _The Kipling Reader_. 2 vols. Appleton.\n\n     Ketchum and Rice: _Our First Story Reader_. Scribners.\n\n     Lang, Andrew: _Fairy Readers_. Longmans.\n\n     Lansing, M.: _Tales of Old England_. Ginn.\n\n     Mabie, H.: _Fairy Tales Every Child Should Know_. Doubleday.\n\n     McMahon, H., M., and A.: _Rhyme and Story Primer_. Heath.\n\n     McMurry, Mrs. Lida B.: _Classic Stories_. Public School Pub. Co.\n\n     Norton, Charles E.: _Heart of Oak Books_. Heath.\n\n     Norvell, F.T., and Haliburton, M.W.: _Graded Classics_. Johnson.\n\n     Perkins, F.O.: _The Bluebird Arranged for Schools_. Silver.\n\n     Pratt, Mara L.: _Legends of Red Children_. Amer. Book Co.\n\n     Roulet, Mary Nixon: _Japanese Folk-Stories and Fairy Tales_.\n       Amer. Book Co.\n\n     Scudder, H.: _Andersen's Fairy Tales: Grimm's Fairy Tales;\n       Fables and Folk Stories; The Children's Book_. Houghton.\n\n     Smythe, Louise: _Reynard the Fox_. Amer. Book Co.\n\n     Spaulding and Bryce: _Aldine Readers_. Newson.\n\n     Stevenson, Augusta: _Children's Classics in Dramatic Form_. 5\n       vols. Houghton.\n\n     Stickney, J.H.: _Andersen's Fairy Tales_. 2 series. Ginn.\n\n     Summers, Maud: _The Summers Readers_. Beattys.\n\n     Turpin, E.H.: _Andersen's Fairy Tales_. Merrill.\n\n     Underwood, Kate: _Fairy Tale Plays_ (For Infants and Juniors).\n       Macmillan.\n\n     University Pub. Co.: _Fairy Tales_. Standard Literature Series;\n       Hans Andersen's Best Stories; Grimm's Best Stories. Newson and\n       Co.\n\n     Van Sickle, J.H., etc.: _The Riverside Readers_. Houghton.\n\n     Varney, Alice: _Story Plays Old and New_. Amer. Book Co.\n\n     Villee: _Little Folk Dialog Reader_. Sower.\n\n     Wade, Mary H.: _Indian Fairy Tales_. Wilde.\n\n     Washburne, Mrs. M.: _Old-Fashioned Fairy Tales_ (Retold from\n       poetic versions of Thomas Hood). Rand.\n\n     White, Emma G.: _Pantomime Primer_. Amer. Book Co.\n\n     Williston, P.: _Japanese Fairy Tales_. 2 series. Rand.\n\n     Wiltse, Sara E.: _Folk Lore Stories and Proverbs_. Ginn.\n\n     Wohlfarth, J., and McMurry, Frank: _Little Folk-Tales_. 2 vols.\n\n     Zitkala-sa: _Old Indian Legends_. Ginn.\n\n\n\n\n\n\nAPPENDIX\n\nILLUSTRATIONS OF CREATIVE RETURN[14]\n\nTales suited for dramatization\n\n_Little Two-Eyes_\n\n\n_Little Two-Eyes_, which is suited to the first-grade child, is one of\nthe most attractive of folk-tales and contains blended within itself\nthe varied beauties of the tales. It is in _cante-fable_ form, which\ngives it the poetic touch so appealing to children. It contains the\nmagic rhymes,--\n\n     Little kid, bleat,\n     I wish to eat!\n\n     Little kid, bleat,\n     Clear it off, neat!\n\nthe fairy wise woman, and the friendly goat. It contains the fairy\nhousekeeping in the forest which combines tea-party, picnic, and magic\nfood--all of which could not fail to delight children. The lullaby to\nput Two-Eyes to sleep suits little children who know all there is to\nknow about \"going to sleep.\" The magic tree, the silver leaves, the\ngolden fruit, the knight and his fine steed, and the climax of the\ntale when the golden apple rolls from under the cask--all possess\nunusual interest. There is exceptional beauty in the setting of this\ntale; and its message of the worth of goodness places it in line with\n_Cinderella_. It should be dramatized as two complete episodes, each\nof three acts:--\n\n_The Goat Episode_\n\n     _Place_  The home and the forest.\n\n     _Time_  Summer.\n\n     _Act  I, Scene i_. A home scene showing how the Mother and\n        Sisters despised Two-Eyes.\n\n     _Scene ii_. Two-Eyes and the Fairy.\n\n     _Scene iii_. Two-Eyes and the Goat. Evening of the first day.\n\n     _Act II, Scene i_. One-Eye went with Two-Eyes. Third morning.\n       Song ... Feast ... Return home.\n\n     _Act III, Scene i_. Three-Eyes went with Two-Eyes. Fourth\n       morning. Song ... Feast ... Return home.\n\n_The Story of Two-Eyes_\n\n     _Place_  The forest; and the magic tree before the house.\n\n     _Time_  Summer.\n\n     _Act  I, Scene i_. Two-Eyes and the Fairy.\n\n     _Act II, Scene i_. The magic tree. Mother and Sisters attempt to\n       pluck the fruit.\n\n     _Act III, Scene i_. The Knight. Second attempt to pluck fruit.\n       Conclusion. The happy marriage.\n\n_Snow White_\n\n_The Story of Snow White_ is one of the romantic fairy tales which has\nbeen re-written and staged as a play for children, and now may be\nprocured in book form. It was produced by Winthrop Ames at the Little\nTheatre in New York City. The dramatization by Jessie Braham White\nfollowed closely the original tale. The entire music was composed by\nEdmond Rickett, who wrote melodies for a number of London Christmas\npantomimes. The scenery, by Maxfield Parrish, was composed of six\nstage pictures, simple, harmonious, and beautiful, with tense blue\nskies, a dim suggestion of the forest, and the quaint architecture of\nthe House of the Seven Dwarfs. Pictures in old nursery books were the\nmodels for the scenes. Because of the simplicity of the plot and the\nfew characters, _Snow White_ could be played very simply in four\nscenes, by the children of the second and third grades for the\nkindergarten and first grade.\n\n_Snow White_\n\n     _Scene i_. A Festival on the occasion of Snow White's sixteenth\n       birthday.\n\n     _Scene ii_. In the Forest.\n\n     _Scene iii_. A Room in the House of the Seven Dwarfs.\n\n     _Scene iv_. The Reception to Snow White as Queen, on the grounds\n       near the young King's Palace.\n\nThe beautiful character of Snow White; the glimpse of Dwarf life--the\nkindly little men with their unique tasks and their novel way of\nliving; the beauty and cheer of Snow White which her housekeeping\nbrought into their home; their devotion to her; the adventure in the\nwood; the faithful Huntsman; the magic mirror; the wicked Queen; and\nthe Prince seeking the Princess--all contribute to the charm of the\ntale. The songs written for the play may be learned by the children,\nwho will love to work them into their simple play: _Snow White, as\nfair as a lily, as sweet as a rose_; the song of the forest fairies,\n_Welcome, Snow White_; and their second song which they sing as they\ntroop about Snow White lying asleep on the Dwarf's bed, _Here you'll\nfind a happy home, softly sleep!_ or the song of Snow White to the\nDwarfs, _I can brew, I can bake_.\n\n_The Little Lamb and the Little Fish_\n\nOnce upon a time there lived a sister and a brother who loved each\nother very much. They were named Gretchen and Peterkin. One day their\nfather who was King of the country, left them and brought home with\nhim a new Queen who was not kind to the children. She banished them\nfrom the castle and told the King bad tales about them. So they made\nfriends with the Cook and ate in the kitchen. Peterkin would bring\nwater and Gretchen could carry plates and cups and saucers.\n\nOne beautiful spring day when all the children were out-of-doors\nplaying games, Gretchen and Peterkin went to play with them, by the\npond, on the meadow, beyond the castle wall. Around this pond the\nchildren would run, joining hands and singing:--\n\n     \"Eneke, Beneke, let me live,\n     And I to you my bird will give;\n     The bird shall fetch of straw a bunch,\n     And that the cow shall have to munch;\n     The cow shall give me milk so sweet,\n     And that I'll to the baker take,\n     Who with it shall a small cake bake;\n     The cake the cat shall have to eat,\n     And for it catch a mouse for me,\n       *       *       *       *       *\n     \"And this is the end of the tale.\"\n\nRound and round the pond the children ran singing; and as the word\n\"tale\" fell on Peterkin he had to run away over the meadow and all the\nrest ran after to catch him.\n\nBut just then the wicked Queen from her window in the castle spied the\nhappy children. She did not look pleased and she muttered words which\nyou may be sure were not very pleasant words.\n\nThe children had been racing across the meadow after Peterkin. Now one\ncalled, \"Where is Peterkin? I saw him near that tree, but now I cannot\nsee him. Gretchen, can you see Peterkin?--Why, where's Gretchen?\"\n\nPeterkin and Gretchen were nowhere to be seen. Suddenly a little boy\nsaid, \"Where did that lamb come from over there? It must have been\nbehind the linden tree!\"\n\nThe children drew near the lamb, when what was their surprise to hear\nit call out to them, \"Run children, run quick or the Queen will harm\nyou! I am Gretchen! Run, and never come near the pond again!\" And at\nthe little Lamb's words the children fled.\n\nBut the little Lamb ran all about the meadow, calling, \"Peterkin,\nPeterkin!\" and would not touch a blade of grass. Sadly she walked to\nthe edge of the pond and slowly walked round and round it calling,\n\"Peterkin, where are you?\"\n\nSuddenly the water bubbled and a weak voice cried, \"Here, Gretchen, in\nthe pond,--\n\n     \"Here Gretchen, here swim I in the pond,\n     Nor may I ever come near castle ground.\"\n\nAnd the Lamb replied:--\n\n     \"Ah, my brother! In the wood,\n     A lamb, now I must search for food.\"\n\nThen Peterkin comforted Gretchen and promised early every morning to\ncome up to the water to talk with her; and Gretchen promised to come\nearly from the wood, before the sun was up, to be with Peterkin. And\nPeterkin said, \"I will never forsake you, Gretchen, if you will never\nforsake me!\" And Gretchen said, \"I will never forsake you, Peterkin,\nif you will never forsake me!\"\n\nThen the little Lamb fled sadly to the wood to look for food and the\nlittle Fish swam round the pond. But the children did not forget their\nplaymates. Every day they saved their goodies and secretly laid them\nat the edge of the wood where the Lamb could get them. And the Lamb\nalways saved some to throw the crumbs to the little Fish in the\nmorning.\n\nMany days passed by. One day visitors were coming to the castle. \"Now\nis my chance,\" thought the wicked Queen. So she said to the Cook, \"Go,\nfetch me the lamb out of the meadow, for there is nothing else for the\nstrangers!\"\n\nNow the Lamb had lingered by the pond longer than usual that morning\nso that the Cook easily caught her; and taking her with him tied her\nto the tree just outside the kitchen. But when the Cook was gone to\nthe kitchen, the little Fish swam up from the pond into the little\nbrook that ran by the tree and said--\n\n     \"Ah, my sister, sad am I,\n     That so great harm to you is nigh!\n     And far from you I love must be,\n     A-swimming in the deep, deep sea!\"\n\nAnd the Lamb replied:--\n\n     \"Ah, my brother in the pond,\n     Sad must I leave you, though I'm fond;\n     The cook has come to take my life,\n     Swim off to sea,--Beware!\"\n\nJust then the Cook came back and hearing the Lamb speak became\nfrightened. Thinking it could not be a real lamb, he said, \"Be still,\nI will not harm you. Run, hide in the wood, and when it is evening,\ncome to the edge of the wood and I will help you!\"\n\nThen the Cook caught another lamb and dressed it for the guests. And\nbefore evening he went to a wise woman who happened to be the old\nNurse who had taken care of Peterkin and Gretchen. She loved the\nchildren and she soon saw what the wicked Queen had done. She told the\nCook what the Lamb and Fish must do to regain their natural forms.\n\nAs soon as it was dark the little Lamb came to the edge of the wood\nand the Cook said, \"Little Lamb, I will tell you what you must do to\nbe a maid again!\" So the Cook whispered what the wise Woman had said.\nThe little Lamb thanked the Cook and promised to do as he said.\n\nNext morning very early before the break of day, the little Lamb\nhurried from the wood across the meadow. Not taking time to go near\nthe pond she hastily pushed against the castle gate which the kind\nCook had left unfastened for her. She ran up the path, and there under\nthe Queen's window stood the beautiful rose-tree with only two red\nroses on it--just as the Cook had said. Not even glancing at the\nQueen's window, the little Lamb began nibbling the lowest one. And\nbehold, there in the path stood Gretchen again! Then hastening to\nseize the other rose before the sun's first ray might touch it, she\nran lightly down the path, away from castle ground, across the meadow\nto the pond. Calling little Fish to the water's edge--for he had\nlingered in the pond--she sprinkled over him the drops of dew in the\nheart of the rose. And there stood little Peterkin beside Gretchen!\n\nThen hand in hand, Gretchen and Peterkin hurried from the pond and\nfled into the wood just as the sun began to show beyond the trees.\nThere they built themselves a cottage and lived in it happily ever\nafterwards. The kind Cook and the wise Nurse found them and visited\nthem. But Gretchen and Peterkin never went near castle ground until\nthe Cook told them the Queen was no more.--_Laura F. Kready_.\n\n\n_How the Birds came to Have Different Nests Time..._.\n\n_Once upon a time when pigs spoke rhyme,\nAnd monkeys chewed tobacco.\nAnd hens took snuff to make them tough,\nAnd ducks went quack, quack, quack, O!_\n\n_Place_. ... Madge Magpie's Nest up in a Tree-top.\n\n_Characters_: Madge Magpie, the Teacher; Thrush, Blackbird, Owl,\nSparrow, Starling, and Turtle-Dove.\n\n_All the Birds_. \"We have come to you, Madge Magpie, to ask you to\nteach us how to build nests. All the Birds tell how clever you are at\nbuilding nests.\"\n\n_Magpie_. \"Make a circle round about the foot of this old pear-tree. I\nwill sit upon this limb near my nest and show you how to do it. First\nI take some mud and make a fine round cake with it.\"\n\n_Thrush_. \"Oh, that's how it's done, is it? I'll hurry home! Goodbye,\nBirds, I can't stay another minute!\n\n     \"Mud in a cake, mud in a cake,\n     To-whit, to-whee, a nest I'll make!\"\n\n_Magpie_. \"Next I take some twigs and arrange them about the mud.\"\n\n_Blackbird_. \"Now I know all about it. Here I go, I'm off to make my\nnest in the cherry-tree in Mr. Smith's cornfield!\n\n     \"Sticks upon mud, mud upon sticks,\n     Caw, caw! I'll make a nest for six!\"\n\n_Magpie_. \"See, here I put another layer of mud over the twigs.\"\n\n_Wise Owl_. \"Oh! That's quite obvious. Strange I never thought of that\nbefore. Farewell, come to see me at the old elm-tree beside the gray\nchurch!\n\n     \"Mud over twigs! To-whit, to-whoo!\n     No better nest than that ever grew!\"\n\n_Magpie_. \"See these long twigs. I just twine them round the outside.\"\n\n_Sparrow_. \"The very thing. I'll do it this very day. I can pick some\nup on my way home. I'll choose the spout that looks down over the\nschool-yard; then I can see the children at play. They must like me\nfor they never chase me away or hit me.\n\n     \"A nest with twigs twined round and round,\n     Chip, chip! No fear that would fall to the ground!\"\n\n_Magpie_. \"And see these little feathers and soft stuff. What a\ncomfortable, cosy lining for the nest they make!\"\n\n_Starling_. \"That suits me! Off I go, I like a cosy warm nest. It\nshall be in that old plum-tree in the orchard, on the side of the hill.\n\n     \"Feathers and down to make cosy and warm,\n     That's the nest to keep us from harm!\"\n\n_Magpie_. \"Well, Birds, have you seen how I made my nest? Do you think\nyou know how?--Why, where are all the Birds? They couldn't wait until\nI'd finished. Only you, Turtle-Dove, left!\"\n\n_Turtle-Dove_. \"Take two, Taffy, take two--o--o--o!\"\n\n_Magpie_. \"Here I put a twig across. But not two--one's\nenough!\"\n\n_Turtle-Dove_. \"Take two, Taffy, take two--o--o--o!\"\n\n_Magpie_. \"One's enough I tell you, do you not see how I\nlay it across?\"\n\n_Turtle-Dove_. \"Take two, Taffy, take two--o--o--o!\"\n\n_Magpie_. \"Here I fly away from my nest for awhile! I will teach no\nmore Birds to build nests. I cannot teach a silly Turtle-Dove who will\nnot learn. I heard him sing just now as I turned around,\"\n\n_Turtle-Dove_. \"Take two, Taffy, take two--o--o--o,\n                          Take two, Taffy, take two--o--o--o!\"\n\n_Laura F. Kready_.\n\n\n\n\nTYPES OF TALES\n\n\nAn Animal Tale[15]\n\n_The Good-Natured Bear_\n\n\n\"I shall never forget the patience, the gentleness, the skill, and the\nfirmness with which she first taught me to walk alone. I mean to walk\non all fours, of course; the upright manner of my present walking was\nonly learned afterwards. As this infant effort, however, is one of my\nearliest recollections, I have mentioned it before all the rest, and\nif you please, I will give you a little account of it.\"\n\n\"Oh! do, Mr. Bear,\" cried Gretchen; and no sooner had she uttered the\nwords than all the children cried out at the same time, \"Oh, please\ndo, sir!\"\n\nThe Bear took several long whiffs at his pipe, and thus continued,--\n\n\"My Mother took me to a retired part of the forest (of Towskipowski,\nPoland) where few animals ever came; and telling me that I must now\nstand alone, extended both paws, and slowly lowered me towards the\nearth. The height as I looked down, seemed terrible, and I felt my\nlegs kick in the air, with fear of I did not know what, till suddenly\nI felt four hard things and no motion. It was the fixed earth beneath\nmy four infant legs. 'Now,' said my Mother, 'you are what is called\nstanding alone!' But what she said I heard as in a dream. With my back\nin the air as though it rested on a wooden trussel, with my nose\npoking out straight snuffing the fresh breeze and the many secrets of\nthe woods, my ears pricking and shooting with all sorts of new sounds\nto wonder at, to want to have, to love, or to tumble down at,--and my\neyes staring before me full of light and confused gold and dancing\nthings, I seemed to be in a condition over which I had no power to\neffect the least change, and in which I must remain fixed till some\nwonderful thing happened. But the firm voice of my Mother came to my\nassistance and I heard her tell me to look upon the earth beneath me\nand see where I was. First I looked up among the boughs, then\nside-ways at my shoulder, then I squinted at the tip of my nose--all\nby mistake and innocence--at last I bent my nose in despair and saw my\nforepaws standing, and this of course was right. The first thing that\ncaught my attention, being the first thing I saw distinctly, was a\nlittle blue flower with a bright jewel in the middle, which I\nafterwards found was a drop of dew. Sometimes I thought this little\nblue darling was so close that it almost touched my eyes and certainly\nthe color of it was up in my head; sometimes I thought it was deep\ndown, a long way off. When I bent my face towards it to give it a kiss\nit seemed just where it was though I had not done what I had thought\nto do.\n\n\"The next thing I saw upon the ground was a soft-looking little\ncreature that crawled along with a round ball upon the middle of its\nback, of a beautiful white color, with brown and red curling stripes.\nThe creature moved very, very slowly, and appeared always to follow\nthe opinion and advice of two long horns on its head, that went\nfeeling about on all sides. Presently it slowly approached my right\nforepaw and I wondered how I should feel or smell or hear it as it\nwent over my toes; but the instant one of the horns touched the hair\nof my paw, both horns shrunk into nothing and presently came out\nagain, and the creature slowly moved away in another direction. While\nI was wondering at this strange proceeding--for I never thought of\nhurting the creature, not knowing how to hurt anything, and what\nshould have made the horns think otherwise?--while then I was\nwondering at this, my attention was suddenly drawn to a tuft of moss\non my right near a hollow tree trunk. Out of this green tuft looked a\npair of very bright round small eyes, which were staring up at me.\n\n\"If I had known how to walk I should have stepped back a few steps\nwhen I saw those bright little eyes, but I never ventured to lift a\npaw from the earth since my Mother had first set me down, nor did I\nknow how to do so, or what were the proper thoughts or motions to\nbegin with. So I stood looking at the eyes and presently I saw that\nthe head was yellow and that it had a large mouth. 'What you have just\nseen,' said my Mother, 'we call a snail; and what you now see is a\nfrog.' The names however did not help me at all to understand. Why the\nfirst should have turned from my paw so suddenly and why this creature\nshould continue to stare up at me in such a manner I could not\nconceive. I expected however that it would soon come slowly crawling\nforth and then I should see whether it would also avoid me in the same\nmanner. I now observed that its body and breast were double some-how,\nand that its paws were very large for its size, but had no hair upon\nthem, which I thought was probably occasioned by its slow crawling\nhaving rubbed it all off. I had scarcely made these observations and\nreflections, when a beam of bright light breaking through the trees,\nthe creature suddenly gave a great hop right up under my nose; and I,\nthinking the world was at an end, instantly fell flat down on one side\nand lay there waiting!\"--\n\nWith this glimpse of an old-time modern animal tale we shall have to\nsay with \"Mr. Titmarsh,\" \"Those who wish to know more about him must\nbuy the book for themselves,\"--and add: Or they must get some\nenterprising publisher to reprint it.\n\n\nA Few Romantic Tales[16]\n\n_Puss-in-Boots and Lord Peter_\n\n_Puss-in-Boots_, a romantic tale suited to the first grade, delights\nwith its strong sense of adventure and of the heroic. Puss is a\nMaster-Cat, a hero clever and quick, and with fine imagination to see\nwhat would happen and prepare for it. He is successful, combining\ninitiative and motivation delightfully. His devotion to his master\nseems like disinterested loyalty, love, and sacrifice. While it is\ntrue the plot is based on a lie, the moral effect is not bad because\nwe recognize Puss as a match-making character similar to the\nmatchmaking Jackal of India; and in love \"all is fair.\" Moreover\nPuss-in-Boots was only true to his cat-nature in playing a trick, and\nwe admire the cleverness of his trick in behalf of a master really\ndeserving. The underlying philosophy of the tale, \"That there is a\npower in making the best with what you possess,\" appeals to all, and\nhas the ability to lend dignity and force to the light intrigue of the\ntale.\n\nThe setting in _Puss-in-Boots_ gives a touch of nature beauty. First\nwe have the Miller's poor home, and from there we are led in\nsuccession to the brambles through which Puss scampered; the rabbits'\nwarren where he lay in waiting to bag the heedless rabbits; the palace\nto which he took the rabbits caught by the Marquis of Carabas; the\ncornfield where he bagged the partridges; the river-side where the\nMarquis bathed; the meadow where the countrymen were mowing; the\ncornfields where the good people were reaping; until at last we are\nescorted to the stately castle where the Ogre dwelt.\n\nThe plot of the tale is very pleasing as it easily arranges itself\ninto a simple drama of three acts:--\n\n     Act I,\n       Scene i. Revery of the Master. The Cat's promise to help.\n       Scene ii. Puss in the rabbits' warren with his bag.\n       Scene iii. Puss takes the rabbits to the King in his\n                      palace.\n\n     Act II,\n       Scene i. Puss with his bag in the cornfield.\n       Scene ii. Puss takes partridges to the King.\n       Scene iii. Puss and his Master. Puss gives advice.\n\n     Act III,\n       Scene i. The Marquis bathing and Puss by the river-side.\n       Scene ii.  The Drive. Puss runs before and meets the mowers.\n       Scene iii. The Ogre's Castle. Puss's reception of the coach.\n                      Marriage of the Marquis of Carabas. Puss\n                      becomes a Lord.\n\nThe tale possesses an appeal to the emotions, we want Puss-in-Boots to\naccomplish whatever scheme he invents, and we want the Miller's son to\nwin the Princess. Its appeal to the imagination is an orderly\nsuccession of images, varied and pleasing. The invention of Puss and\nhis successful adventures make the tale one of unusual interest,\nvivacity, and force. The transformation of the Ogre into a Lion and\nagain into a Mouse, and the consequent climax of Puss's management of\nthe Mouse, bring in the touch of the miraculous. A similar\ntransformation occurs in Hesiod, where the transformed Metis is\nswallowed by Zeus. This transformation may be produced by a witch,\nwhen the help of another is needed, as in _Beauty and the Beast_ and\nin _Hansel and Grethel_; or the transformation may come from within,\nas in this case when the Ogre changes himself into a Mouse, or when a\nman changes himself into a Wolf. A situation which parallels the theme\nof Puss-in-Boots occurs in _The Golden Goose_ where Dummling gets as\nhis share only a goose, but having the best disposition makes his\nfortune out of his goose. Grimm's _Three Feathers_ also contains a\nsimilar motif. D'Aulnoy's _White Cat_, the feminine counterpart of\n_Puss-in-Boots_, is a tale of pleasing fancy in which the hero wins\nthe White Cat, a transformed Princess, who managed to secure for him,\nthe youngest son, the performance of all the tasks his father had set\nfor him.\n\nBut the most interesting parallel of _Puss-in-Boots_ is the Norse\n_Lord Peter_ told by Dasent in _Norse Tales_. Here the helpful Cat\ndoes not use a bag, but in true Norse fashion catches game in the wood\nby sitting on the head of the reindeer and threatening, \"If you don't\ngo straight to the King's palace, I'll claw your eyes out!\" The Norse\ntale omits the bathing episode. The King wants to visit Lord Peter but\nthe Cat manages that Lord Peter shall visit the King. The Cat promises\nto supply coach, horses and clothes, not by craft--their source is not\ngiven--but they are furnished on the condition that Peter must obey to\nsay always, when he sees fine things in the Castle, that he has far\nfiner things of his own. In the Norse tale Peter and the Cat work\ntogether, Peter is in the secret; while in the Perrault tale Puss does\nall the managing, Carabas is simply being entertained by the King. In\nthe Norse tale, on the way home the coach meets a flock of sheep, a\nherd of fine kine, and a drove of horses. The Cat does not threaten\nthat the caretakers shall be \"chopped as fine as herbs for the pot,\"\nif they do not say all belongs to Lord Peter, but he cunningly bribes\nthe shepherd with a silver spoon, the neat-herd with a silver ladle,\nand the drover with a silver stoop. In place of the Ogre's Castle,\nthere is a Troll's Castle with three gates--one of tin, one of silver,\nand one of gold. The Norse Cat wins the victory by craftily playing\nupon the troll-nature. He gains the Troll's attention by meeting him\nat the gate and telling him about the secrets of agriculture, one of\nthe secrets of men the trolls wanted to learn. Then at the height of\ninterest, he plays upon his curiosity by getting him to look round.\nWhereupon, the Troll, meeting the glare of the full sun, burst; for\ntrolls cannot bear the sight of the sun, and live. In the Norse tale,\nthe Cat, after Lord Peter at her request cuts off her head, becomes\nthe Princess and marries Lord Peter. In Perrault's tale, the King,\nwith French etiquette and diplomacy, invites the Marquis to be his\nson-in-law.\n\nThe _Story of Puss-in-Boots_ appeared in _Straparola_, 11, 1, and in\n_Basile_, 2, 4. Laboulaye, in his _Last Fairy Tales_, has retold the\nPentamerone tale, _Gagliuso_, in which the Cat is a crafty advocate of\nhis Master's interests, but the Master is ungrateful and forgets the\nCat. The effect of the tale is not pleasing, it is a satire on\ngratitude.\n\nThe _Story of Puss-in-Boots_ is also told by Ludwig Tieck, with twelve\netchings by Otto Speckter, published in Leipzig, in 1843. A critic,\nwriting for the Quarterly Review in 1844, \"An Article on Children's\nBooks,\"[17] recommended this edition of _Puss-in-Boots_ as the beau\nideal of nursery books. _Puss-in-Boots_ appeared also in the Swedish\nof Cavallius. A monograph on the Carabas tale has been written by\nAndrew Lang.\n\n\n_Tom Thumb and Little Thumb_\n\n_Tom Thumb_, another romantic tale suited to the first grade, is one\nof the most entertaining of tales. The germ of _Tom Thumb_ exists in\nvarious forms in the books of the far East, among American Indians,\nand among the Zulus of South Africa. Tom Thumb is one of the oldest\ncharacters in English nursery literature. In 1611, the ancient tales\nof Tom Thumb were said to have been \"in the olde time the only\nsurvivors of drouzy age at midnight. Old and young, with his tales\nchim'd mattens till the cock's crow in the morning. Batchelors and\nmaids have with his tales compassed the Christmas fireblocke till the\ncurfew bell rings candle out. The old shepheard and the young plowboy,\nafter a days' labour, have carol'ed out a _Tale of Tom Thumb_ to make\nthem merry with, and who but little Tom hath made long nights seem\nshort and heavy toyles easie.\"\n\n_Tom Thumb_, as has been previously mentioned, most probably was\ntransmitted to England by the early Norsemen. _The Tale of Tom Thumb_,\nas told by Jacobs, was taken from the chap-book version in\n_Halliwell_. The first mention of Tom is in Scot's _Discoverie of\nWitchcraft_, in 1584. Tradition says that Tom died at Lincoln, which\nwas one of the five Danish towns of England. A little blue flagstone\nin the cathedral, said to be his tombstone, was lost and has never\nbeen replaced during recent repairs early in the nineteenth century.\n_Tom Thumb_ was first written in prose by Richard Johnson, in 1621. In\nAshton's _Chap-Books of the Eighteenth Century_ we have a facsimile of\nthe chap-book, _The Famous History of Tom Thumb_. The tale is in three\nparts. The first part, which is much superior to the rest of the tale,\nwas taken from a copy printed for John Wright, in 1630. The second and\nthird parts were written about 1700. The first part closes with the\ndeath of Tom from knightly feats. He was buried in great pomp, but the\nfairies carried him to Fairy Land. The first part closed with a\npromise of the second:--\n\n     The Fairy Queen, she lov'd him so\n     As you shall understand,\n     That once again she let him go\n     Down to the Fairy Land.\n\n     The very time that he return'd\n     Unto the court again,\n     It was as we are well inform'd\n     In good King Arthur's reign.\n\n     When in the presence of the King,\n     He many wonders wrought,\n     Recited in the Second Part\n     Which now is to be bought\n\n     In Bow Church Yard, where is sold\n     Diverting Histories many;\n     And pleasant tales as e'er was told\n     For purchase of One Penny.\n\nThe second part opens with Tom's return to Fairy Land. His second\ndeath is caused by a combat with a cat. Again he is taken to Fairy\nLand. In the third part the Fairy Queen sends Tom to earth in King\nThunston's reign. His final death occurred from the bite of a spider.\n\n_The Life and Adventures of Tom Thumb_ appeared in the _Tabart\nCollection of Fairy Tales_, noted before, and a version entirely in\nverse was included in _Halliwell_. A monograph on _Tom Thumb_ was\nwritten by M. Gaston Paris. _Little Thumb_ as it appeared in\n_Perrault_ and in _Basile_, was a tale similar to the German _Hansel\nand Grethel_. _Thumbling_, and _Thumbling as Journeyman_ are German\nvariants. Andersen's _Thumbelina_ is a feminine counterpart to _Tom\nThumb_, and in Laboulaye's _Poucinet_ we have a tale of the successful\nyounger brother, similarly diminutive.\n\nThere were current many old stories of characters similar to Tom\nThumb. A certain man was so thin that he could jump through the eye of\na needle. Another crept nimbly to a spider's web which was hanging in\nthe air, and danced skillfully upon it until a spider came, which spun\na thread round his neck and throttled him. A third was able to pierce\na sunmote with his head and pass his whole body through it. A fourth\nwas in the habit of riding an ant, but the ant threw him off and\ntrampled him. In a work written in 1601, referred to in Grimm's\n_Household Tales_ a spider relates:--\n\n     Once did I catch a tailor proud\n     Heavy he was as elder wood,\n     From Heaven above he'd run a race,\n     With an old straw hat to this place,\n     In Heaven he might have stayed no doubt,\n     For no one wished to turn him out.\n     He fell in my web, hung in a knot,\n     Could not get out, I liked it not,\n     That e'en the straw hat, safe and sound,\n     Nine days ere him came to the ground.\n\nA delightful little rhyme, _Tom Thumb_, is among Halliwell's _Nursery\nRhymes_. It may refer to the Danish _History of Tom Thumb_:\n\n     I had a little husband\n     No bigger than my thumb;\n     I put him in a pint pot\n     And there I bade him drum:\n     I bridled him and saddled him,\n     And sent him out of town;\n     I gave him a pair of garters\n     To tie up his little hose;\n     And a little handkerchief\n     To wipe his little nose.\n\nThe English version of _Tom Thumb_ as we know it today, opens with a\nvisit of the magician Merlin at the cottage of an honest and\nhospitable ploughman. Merlin rewarded the Goodman and his Wife for\ntheir hospitality by calling on the Queen of the fairies, who brought\nto the home, Tom Thumb, a boy no bigger than a man's thumb.\n\nThe time of the tale is in the days of Merlin and King Arthur's court.\nThe tale is marked by a number of distinct English elements. The\nintroduction of the Queen of the Fairies, of Fairy Land and the visit\nthere, and of the fairy clothes they make for Tom, are all decidedly\nEnglish. The sly ways of Tom, his tricks and his cleverness are\ndistinctly English humor. He played with the boys for cherry-stones,\nand took theirs. He had so much curiosity that he fell into his\nmother's pudding. He was so light that on a windy day he had to be\ntied to a thistle when his mother went to milk the cow; and so, with\nhis oak-leaf hat, he got caught in the cow's one mouthful. After other\nstrange adventures he arrived at King Arthur's court where he became\nthe favorite. His feats at tilts and tournaments give a glimpse of\nEnglish court life, with its pastime of hunting; and fighting with the\nsword brings in the knight element. The story has little plot, being a\nsuccession of many episodes and a repetition of some. It shows little\nconstructive ability, promises to be a perpetual tale, and is ended\nonly by sudden death at the poisonous breath of the spider. _Tom\nThumb_ is one of the tales of pure fancy, with no underlying meaning,\ncreated for pure entertainment, to please children and grown-ups by\nits little people and little things. The moral is in the effect of\nTom's character.\n\nPerrault's _Little Thumb_ tells how a poor Fagot-maker and his Wife\nsat by the hearth, sad with famine, and Little Thumb overheard their\nwords. When they started to the wood to gather fagots, Little Thumb,\nlike Hansel, scattered pebbles. The parents left the seven children in\nthe wood but little Thumb guided them home by his pebbles. They set\nout a second time, when Little Thumb scattered bread-crumbs; and as\nthe birds ate them, the children were lost. Little Thumb climbed a\ntree and saw the light of the Ogre's cottage afar off. The children\nreached the Ogre's cottage where Little Thumb changed the golden\ncrowns of the seven little Ogresses, and putting them on his brothers,\nsaved their lives. Then they all fled through the wood and hid in a\nrock, while the Ogre in his seven-league boots, pursued them and lay\ndown to rest at the rock in which they were hidden. Little Thumb sent\nhis brothers home, stole the fairy boots, and through craft, persuaded\nthe Ogre's Wife to give him all the Ogre's gold. So, rich and happy,\nhe returned to his father's home.\n\nThis tale shows a number of common motifs that appear in other tales:\n\n     (1) The design of distressed parents to expose children to the\n         forest.\n\n     (2) The discovery and prevention of the scheme by a child.\n\n     (3) The repetition of incident; the clew spoiled by the birds.\n         The trail motif, similar to the one in _Hansel and Grethel_.\n\n     (4) The arrival of children at the home of the Ogre.\n\n     (5) The shifting of crowns to the heads of his brothers.\n\n     (6) The flight of the brothers pursued by the Ogre in\n         seven-league boots.\n\n     (7) Little Thumb, stealing the boots and winning court favor, or\n         the Ogre's treasure.\n\nSome say that in this tale, symbolically, the forest represents night;\nthe crumbs and pebbles, stars; and the Ogre, the sun. Little Thumb,\nbecause of his cunning and invention, has been called the Ulysses of\nthe fairy tales. His adventure with the Ogre at the rock, while not a\nparallel one, reminds one of Ulysses and Polyphemus. Both succeeded in\ngetting the better of the giant. An English edition of this tale was\nillustrated by William Blake.\n\n_Snow White and Rose Red_\n\n_Snow White and Rose Red_, besides blending the romantic and the\nrealistic, illustrates rather completely how the old tale may stand\nthe tests which have been emphasized here. As a romantic type, it\ncontains adventure and the picturesque. It arouses emotion. It\ncontains objects of beauty; and the strange Bear and the stranger\nDwarf, about both of whom there is a sense of mystery. It exaggerates\ncharacter and incidents beyond the normal,--the Mother and Daughters\nwere more lovely than mortals usually are,--and the harmony between\nman and beast may belong to the millennium rather than to this common\nearth. This is one of the most romantic of fairy tales in that it is a\nhighly idealized type.\n\nThe story was current in Germany before the time of the Grimms, and\nappeared in the collection of Caroline Stahl. The rhyme,--\n\n     Snowy-white, rosy-red,\n     Will ye strike your lover dead?\n\nwas taken from a popular song, and is found in a child's story in\n_Taschenbuch Minerva_ for 1813.\n\n_Snow White and Rose Red_ is full of many beauties; the characters are\nbeautiful, the setting is beautiful, and the spirit of the whole is\nfull of beauty. There is sister-love; and mother-love--not the selfish\nkind that loves but its own, but that similar to the rich growth of\nour modern times, when mother-love seeks to include those without the\nhome. There is genuine kindness that pours its sweetness on the Bear\nor on the Dwarf, that falls like the rain on the deserving and on the\nungrateful; there is devotion to animals and a lack of enmity between\nman and beast; and there is a portrayal of the beauty of domestic life\nand of the charms of childhood in simple life--its play, its pleasure,\nand its tasks. This is all set as in two pictures whose sky is the\ngolden glow of passion for the sun and the spring-time and summer it\nbrings. In the first picture, on the edge of the forest stands a\nlittle cottage before whose gate grow two rose-trees, a red rose-tree\nand a white rose-tree, not only symbols of the beauty of the\nspring-time and of the rich fruitage of summer, but also symbols\ntypifying the more wondrous beauty of the character of the two\nchildren, Snow White and Rose Red. In the second picture, a tall\npalace rears itself, before whose gate grow two rose-trees also, a red\nrose-tree and a white rose-tree, not only symbols of the same beauty\nof spring-time and fruitage of summer, but also symbols typifying the\nbeauty of loveliness and the fairness of happiness and prosperity that\nguarded from harm the lives of the deserving Snow White and Rose Red,\nand continued to bless them to the close.\n\nFirst, looking at the characters in this tale, we see a Mother who\nillustrates the richness of womanhood. She managed her own home and\nkept it a place of beauty and cheer. She had two daughters, both\nlovely, but very different. She recognized this difference and\nrespected it, and permitted each child to enjoy a delightful freedom\nto grow as was her nature. She permitted the children to play but she\nalso commanded willing obedience. She arranged their work with\nfairness so that each had her share and each seemed free in doing that\nwork to use her individual taste and judgment. She taught her children\nto spin and to sew, and she read to them. She told them about the\nguardian Angel who watched over them to keep them from harm. She was\nnot anxious when they were out of sight, for even when Snow White and\nRose Red stayed in the wood all night and slept on the leaves, she had\nno fear, for no accident ever happened to them. As a strong, noble\nwoman, without fear, and full of love, pity, and fairness,--George\nEliot's ideal of highest character,--the Mother of Snow White and Rose\nRed has no equal in the fairy tales.\n\nThe two Children, beautiful as the roses that grew outside the\ncottage, were both industrious, good, amiable little girls, who in\ntheir natural sweetness showed the spirit of the Golden Age when peace\nand good-will dwelt among men. They were natural children and they\nloved to play. They gathered berries in the forest, they played\nhide-and-seek among the trees, they waded in the river, went fishing,\nmade wreaths of flowers, and played with their animal friends. They\nfed the hares cauliflower, or watched the fawns grazing and the goats\nfrisking; and even the birds loved them and did not fly away when they\nwere near. In the home they kept things not only clean but beautiful;\nthey not only did work but took pleasure in doing that work. Now at a\ntime when domestic life in the home is being threatened, _Snow White\nand Rose Red_ gives a realistic picture of the beauty of domestic\nlife, its simple joys and charm. In summer there was always a nose-gay\nfor the Mother, and in winter there was a cheery fire with a copper\nkettle over it, shining like gold. And in the evening when the snow\nfell fast outside, inside was warmth and comfort. The Children sat\nsewing and the Mother reading, while a lamb and a white dove beside\nthem enjoyed their protection and care.\n\nThe entrance of the Bear gave the Children a natural thrill of fear.\nBut the Mother, with beautiful hospitality, gave the Bear protection\nand kindness and led them to overcome that fear. To the Bear they\nshowed that good nature which willingly serves; and in the tricks they\nplayed with their comrade they showed a great strength of vitality and\nthat freedom which grows where there is no repression.\n\nThe Bear departed at spring-time; and as he left Snow White thought\nshe saw glittering gold under his coat. This seems to hint that the\ntale is symbolic, typifying the change of seasons. Spring, the Bear,\ntook refuge in the cottage during the cold winter months; but in the\nspring he had to go abroad into the forest, to guard his treasures\nfrom the evil Dwarf of winter.\n\nThe Children again showed their sweetness and good nature when, while\ngathering sticks, they came upon the Dwarf, with his wrinkled face and\nsnow-white beard, the end of which was caught in a split of a tree.\nThe contrast is delightful, between the cross and impatient Dwarf and\nRose Red who offered to fetch help, and Snow White who politely tried\nto soothe his impatience by cutting off the end of his beard with her\nscissors. This time the Dwarf snatched a sack of gold which lay at the\nfoot of the tree, and fled, most ungrateful, not even thanking the\nChildren. The Children had two other adventures with the Dwarf; and\nthese, together with their adventure with the Bear, make up the plot\nof the story. They met the Dwarf a second time, one day when they went\nfishing. Then Rose Red told him to be careful or he'd fall into the\nwater, because a great fish was pulling on the bait and his beard\nbecame entangled in the fishing-line. Snow White again cut off the end\nof his beard to free him and again he snatched his bag--this time of\npearls, lying among the rushes--and fled. One day, on going to town to\nbuy thread, needles, laces, and ribbons, they met the Dwarf a third\ntime. This time an eagle had caught him and was about to carry him\noff. The Children, with compassion, held on and freed him; but again\nhe scolded, seized his bag of precious stones, and slipped away to his\ncave. On their return from town, the Children again met the Dwarf, in\nthe wood, counting his treasure. Again he was very angry, but just\nthen the Bear arrived out of the forest and demanded the life of the\nDwarf. The Dwarf offered up in his stead, Snow White and Rose Red. But\nthe Bear, faithful to his old comrades, slew the Dwarf, and then\nbecoming a beautiful Prince, went home with the Sisters. Snow White\nmarried the Prince and Rose Red his Brother, and they all lived with\ntheir Mother happily in the beautiful palace.\n\nWhen the Bear slew the Dwarf spring returned to the land. The Dwarf\nwith his snow-white beard seems to typify winter. Each time the\nDwarf's beard was cut the beard of winter became shorter, another\nwinter month was gone, and there remained a shorter season. The bag of\ngold which the Dwarf first took might signify the golden fruit of\nautumn, and the pearls and diamonds which he next took, the ice and\nsnow of winter. The Dwarf's beard became entangled in the fishing-line\nwhen the icy winds of winter began to give the pond its frozen coat;\nand then the animals of the wood were compelled to seek a refuge. When\nthe Bear came out of the wood to meet the Dwarf and slew him, the time\nfor the departure of winter was at hand, and spring returned to the\nland.\n\nThis fairy tale evidently shows a good, interesting plot, with\nsomething happening all the time. The climax is very distinctly\nmarked, everything leads up to the meeting of the Bear and the Dwarf\nin the forest. The characters present interesting variety and strong\ncontrasts. The setting is unusually beautiful: the cottage, the wood,\nthe lake, the town, the hillside, the palace, and the two symbolic\nrose-trees. The tale appeals to the emotions of love, kindness,\ncompassion, and gratitude. It presents to the imagination distinct\nepisodes: the home-life of the Children in the cottage, their life in\nthe wood, their adventure with the Bear, their three adventures with\nthe Dwarf, and the meeting of the Bear and the Dwarf. The conclusion\nfollows closely upon the climax,--the Bear, grateful to the kind\nChildren, saved their lives and re-transformed, became a Prince. The\nhappy marriage brings the tale to a close, with the palace home\nguarded by the two rose-trees. The message of the tale is the possible\nbeauty of woman's love and character, and the loveliness of spring and\nof summer.\n\nA Modern Tale[18]\n\n_The Elephant's Child_\n\n\n_The Elephant's Child_ might be examined here more particularly\nbecause it is unusually interesting as an example of the complete test\napplied to the child's fairy tale. One need not test it as to interest\nfor it was written especially for children by one who could play with\nthem. As to literature it certainly has mind and soul; there is no\ndoubt about its structure or its appeal to the sympathies. The\nquantity of good humor and fun it bestows upon childhood is a\npermanent enrichment; for even a child's world has need of all the\ngood cheer and fun that can be given to it.\n\nThis tale is especially interesting also because it might be classed\nas almost any one of the types of tales. It is not accumulative though\nit possesses to a marked degree three characteristics of the\naccumulative tale, repetition, alliteration, and all sorts of phonic\neffects. And it is not an old tale. But it is not only one of the most\npleasing animal tales we possess but one of the best humorous tales\nhaving the rare quality of freshness. It is realistic in its portrayal\nof animal life; and it is highly romantic in its sense of adventure,\nthe heroic, the strange, and the remote.\n\nAs a short-story it shows the essentials, originality, ingenuity, and\ncompression. The single interest is how the Elephant got his trunk,\nand everything points to the climax of his getting it. The plot is\n\"entertaining, novel, comical and thrilling.\" The structure is very\neasily seen in these ten episodes:--\n\n     1. The introduction; the family; the Child; his home; his\n        questions; the new, fine question.\n     2. The Elephant's Child set out to answer his own question.\n     3. The Elephant's Child met Kolokolo Bird.\n     4. The Elephant's Child journeyed to the Limpopo.\n     5. The Elephant's Child met the Python.\n     6. The Elephant's Child met the Crocodile. He got his trunk.\n        (Climax.)\n     7. The Elephant's Child gained experience from the Python.\n     8. The Elephant's Child's journey home.\n     9. The Elephant's Child's return home.\n    10. Conclusion. How all elephants got trunks. Peace.\n\nThe characters are unique and interesting. They are usual animals but\nunusual in what they say. They exhibit animal traits and motives but\nthey also show us a hidden meaning in their actions and words. They\nseem living, they speak directly; yet they preserve the idea of the\nfable for they are symbolic. The Elephant's Child typifies human\ninnocence, the inexperience of youth; the Kolokolo Bird, a friend; the\nPython, experience or wisdom; and the Crocodile, guile or evil. All\nthe animals become very interesting because we are concerned to know\ntheir particular reason for spanking the \"'satiable Elephant's Child.\"\nWhat they say is so humorous and what they do is consistent, in\nharmony with their natural animal traits. The Child is the hero. He is\na very attractive character because he has that rare charm we call\ntemperament. He is curious, polite, and sweet, and follows his own\nnose in spite of everything. He wins out with strength, experience,\nand a new nose; and we are rejoiced at his triumphs. His questions are\nso funny and yet they seem quite what any elephant with a bump of\ncuriosity might ask. To the Giraffe--\"What made his skin spotty?\" To\nthe Hippopotamus--\"Why her eyes were red?\" To the Baboon--\"Why melons\ntasted just so?\" And at last, \"What does the Crocodile have for\ndinner?\"\n\nThe setting of the tale is suggested continually in expressions which\nshow visual imagination of a high order: such as, \"And he lived in\nAfrica\"; \"dragged him through a thorn bush\"; \"blew bubbles into her\near\"; \"hove him into a hornet's nest\"; and \"from Graham's Town to\nKimberley and from Kimberley to Khama's Country, and from Khama's\nCountry east by north to the Limpopo.\"\n\nThe tale possesses most delightful humor. A verbal magic which fairly\nscintillates with the comic spirit, and clinging epithets of which\nKipling is a master, suggest the exact picture needed. Humor is\nsecured largely through the use of the unique word; as, \"_spanked_,\"\n\"_precisely_ as Kolokolo Bird had said,\" and \"for he was a _Tidy_\nPachyderm.\" Often it is increased by the use of newly coined words;\nas, \"hijjus,\" \"curtiosity,\" \"scalesome, flailsome, tail,\"\n\"fever-trees,\" \"self-propelling man-of-war,\" and \"schloop of mud.\"\nAnother element of humor in the tale is the artistic use of\nrepetition, which has been previously referred to as one of the\nchild's interests. Sometimes one meaning is expressed in several\ndifferent ways; as, \"immediately and directly, without stopping, for a\nlong time.\" Or we are given contrasted terms; as, \"a little warm but\nnot at all astonished,\" and then later, \"very warm and greatly\nastonished.\" One main element of humor is this way in which\nexpressions reflect back on preceding ones. Sometimes we are given\nvery surprising, startling, expressions; as, \"wait-a-bit-thorn-bush\n\"--which reminds us of the \"all-alone-stone\" in _Water Babies_--and\n\"he sang to himself down his trunk.\"\n\nAs to imagination, _The Elephant's Child_ is a delightful illustration\nof the appeal to the associative, the penetrative, and the\ncontemplative imagination. While its philosophy may be understood in\npart by the child it has a deeper meaning for the adult. It seems to\nimply that it is the way of life to spank somebody else. It is the\nstronger who spank the weaker until they become strong enough to stand\nup for themselves. Then nobody spanks anybody any more and there is\npeace. When the Child asked a question that no one would answer he set\nout to find his own answer just as in life it often is best to work to\nanswer one's own questions. When the Elephant trusted the Crocodile he\ngot something to keep just as in life the innocent may bear the marks\nof a contest though in no sense responsible for the contest.\nExperience in the guise of the Python helped the Child in his contest\nfor life with the advice his own common sense would have offered. As\nan allegory of Experience _The Elephant's Child_ does not view life as\na whole; it gives but a glimpse of life. It would say: Experience\nteaches us to make the best with what we have. The way to get\nexperience is to try a new power, just as the Child with his trunk\ntried to kill the fly and eat grass. As soon as he had received his\nnew power he tested it on the Hippopotamous. He won the respect of his\nkind by beating them at their own game.\n\nThe emotional appeal in _The Elephant's Child_ would repay study. The\ndominant emotional tone is that of the adventurous hero with his\n\"'satiable curtiosity.\" There is vividness of emotion, steadiness of\nemotion, and a rich variety in the contrasts of feeling. Emotion of a\nmoral quality is characteristic of its implied message of worldly\nwisdom but it does not leave one exactly satisfied.\n\nThe form of the story is a splendid example of a literary classic\nstyle. A pleasing humorous touch is given to the unity of the tale by\nmaking the Elephant's Child pick up with his new trunk, on his way\nhome, the melon-rinds he had scattered on his journey to the Limpopo.\nThe coherence in the tale is unusually fine and is secured largely by\nexpressions which look backward or forwards; as, \"By and by when that\nwas finished,\" or \"One fine morning,\" or \"That very next morning.\" Any\nstudy will show that the tale possesses the general qualities of form\nand has its parts controlled by the principles of composition.\n\n\n\n\nOUTLINE\n\n\n    I. THE WORTH OF FAIRY TALES\n\n       I. Two public tributes                                    1\n\n      II. The value of fairy tales in education                  3\n\n          1. They bring joy into child-life                      3\n\n          2. They satisfy the play-spirit of childhood           4\n\n          3. They give a power of accurate observation           6\n\n          4. They strengthen the power of emotion, develop the\n             power of imagination, train the memory and\n             exercise the reason                                 6\n\n          5. They extend and intensify the child's social\n             relations                                           7\n\n          6. In school they unify the child's work or play       8\n\n          7. In the home they employ leisure time profitably     9\n\n          8. They afford a vital basis for language-training    10\n\n     III. References                                            12\n\nII. PRINCIPLES OF SELECTION FOR FAIRY TALES\n\n       I. The interests of children                             13\n\n          1. Fairy tales must follow the law of composition\n             and must contain the interests of children         13\n\n             a. A sense of life                                 14\n\n             b. The familiar                                    14\n\n             c. The surprise                                    15\n\n             d. Sense impression                                17\n\n             e. The beautiful                                   18\n\n             f. Wonder, mystery, magic                          19\n\n             g. Adventure                                       19\n\n             h. Success                                         20\n\n             i. Action                                          20\n\n             j. Humor                                           21\n\n             k. Poetic justice                                  22\n\n             l. The imaginative                                 23\n\n             m. Animals                                         24\n\n             n. A portrayal of human relations, especially\n                with children                                   24\n\n             o. The diminutive                                  25\n\n             p. Rhythm and repetition                           26\n\n             q. The simple and sincere                          28\n\n             r. Unity of effect                                 29\n\n          2. Fairy tales must follow the law of the emotions\n             and avoid elements opposed to the interests of\n             the very young child                               30\n\n             a.  The tale of the witch                          31\n\n             b.  The tale of the dragon                         31\n\n             c.  Giant tales                                    31\n\n             d.  Some tales of transformation                   32\n\n             e.  The tale of strange animal relations and\n                 strange creatures                              33\n\n             f. Unhappy tales                                   34\n\n             g. The tale of capture                             34\n\n             h. The very long tale                              35\n\n             i. The complicated or the insincere tale           36\n\n      II. The fairy tale as literature                          37\n\n          1. The fairy tale must be a true classic              38\n\n          2. The fairy tale must have mind and soul             39\n\n          3. The fairy tale must have the distinguishing\n             marks of literature                                40\n\n             a.  A power to appeal to the emotions              41\n\n                 1) Literary emotion is not personal            41\n\n                 2) Literary emotion must have justness         41\n\n                 3) Literary emotion must have vividness        41\n\n                 4) Literary emotion must have steadiness       41\n\n                 5) Literary emotion must have variety          41\n\n                 6) Literary emotion must have moral quality    41\n\n                 7) Application of the test of emotion to the\n                    Fairy tales                                 41\n\n                 8) The value of fairy tales in the development\n                    of emotion                                  44\n\n             b.  A power to appeal to the imagination           45\n\n                 1) Appeal to the creative imagination          45\n\n                 2) Appeal to the associative imagination       46\n\n                    a) Appeal to fancy                          46\n\n                 3) Appeal to the penetrative imagination       47\n\n                 4) Appeal to the contemplative imagination     47\n\n                    a) Philosophy in the fairy tales            48\n\n                    b) Proverbs in the fairy tales              50\n\n                    c) Relation of the contemplative\n                       imagination to science                   52\n\n             c.  A basis of truth, or appeal to the intellect   53\n\n                 1) The truth must be idealistic                53\n\n                    a) It may be realistic                      53\n\n                    b) It may be romantic                       53\n\n                 2) Value of the appeal of literature to the\n                    intellect                                   53\n\n             d.  A form more or less perfect                    54\n\n                 1) The elements of form: words, sentences,\n                    paragraphs, and wholes                      58\n\n                    a) Words, the medium of language must\n                       have two powers                          54\n\n                      (1) Denotation, to name what they\n                          mean                                  54\n\n                      (2) Connotation, to suggest what they\n                          imply                                 54\n\n                   b) Suggestive power of words illustrated     55\n\n                2) General qualities characteristic of perfect\n                   form                                         57\n\n                   a) Precision or clearness                    57\n\n                      (1) Precision demands that words have\n                          denotation                            57\n\n                      (2) Precision appeals to the intellect    57\n\n                   b) Energy or force                           57\n\n                      (1) Energy demands that words have\n                          connotation                           58\n\n                      (2) Energy appeals to the emotions and\n                          holds the attention                   58\n\n                   c) Delicacy or emotional harmony             58\n\n                      (1) Delicacy demands that words have\n                          the power of adaptation               58\n\n                      (2) Delicacy demands that form appeal\n                          to the \u00e6sthetic sense                 58\n\n                      (3) Delicacy is secured by selection and\n                          arrangement of words according to\n                          emotional associations                58\n\n                   d)  Personality                              58\n\n                       (1) Personality gives the charm of\n                           individuality                        58\n\n                       (2) Personality suggests the character\n                           of the writer                        58\n\n                3) Principles controlling the elements\n                           of form, principles of composition   58\n\n                   a) The principle of sincerity                58\n\n                      (1) Sincerity demands a just expression   58\n\n                   b) The principle of unity                    59\n\n                      (1) Unity demands a central idea          59\n\n                      (2) Unity demands completeness            59\n\n                      (3) Unity demands no irrelevant material  59\n\n                      (4) Unity demands method, sequence\n                          and climax                            59\n\n                   c) The principle of mass                     59\n\n                      (1) Mass demands that the chief parts\n                           readily catch the eye                59\n\n                      (2) Mass demands harmonious proportion\n                           of parts                             59\n\n                   d) The principle of coherence                59\n\n                      (1) Coherence demands unmistakable\n                          relation of parts                     59\n\n                      (2) Coherence demands this unmistakable\n                          relation be preserved by the\n                          order, forms and connections          59\n\n                4) Form characterized by perfect adaptation\n                   of words to thought and feeling is called\n                   style                                        59\n\n                   a) Style demands that form possess the\n                      four general qualities of form in\n                      perfection: precision, energy, delicacy,\n                      and personality                           59\n\n                   b) Style demands that form have its\n                      elements controlled by the four general\n                      principles: sincerity, unity, mass, and\n                      coherence                                 59\n\n                   c) _Oeyvind and Marit_, a modern tale\n                      illustrating style                        60\n\n                   d) _Three Billy-Goats Gruff_, a folk-tale\n                      illustrating style                        64\n\n                   e) The folk-tale generally considered as to\n                      literary form                             65\n\n                   f) The tale by Grimm, Perrault, Dasent,\n                      Harris, Jacobs, Lang, and Andersen\n                      considered as to literary form            67\n\n                   g) The tale of to-day considered as to\n                      literary form                             69\n\n     III. The fairy tale as a short-story                       70\n\n          1. Characters                                         71\n\n             a. Characters must be unique, original, and\n                  striking                                      72\n\n             b. Characters of the fairy tales                   72\n\n          2. Plot                                               73\n\n             a. Plot must be entertaining, comical, novel, or\n                thrilling                                       73\n\n             b. Plot must show a beginning, a middle, and\n                 an end                                         73\n\n             c. Plot must have a distinct climax                74\n\n             d. Introduction must be simple                     74\n\n             e. Conclusion must show poetic justice             74\n\n             f. Plot must be good narration and description     74\n\n                1) Narration must have truth, interest, and\n                   consistency                                  74\n\n                2) Description must have aptness and\n                   concreteness                                 75\n\n             g. Structure illustrated by _Three Pigs_ and\n                _Briar Rose_                                    76\n\n          3. Setting                                            77\n\n             a. Setting must give the time and place, the\n                background of the tale                          77\n\n             b. Setting must arouse sensation and feeling       77\n\n             c. Effect of transformation of setting             77\n\n                1) Story sequence preserved by setting\n                   illustrated by _Robin's Christmas Song_      78\n\n             d. Setting and phonics, illustrated. _The\n                Spider and the Flea_                            79\n\n             e. Setting illustrated. _Chanticleer and\n                Partlet_                                        81\n\n          4. A blending of characters, plot, and setting\n             illustrated by _The Elves and the Shoemaker_       82\n\n          5. Tests to be applied to fairy tales                 84\n\n          6. Tales examined and tested by the complete test\n             of interests, classic, literature, short-story,\n             narration, and description                         84\n\n             a. _How the Sun, Moon, and West Wind Went to\n                Dinner_ (Indian)                                84\n\n             b. The Straw Ox (Cossack)                          86\n\n         IV. References                                         87\n\n\nIII. THE TELLING OF FAIRY TALES\n\n     Story-telling as an Art. Introductory                      90\n\n     1. Story-telling as an ancient art                         90\n\n     2. The place of the story in the home, library, and\n          the school                                            93\n\n     3. Principles of story-telling                             94\n\n        I. The teacher's preparation. Rules                     94\n\n           1. Select the tale for some purpose                  94\n\n              a. The teacher's problem of selecting the tale\n                 psychologically or logically                   95\n\n           2. Know the tale historically as folk-lore, as\n              literature, and as a short-story                  96\n\n              a. The various motives contained in the fairy\n                 tales listed                                   97\n\n           3. Master the structure of the tale                  99\n\n           4. Dwell upon the life of the story                  99\n\n           5. Secure the message                               100\n\n           6. Master the form                                  100\n\n       II. The presentation of the tale                        102\n\n           1. Training of the voice                            103\n\n              a. Study of phonetics                            103\n\n           2. Exercises in breathing                           104\n\n           3. A knowledge of gesture                           105\n\n              a. Gesture precedes speech                       106\n\n              b. Gesture begins in the face                    106\n\n              c. Hands and arms lie close to the body in\n                 controlled emotion                            106\n\n           4. A power of personality                           106\n\n           5. Suggestions for telling                          107\n\n              a. The establishment of the personal relation\n                 between the teacher and the listener          108\n\n              b. The placing of the story in a concrete\n                 situation for the child                       110\n\n              c. The consideration of the child's aim in\n                 listening, by the teacher in her preparation  112\n\n           6. The telling of the tale                          112\n\n              a. The re-creative method of story-telling.\n                 Illustrated by a criticism of the telling of\n                 _The Princess and the Pea_                    114\n\n              b. The re-creative method illustrated by _The\n                 Foolish, Timid Rabbit_                        116\n\n           7. Adaptation of the fairy tale. Illustrated by\n              _Thumbelina_ and by _The Snow Man_               118\n\n      III. The return from the child                           119\n\n           Story-telling as one phase of the art of teaching.\n           Introductory                                        119\n\n           1. Teaching as good art and as great art; and\n              fairy tales as subject-matter suited to\n              accomplish high purposes in teaching             120\n\n           2. The part the child has to play in story-telling  121\n\n           3. The child's return, the expression of his\n              natural instincts or general interests           125\n\n           1. The instinct of conversation                     125\n\n              a. Language expression, oral re-telling          125\n\n              b. The formation of original little stories      126\n\n              c. Reading of the tale a form of creative\n                 reaction                                      127\n\n           2. The instinct of inquiry                          127\n\n              a. Appeal of the folk-tale to this instinct      128\n\n              b. The instinct of inquiry united to the instinct\n                 of conversation, of construction, and of\n                 artistic expression, illustrated              128\n\n           3. The instinct of construction                     129\n\n              a. Clay-modelling                                129\n\n              b. Construction of objects                       129\n\n           4. The instinct of artistic expression              130\n\n              a. Cutting of free silhouette pictures.\n                 Illustrated                                   130\n\n              b. Drawing and crayon-sketching. Illustrated     132\n\n              c. Painting. Illustrated                         132\n\n              d. Song. Illustrated                             133\n\n              e. Dance, rhythm plays. Illustrated              134\n\n              f. Game. Illustrated                             135\n\n              g. Representation of the fairy tale. Illustrated\n                 by _The Steadfast Tin Soldier_                135\n\n              h. Free play and dramatization                   138\n\n                 1) Virtues of dramatization                   138\n\n                    a) It develops voice                       138\n\n                    b) It gives grace of movement              138\n\n                    c) It develops control and poise           138\n\n                    d) It strengthens attention and power of\n                       visualization                           138\n\n                    e) It combines intellectual, emotional,\n                       artistic, and physical action           138\n\n                    f) It impresses many pieces of literature\n                       effectively                             138\n\n                    g) It is the true Direct Moral Method and\n                       may establish a habit                   143\n\n                 2) Dangers of dramatization                   139\n\n                    a) Dramatization often is in very poor\n                       form                                    139\n\n                    b) Dramatization may develop boldness\n                       in a child                              141\n\n                    c) Dramatization may spoil some\n                       literature                              142\n\n                    d) Dramatization has lacked sequence in\n                       tales used from year to year            142\n\n              i. Illustrations of creative return              144\n\n                 1) _The Country Mouse and the City Mouse_ as\n                    expression in language, dramatization,\n                    drawing, and crayon-sketching              144\n\n                 2) _The Elves and the Shoemaker_ as\n                    expression in the dramatic game            145\n\n                 3) _Little Two-Eyes_ as expression in\n                    dramatization. A fairy-play outline.\n                    (See _Appendix_)                           145\n\n                 4) _Snow White_ as expression in\n                    dramatization. (See _Appendix_)            145\n\n                 5) _Sleeping Beauty_ as expression of partial\n                    narration, dramatic game, and\n                    dramatization combined                     146\n\n                 6) _The Little Lamb and the Little Fish_, an\n                    original tale developed from a Grimm\n                    fragmentary tale, illustrating expression\n                    in folk-game and dramatization. (See\n                    _Appendix_)                                147\n\n                 7) _The Bird and the Trees_, an original play\n                    illustrating expression in rhythm play and\n                    dramatization                              149\n\n                 8) _How the Birds came to Have Different\n                    Nests_, an original play illustrating\n                    language expression and dramatization.\n                    (See _Appendix_)                           151\n\n                 9) Andersen's _Fir Tree_ as expression in\n                    dramatization, illustrating organization\n                    of ideas through a play                    152\n\n       IV. References                                          154\n\n\n    IV. THE HISTORY OF FAIRY TALES\n\n        I. The origin of fairy tales                           158\n\n           1. The fairy tale defined                           159\n\n           2. The derivation and history of the name, _fairy_  159\n\n              a. Four senses in which _fairy_ has been used    160\n\n           3. The theories concerning the origin of fairy\n              tales                                            161\n\n              a. Fairy tales are detritus of myth              161\n\n                 1) The evolution of the tale                  161\n\n              b. Fairy tales are myths of Sun, Rain, Dawn,\n                 Thunder, etc., the Aryan Theory               162\n\n              c. Fairy tales all arose in India, the\n                 Philological theory                           165\n\n              d. Fairy tales owe their origin to the identity\n                 of early fancy                                167\n\n              e. Fairy tales owe their origin to a combination\n                 of all these theories                         167\n\n    II. The transmission of fairy tales                        167\n\n        1. The oral transmission of fairy tales                167\n\n           a. Examples of transmission of fairy tales: _Jack\n              the Giant-Killer_, _Dick Whittington_, etc.      168\n\n        2. Literary transmission of fairy tales                170\n\n           a. An enumeration of the literary collections and\n              books that have handed down the tales; as\n              _Reynard the Fox_, the _Persian King-book, The\n              Thousand and One Nights_, Straparola's\n              _Nights_, Basile's _Pentamerone_, and Perrault's\n              _Tales of Mother Goose_                          170\n\n           b. French publications of fairy tales               179\n\n              1) The tales of Perrault                         179\n\n              2) Tales by followers of Perrault                181\n\n              3) A list of tales from the time of Perrault to\n                 the present time                              183\n\n           c. English and Celtic publications of fairy tales   183\n\n              1) Tales of Scotland and Ireland                 184\n\n              2) English tales and books                       184\n\n              3) A list illustrating the history of the English\n                 fairy tale, including chap-books: _Jack the\n                 Giant-Killer_, _Tom Hickathrift_;\n                 old collections; etc.                         184\n\n              4) A list illustrating the development of\n                 fairy-tale illustration in England            188\n\n           d. German publications of fairy tales               192\n\n              1) A list of tales from the time of the Grimms\n                 to the present                                193\n\n           e. Fairy-tale publications of other nations         193\n\n           f. American publications of fairy tales             195\n\n              1) A list of tales from the earliest times to\n                 1870                                          196\n\n           g. Recent collections of folk-lore                  200\n\n  III. References                                              201\n\n\n     V. CLASSES OF FAIRY TALES\n\n        I. Available types of tales                            204\n\n           1. The accumulative or clock story                  205\n\n              a. Tales of simple repetition                    206\n\n                 1) The House that Jack Built                  206\n\n                 2) The Key of the Kingdom                     207\n\n              b. Tales of repetition with an addition          208\n\n                 1) The Old Woman and Her Pig                  208\n\n                 2) Titty Mouse and Tatty Mouse                208\n\n                 3) Johnny Cake                                209\n\n                 4) The Gingerbread Man                        209\n\n                 5) The Straw Ox                               209\n\n              c. Tales of repetition and variation             209\n\n                 1) The Three Bears                            209\n\n                 2) The Three Billy Goats                      211\n\n           2. The animal tale                                  211\n\n              a. The evolution of the animal tale              211\n\n              b. The animal tale may be an old beast tale      211\n\n                 1) Henny Penny                                213\n\n                 2) The Foolish Timid Rabbit                   214\n\n                 3) The Sheep and the Pig                      215\n\n                 4) Medio Pollito                              215\n\n                 5) The Three Pigs                             216\n\n              c. The animal tale may be an elaborated fable,\n                 illustrated                                   211\n\n              d. The animal tale may be an imaginary creation,\n                 illustrated                                   211\n\n              e. The Good-Natured Bear, a modern type. (See\n                 _Appendix_)                                   217\n\n           3. The humorous tale                                217\n\n              a. The humorous element for children             218\n\n              b. The Musicians of Bremen, a humorous type      219\n\n              c. Humorous tales mentioned previously           221\n\n              d. Drakesbill, a humorous type                   221\n\n           4. The realistic tale                               223\n\n              a. Lazy Jack, a realistic type of common life    224\n\n              b. The Old Woman and Her Pig, a realistic type   225\n\n              c. How Two Beetles Took Lodgings, a realistic\n                 tale of scientific interest                   226\n\n              d. Titty Mouse and Tatty Mouse, a realistic\n                 theme transformed into a romantic tale        227\n\n           5. The romantic tale                                228\n\n              a. Cinderella                                    228\n\n              b. Sleeping Beauty                               231\n\n              c. Red Riding Hood                               232\n\n              d. Puss-in-Boots. (See _Appendix_)               232\n\n                 1) The Norse Lord Peter (See _Appendix_)      232\n\n              e. Tom Thumb, a romantic tale of fancy. (See\n                 _Appendix_)                                   232\n\n                 1) The French Little Thumb. (See _Appendix_)  232\n\n                 2) The English Tom Thumb. (See _Appendix_)    232\n\n              f. Snow White and Rose Red, a highly idealized\n                 romantic type tested by the standards\n                 included here. (See _Appendix_)               232\n\n           6. The old tale and the modern tale                 234\n\n              a. The modern tale often lacks the great art\n                 qualities of the old tale, unity and harmony,\n                 sincerity and simplicity                      235\n\n              b. The modern tale often fails to use the\n                 method of suggestion                          235\n\n              c. The modern tale often does not stand the\n                 test of literature                            235\n\n              d. The modern tale gives richly to the primary\n                 and elementary field                          235\n\n              e. Criticism of a few modern tales               236\n\n                 1) Little Beta and the Lame Giant, a good\n                    modern tale                                236\n\n                 2) The Cock, the Mouse, and the Little Red\n                    Hen, a good modern tale                    238\n\n                 3) Peter Rabbit, a classic; other animal\n                    tales                                      239\n\n                 4) The Elephant's Child, a modern animal\n                    tale. (See _Appendix_)                     239\n\n                 5) A Quick-Running Squash, a good modern\n                    tale                                       240\n\n                 6) A few St. Nicholas fairy stories           241\n\n                 7) The Hop-About-Man, a romantic modern\n                    fairy tale                                 241\n\n              f. What the modern fairy tale is                 243\n\n    VI. SOURCES OF MATERIAL FOR FAIRY TALES: A LIST OF FAIRY TALES,\n        FOLK-TALES, PICTURES, PICTURE-BOOKS, POEMS, AND BOOKS.\n\n        Basis on which lists are made. Introductory            245\n\n        I. A list of fairy tales and folk-tales suited to the\n           kindergarten and first grade                        246\n\n           1. Tales of Perrault                                246\n\n           2. Tales of the Grimms                              246\n\n           3. Norse tales                                      247\n\n           4. English tales, by Jacobs                         247\n\n           5. Modern fairy tales, by Andersen                  248\n\n           6. Uncle Remus tales, by Harris                     248\n\n           7. Miscellaneous tales                              249\n\n       II. Bibliography of fairy tales                         253\n\n      III. A list of picture-books                             254\n\n       IV. A list of pictures                                  255\n\n        V. A list of fairy poems                               256\n\n       VI. Main standard fairy-tale books                      256\n\n      VII. Fairy tales of all nations                          258\n\n     VIII. Miscellaneous editions of fairy tales               259\n\n       IX. School editions of fairy tales                      262\n\nAPPENDIX\n\n  Illustrations of creative return                             265\n\n  Tales suited for dramatization                               265\n\n    Little Two-Eyes                                            265\n\n    Snow White                                                 266\n\n    The Little Lamb and the Little Fish                        267\n\n    How the Birds came to Have Different Nests                 270\n\n  Types of tales                                               272\n\n    An animal tale                                             272\n\n      The Good-Natured Bear                                    272\n\n    A few romantic tales                                       275\n\n      Puss-in-Boots and Lord Peter                             275\n\n      Tom Thumb and Little Thumb                               278\n\n      Snow White and Rose Red                                  282\n\n    A modern tale                                              287\n\n      The Elephant's Child                                     287\n\nNOTES:\n\n\n[1: McLoughlin edition.]\n\n[2: What if we could give the child that which is called education\n     through his voluntary activities, and have him always as eager as\n     he is at play! (_Froebel_.)\n\n     What if we could let the child be free and happy, and yet bring\n     to him those things which he ought to have so that he will choose\n     them freely!\n\n     What would be the possibilities for a future race if we would\n     give the child mind a chance to come out and express itself, if\n     we would remove adult repression, offer a stimulus, and closely\n     watch the product, untouched by adult skill. (_Unknown_.)\n\n     The means by which the higher selective interest is aroused, is\n     the exercise of selected forms of activity. (_Susan Blow_.)]\n\n[3: _Little Two-Eyes_ and _Snow White_ are tales also suited to the\n     first grade for dramatization. See _Appendix_.]\n\n[4: A similar tale is told by Miss Holbrook in _The Book of Nature\n     Myths_. Also by Mary McDowell as \"The Three Little Christmas\n     Trees.\" A simple version of this tale, \"The Three Little\n     Christmas Trees that Grew on the Hill,\" is given in _The\n     Story-Teller's Book_ by Alice O'Grady and Frances Throop.]\n\n[5: Joseph Jacobs, in his Introduction to the Cranford edition, and\n     Ashton, in _Chap-Books of the Eighteenth Century_, furnish most\n     of the facts mentioned here.]\n\n[6: This list has been compiled largely from \"Children's Books and\n     Their Illustrators,\" by Gleeson White, in _The International\n     Studio_. Special Winter Number, 1897-98.]\n\n[7: The following list, compiled by Mr. H.H.B. Meyer, the chief\n     bibliographer of the Library of Congress, has been furnished\n     through the courtesy of the United States Bureau of Education. A\n     few additional books were inserted by the author. The books at\n     the head of the list give information on the subject.]\n\n[8: _The Woman and Her Kid_, a version of this tale adapted from an\n     ancient Jewish Sacred Book, is given in _Boston Kindergarten\n     Stories_, p. 171.]\n\n[9: See Appendix.]\n\n[10: William M. Thackeray, _Miscellanies_, v. Boston: James Osgood\n     & Co., 1873. \"Titmarsh among Pictures and Books\"; \"On Some\n     Illustrated Christmas Books,\" 1846.]\n\n[11: A few romantic tales for the first grade are treated in the\n     Appendix: _Puss-in-Boots_, _Lord Peter_, _Tom Thumb_, _Little\n     Thumb_, and _Snow White and Rose Red_.]\n\n[12: See _Appendix_.]\n\n[13: Laura F. Kready, \"Picture-Books for Little Children,\"\n     _Kindergarten Review_, Sept., 1914.]\n\n[14: For _Little Two-Eyes_ and _Snow White, see_ note on p. 145; for\n     _The Little Lamb and the Little Fish, see_ pp. 147-48; and for\n     _How the Birds came to have Different Nests, see_ p. 151.]\n\n[15: _See_ note, p. 217.]\n\n[16: _See_ note, p. 232]\n\n[17: Reprinted in _Living Age_, Aug. 13, 1844, vol. 2, p. 1.]\n\n[18: _See_ p. 239]\n\n\n\nINDEX\n\nAccumulative or clock story, 205-11.\n\nAction, 20-21.\n\nAdaptation of fairy tales, 117-19.\n\nAdventure, 19-20.\n\nAdventures of Chanticleer and Partlet, 81-82.\n\nAmerican fairy tales, 195-99.\n\nAndersen, Hans C.:\n  tales by, tested as literary form, 69;\n  Steadfast Tin Soldier, 46, 49, 135-38;\n  Fir Tree, 151-53;\n  list of tales by, 248;\n  editions, 256-57.\n\nAnimal tale:\n  class, 211-17;\n  evolution of, 211-13;\n  types of, 213-17, 272-75, 287-90.\n\nAnimals:\n  an interest, 24;\n  tale of strange, 33-34.\n\nAppendix, 265-90:\n  Little Two-Eyes, 265-66;\n  Snow White, 266-67;\n  The Little Lamb and the Little Fish, 267-70;\n  How the Birds came to Have Different Nests, 270-72;\n  The Good-Natured Bear, 272-75;\n  Puss-in-Boots and Lord Peter, 275-78;\n  Tom Thumb and Little Thumb, 278-82;\n  Snow White and Rose Red, 282-86;\n  The Elephant's Child, 287-90.\n\nArabian Nights, Thousand and One Nights, 176-78, 190, 196.\n\nArt:\n  of teaching, 119-20;\n  in teaching, good, 120;\n  in teaching, great, 120-21;\n  in literature, good, 39-40;\n  in literature, fine, 39-40;\n  of story-telling, 90-91, 93-94;\n  ancient, of story-telling, 91-93.\n\nArtistic expression, instinct of, 130-54.\n\nAulnoy, Comtesse d', tales of, 181-82.\n\nBasile, 178-79.\n\nBeaumont, Madam de, 182.\n\nBeautiful, the, 18-19.\n\nBeauty and the Beast,\n  dramatization of, 140-41;\n  editions of, 189, 198.\n\nBibliography of fairy tales, 253-54.\n\nBird and the Trees, 148-51.\n\nBooks, main standard fairy tale, a list, 256-58. _See_ Sources of\nmaterial.\n\nBreathing, exercises in, 104-05.\n\nBriar Rose, 77. _See also_ Sleeping Beauty.\n\nCapture, tales of, 34-35.\n\nCeltic fairy tales, 183-84.\n\nChap-books, 185-87, 188, 196, 198.\n\nCharacters, 71-73.\n\nChild:\n  his part in story-telling, 121-25;\n  interests, 13-37;\n  instincts, 125-54;\n  growth:\n    in observation, 6, 47-48;\n    in reason, 6-7, 53-54;\n    in language, 10;\n    in emotion, 44-45;\n    in imagination, 45-53;\n    in experience, 54;\n    in intellect, 53-54;\n    in self-activity, 121-22;\n    in consciousness, 122-23;\n    in initiative, 122;\n    in purpose, 123-25;\n    in creative return possible to him, 123-54;\n    in self-expression, 124-54;\n    in organization of ideas, 153.\n\nChild's Own Book, The, 190.\n\nCinderella,\n  a chap-book, 187,188, 198;\n  a romantic type, 228-31.\n\nClasses of tales, 204-44:\n  accumulative, 205-11;\n  animal, 211-17;\n  humorous, 217-23;\n  realistic, 223-28;\n  romantic, 228-34;\n  old and modern, compared, 234-43;\n  references, 243-44.\n\nClassic, fairy tale as a, 38-39.\n\nCock, the Mouse, and the Little Red Hen, 238-39.\n\nCoherence,\n  principle of, 58-59;\n  illustrated, 62, 65.\n\nComplicated or insincere, the, 36.\n\nComposition:\n  general qualities of, 57-58;\n  precision, 57;\n  energy, 57-58;\n  delicacy, 58;\n  personality, 58;\n  principles of, 58-59;\n  sincerity, 58-59;\n  unity, 59;\n  mass, 59;\n  coherence, 59;\n  style in, 59-60.\n\nComte de Caylus, 182.\n\nConcrete situation, placing of story in, 94-95, 110-11.\n\nConnotation, 54-57.\n\nConsciousness, development of, 122-23.\n\nConstruction, expression of instinct of, 129-30.\n\nConversation, expression of instinct of, 125-27.\n\nCountry Mouse and City Mouse, 144-45.\n\nCrayon-sketching, as expression, 132.\n\nCreative return, illustrated, 144-54. _See_ Return.\n\nCriticism:\n  of life, teaching, a, 120-21;\n  of Oeyvind and Marit, 60-64;\n  of Three Billy-Goats Gruff, 64-65;\n  of How the Sun, Moon, and West Wind went out to Dinner, 84-86;\n  of Straw Ox, 86-87;\n  of Steadfast Tin Soldier, 135-38;\n  of Musicians of Bremen, 219-20;\n  of Drakesbill, 221-23;\n  of Puss-in-Boots and Norse Lord Peter, 275-78;\n  of Tom Thumb and Little Thumb, 278-82;\n  of Snow White and Rose Red, 282-86;\n  and of Elephant's Child, 287-90.\n\nDanish tales, 194.\n\nDasent, Sir George W.,\n  tales by, as literary form, 68-69;\n  Norse tales by, 194, 247, 257.\n\nDelicacy,\n  or emotional harmony, quality of, 57-58;\n  illustrated, 60, 61, 64.\n\nDenotation, 54.\n\nDescription, 75.\n\nDick Whittington,\n  illustrating oral transmission of tales, 169;\n  a chap-book, 185, 188, 196, 198.\n\nDiminutive, the, 25-26.\n\nDragon tales, 31.\n\nDrakesbill, 221-23.\n\nDramatic game: Elves and the Shoemaker, 145;  Sleeping Beauty, 146-47.\n\nDramatization,\n  as expression, 138-54;\n  virtues of, 138, 143;\n  dangers of, 139-43;\n  of Sleeping Beauty, 146-47;\n  of Bird and the Trees, 149-51;\n  of Fir Tree, 152-53;\n  of Little Two Eyes, 265-66;\n  of Snow White, 266-67;\n  of How the Birds came to have Different Nests, 270-72;\n  and of Puss-in-Boots, 276.\n\nDrawing, as expression, 132.\n\nDwarf's Tailor, 237.\n\nEditions,\n  main fairy tale, 256-58;\n  fairy tale, of all nations, 258-59;\n  illustrated, 254-55;\n  miscellaneous, of fairy tales, 259-62;\n  school, of fairy tales, 262-64.\n\nElements to be avoided, 30-36.\n\nElephant's Child, illustrating:\n  repetition, 27-28;\n  suggestion, 56-57;\n  form, 100-01;\n  modern animal tale, 239, 287-90.\n\nElves and the Shoemaker,\n  illustrating: structure and short-story, 82-84;\n  story, 82-84;  creative return, 145.\n\nEmelyan the Fool, 170.\n\nEmotion,\n  appeal to, distinguishing literary trait, 40-41;\n  qualities of literary, 41;\n  literary, in fairy tales, 41-44;\n  growth of, 44-45;\n  comparison of, in fairy tales and Shakespeare's dramas, 7, 43-44.\n\nEnergy or force, quality of, 57-58;\n  illustrated, 61, 64.\n\nEnglish fairy tales, 184-92;\n  collections of, 184-88;\n  illustrating development of illustration, 188-92;\n  by Jacobs, list, 247-48;\n  editions, 257.\n\nExpression in:\n  language, 125-27;\n  reading, 127;\n  inquiry, 127-29;\n  construction, 129-30;\n  art, 130-54;\n  paper-cutting, 130-31;\n  drawing, 132;\n  painting, 132;\n  rhythm play, 133-34;\n  song, 132-33;\n  game, 134-35;\n  representation, 135-38;\n  dramatization, 138-54, 265-72.\n\nFairy,\n  derivation of, 159-60;\n  history of the name, 160.\n\nFairy tales: worth of, 1-12;\n  principles of selection for, 13-89;\n  telling of, 90-157;\n  history of, 158-203;\n  classes of, 204-44;\n  sources of material for, 245-64;\n  tributes to, 1-3;\n  interests in, 13-37;\n  as literature, 37-70;\n  as classics, 38-39;\n  possessing mind and soul, 39-40;\n  distinguished by marks of literature, 40;\n  as emotion, 41-45;\n  as imagination, 45-53;\n  philosophy in, 48-52;\n  proverbs in, 50;\n  as truth, 53-54;\n  as form, 54-70;\n  powers of words in, 54-57;\n  general qualities of form in, 57-58;\n  general principles controlling form in, 58-59;\n  style in, defined, 59-60;\n  tested as literary form, 60-70;\n  as a form of short-story, 70-87;\n  characters, 71-73;\n  plot, 73-77;\n  narration, 74-75;\n  description, 75;\n  structure, 76-77;\n  setting, 77-82;\n  three elements blended, 82-84;\n  tested by complete standards, 84-87;\n  teacher's preparation for telling, 94-102;\n  presentation of, by teacher, 102-19;\n  return of child from, 119-54;\n  rules for preparation of, 94-102;\n  selection of, 95-96;\n  motifs in, 96-98;\n  re-telling of, 101-02;\n  training of voice in telling, 103-04;\n  breathing in telling, 104-05;\n  gesture in telling, 105-06;\n  power of personality, in telling, 106-07;\n  suggestions for telling, 107-12;\n  establishment of personal relation in telling, 107-10;\n  placing of, in a concrete situation, 110-11;\n  conception of child's aim in listening to, 112;\n  re-creative method of telling, 112-17;\n  adaptation of, 117-19;\n  art of teaching, in telling, 119-25;\n  as expression of conversation, 125-27;\n  as expression of inquiry, 127-29;\n  as expression of construction, 129-30;\n  as expression of art, 130-54;\n  origin of, 158-67;\n  transmission of, 167-200;\n  French, 179-83;\n  Celtic, 183-84;\n  English, 184-92;\n  German, 192-93;\n  tales of other nations, 193-95;\n  American, 195-99;\n  collections of folklore, 200;\n  accumulative, 205-11;\n  animal, 211-17;\n  humorous, 217-23;\n  realistic, 223-28;\n  romantic, 228-34, 275-86;\n  old and modern, 234-43;\n  of Perrault, 246;\n  of the Grimms, 246-47;\n  Norse, 247;\n  English, by Jacobs, 247-48;\n  modern, by Andersen, 248;\n  Uncle Remus, by Harris, 248-49;\n  miscellaneous, 249-53;\n  bibliography of, 253-54;\n  in picture-books, 254-55;\n  in pictures, 255;\n  in poems, 255-56;\n  in standard books, 256-58;\n  of all nations, 258-59;\n  in miscellaneous editions, 259-62;\n  in school editions, 262-64;\n  in Appendix, 265-90.\n\nFamiliar, the, 14-15.\n\nFancy, 46, 47.\n\nFir Tree, 151-53.\n\nFirst-grade fairy tales, 231-34, 265-86.\n\nFolk-game, illustrated by Little Lamb and the Little Fish, 147-48,\n  267-70.\n\nFolk-tales,\n  generally, as literary form, 65-67;\n  tested as literary form, 60-70;\n  characters of, compared with those of Shakespeare, 7, 43-44;\n  recent collections of, 200.\n\nFoolish, Timid Rabbit,\n  illustrating method in story-telling, 116-17;\n  an animal type, 214.\n\nForm,\n  a distinguishing literary trait, 40, 54;\n  perfect, 57-60;\n  general qualities of, 57-58;\n  precision, a quality, 57;\n  energy, a quality, 57-58;\n  delicacy, a quality, 58;\n  personality, a quality, 58;\n  principles controlling, 58-60:\n    sincerity, 58-59;\n    unity, 59;\n    mass, 59;\n    coherence, 59;\n    style in, 59-60;\n    illustrated: by Oeyvind and Marit, 60-64;\n    by Three Billy-Goats Gruff, 64-65;\n    folk-tales as literary, 65-70;\n    mastery of tale as, 100-02.\n\nFrench fairy tales, 179-83.\n\nGame, as expression, 134-35.\n\nGardens of the Tuileries, 1.\n\nGerman fairy tales, 192-93.\n\nGesta Romanorum, 174-75.\n\nGesture,\n  knowledge of, 105-06;\n  library pamphlet relating to, 106.\n\nGiant tales, 31-32.\n\nGolden Egg and the Cock of Gold, 237-38.\n\nGood-Natured Bear,\n  a modern animal type, 217, 272-75;\n  a book, 190.\n\nGrimm, William and Jacob, 67-68;\n  list of tales by, 246-47;\n  editions by, 257;\n  tales by, as literary form, 67.\n\nHarris, J.C.,\n  list of Uncle Remus tales by, 248-49;\n  tales by, as literary form, 69;\n  editions by, 257.\n\nHenny Penny, 214.\n\nHistory of fairy tales, 158-203;\n  origin of fairy tales, 158-67;\n  transmission of fairytales, 167-200;\n  oral transmission, 167-70;\n  literary transmission, 170-200;\n  references, 201-03.\n\nHop-About-Man, 241-43.\n\nHouse that Jack Built, 206-07.\n\nHow the Birds came to Have Different Nests, 151; 270-72.\n\nHow the Sun, Moon, and West Wind went out to Dinner, 84-86.\n\nHow Two Beetles Took Lodgings, 226.\n\nHumor in fairy tales: an interest, 21-22; 217-19.\n\nHumorous tales, 217-23; types of, 219-23.\n\nImagination,\n  a distinguishing literary mark of fairy tales, 40, 45-53;\n  creative, 45;\n  associative, 46;\n  penetrative, 47;\n  contemplative, 47-53;\n  fancy, 46, 47;\n  exhibited in child's return, 122, 125-54.\n\nImaginative, the, 23.\n\nInitiative, development of, 122, 123-25.\n\nInstincts of child, expression of:\n  conversation, 125-27;\n  inquiry, 127-29;\n  construction, 129-30;\n  artistic expression, 130-54.\n\nIntellect, appeal of fairy tales to, 53-54.\n\nInterests of children, 13-37;\n  sense of life, 14;\n  the familiar, 14-15;\n  surprise, 15-17;\n  sense impression, 17-18;\n  the beautiful, 18-19;\n  wonder, mystery, magic, 19;\n  adventure, 19-20;\n  success, 20;\n  action, 20-21;\n  humor, 21-22;\n  poetic justice, 22-23;\n  the imaginative, 23;\n  animals, 24;\n  portrayal of human relations, 24-25;\n  the diminutive, 25-26;\n  rhythm and repetition, 26-28;\n  the simple and the sincere, 28-29;\n  unity of effect, 29-30;\n  opposed to, 30-36;\n  witch tales, 31;\n  dragon tales, 31;\n  giant tales, 31-32;\n  some tales of transformation, 32-33;\n  tales of strange creatures, 33-34;\n  unhappy tales, 34;\n  tales of capture, 34-35;\n  very long tales, 35-36;\n  complicated or insincere tales, 36.\n\nIntroduction, i-iii.\n\nInquiry, instinct of, 127-29.\n\nJack the Giant-Killer, 185, 186, 188, 190.\n\nJacobs, Joseph,\n  list of tales by, 247-48;\n  tales by, as literary form, 69;\n  editions by, 257.\n\nJatakas, 170.\n\nKey of the Kingdom, 207-08.\n\nKindergarten:\n  play in, 5-6;\n  work in, unified by the fairy tale, 8-9;\n  language-training in, 10-11;\n  interests of child in, 13-37;\n  standards for literature in, 37-87;\n  standards for composition in, 54-60;\n  story-telling in, 94-119;\n  return to be expected from child in, 119-54;\n  standards of teaching for teacher in, 119-25;\n  instincts of child in, 125-54;\n  history of fairy tales to be used in, 158-203;\n  classes of tales used in, 204-44;\n  sources of material for fairy tales to be used in, 245-64.\n\nKing-book, Persian, The, 175-76.\n\nLang, Andrew, tales by, as literary form, 69.\n\nLambikin, 21.\n\nLanguage, expression in, 125-27.\n\nLazy Jack, 224-25.\n\nLife,\n  a sense of, 14;\n  criticism of, 120-21;\n  fairy tale a counterpart to, 8-9.\n\nLists: of tales, 246-53;  _See_ Sources of material.\n\nLiterature,\n  mind and soul in, 39-40;\n  qualities of, 40;\n  fairy tale as, 37-87.\n\nLittle Lamb and the Little Fish, 147-48, 267-70.\n\nLittle Two-Eyes, 145, 265-66.\n\nLittle Thumb,\n  editions, 189;\n  tale, 232, 281-82.\n\nLiterary collections of tales, 170-200.\n\nLogical method of selecting tales, 95-96.\n\nLong tales, opposed to child's interests, 35-36.\n\nLord Peter, 232, 277.\n\nMagpie's Nest, 151, 270-72.\n\nM\u00e4rchen Brunnen or Fairy-tale Fountain, 2-3.\n\nMass,\n  principle of, 58-59;\n  illustrated in: Oeyvind and Marit, 61-62;\n  Three Billy-Goats Gruff, 65.\n\nMedio Pollito, 215-16.\n\nMemory, development of, 226.\n\nMessage, of the tale, 100;  of this book. _See_ Summaries.\n\nMethod of story-telling,\n  the recreative, 113-17;\n  criticism of, 114-16;\n  illustration of, 116-17;\n  direct moral, 143.\n\nMind, in literature, 40.\n\nMiscellaneous,\n  tales, a list, 249-53;\n  editions, 259-62.\n\nModern tale,\n  compared with old tale, 234-43;\n  types of, 235-43;\n  what it is, 243;\n  tales, by Andersen, 28-29, 234, 248, 256-57.\n\nMotifs in folk-tales, classified, 97-98.\n\nMother Goose,\n  tales of, 179-81;\n  her Melodies, 187, 195, 197, 198.\n\nMusicians of Bremen, 130-31, 219-20.\n\nNarration,\n  in fairy tales, 74-75;\n  illustrated by Sleeping Beauty, 146-47.\n\nNorse tales, 194;  a list of, 247;  editions, 257.\n\nObjectification in fairy tales, 135-38.\n\nOeyvind and Marit, 60-64.\n\nOld Woman and Her Pig,\n  accumulative type, 207, 208;\n  realistic type, 225-26;\n  an exercise of memory, 226.\n\nOrganization of ideas,\n  accomplished through Fir Tree, 152-53;\n  social, of tale, 153-54.\n\nOrigin of fairy tales, 158-67.\n\nOutline, 291-303.\n\nPaper-cutting, 130-31.\n\nPainting, as expression, 132.\n\nPanchatantra, the Five Books, 171.\n\nPause, in story-telling, 104-05.\n\nPentamerone, The, 178-79.\n\nPerrault, Charles,\n  statue of, 1;\n  list of tales by, 180;\n  tales by, tested as literary form, 68;\n  editions by, 257-58.\n\nPersonality,\n  quality of, 57-58;\n  in Oeyvind and Marit, 60;\n  in Three Billy-Goats Gruff, 64;\n  power of, 106-07.\n\nPersonal relation, establishment of, 107-10.\n\nPeter Rabbit, 239.\n\nPhilosophy,\n  in fairy tales, 48-52;\n  of Uncle Remus Tales, 51-52;\n  of Laboulaye's Tales, 51;\n  of Cat and Mouse in Partnership, 48;\n  of Emperor's New Suit, 48-49;\n  of Ugly Duckling, 49-50;\n  of Elephant's Child, 49;\n  child's, 50-51.\n\nPhonics in fairy tales, 79-81.\n\nPictures, list, 255.\n\nPicture-Books, list, 254-55.\n\nPlot,\n  element of fairy tale as short-story, 73-77;\n  structure illustrated, 76-77.\n\nPoems, fairy, list, 255-56.\n\nPoetic justice, 22-23.\n\nPoetry, of teaching, 120.\n\nPortrayal of human relations, especially with children, 24-25.\n\nPosition, of story-teller, 107.\n\nPrecision,\n  quality of, 57;\n  illustrated in: Oeyvind and Marit, 60;\n  Three Billy-Goats Gruff, 64.\n\nPreparation, teacher's,\n  in story-telling, 94-102;\n  rules for telling, 94-102.\n\nPresentation, teacher's,\n  of tale, 102-19;\n  training of voice, 103-04;\n  exercises in breathing, 104-05;\n  gesture, 105-06;\n  power of personality, 106-07;\n  suggestions for telling, 107-12;\n  establishment of personal relation, 108-10;\n  placing of story in concrete situation, 94-95, 110-11;\n  conception of child's aim, 112;\n  telling of tale, 112-19;\n  re-creative method of story-telling, 113-17;\n  adaptation of fairy tales, 117-19.\n\nPrincess and Pea, 114-16.\n\nPrinciples,\n  of selection for fairy tales, 13-89;\n  interests of children, 13-37;\n  fairy tale as literature, 37-70;\n  fairy tale as short-story, 70-87;\n  references, 87-89.\n\nPrinciples,\n  of composition, 58-60;\n  of story-telling, 94;\n  of teaching, 119-25;\n  concerning instincts of children, 124-25.\n\nProblem, a means of developing consciousness, 122-25.\n\nProverbs in fairy tales, 50.\n\nPurpose, growth in child's, 123-25.\n\nPuss-in-Boots, 232, 275-78.\n\nPsychological method of selecting tales, 95-96.\n\nQuick-Running Squash, 240.\n\nRealistic, tale, 223-28;  types of, 224-28.\n\nReading, as expression, 127;  relation of, to literature, 10-11, 127.\n\nReason, growth in, 6-7, 10;  development of, 53-54.\n\nRe-creative method of story-telling, 113-17.\n\nRed Riding Hood, chap-book, 189;  a romantic type, 232-34.\n\nReferences;\n  chapter I, 12;\n  chapter II, 87-89;\n  chapter III, 154-57;\n  chapter IV, 201-03;\n  chapter V, 243-44.\n\nRelation,\n  of contemplative imagination to language-training, 47-48;\n  of contemplative imagination to power of observation, 47-48;\n  of contemplative imagination to science, 52-53;\n  of literature to intellect, 53-54;\n  of sound to sense or meaning, 55;\n  of sound to action, 55-56;\n  of phonics and emotional effect, 55;\n  of gesture to story-telling, 105-06;\n  personal, between the story-teller and listener, 107-10;\n  of reading to story-telling, 127;\n  of reading to literature, 10, 11, 38, 127;\n  of rhyme to meaning, 56;\n  of fairy tales to nature study, 6, 47-48;\n  of fairy tales to industrial education, 71-73;\n  of fairy tales to child, 3-11;\n  of dramatization to story-telling, 138-54;\n  of fairy tales to literature, 37-70;\n  of fairy tales to composition, 54-70;\n  of fairy tales to story-telling, 90-91.\n\nRepetition, 26-28, 205-11.\n\nRepresentation, 135-38.\n\nRe-telling of fairy tales, 101-02.\n\nReturn, creative, from child,\n  in telling of fairy tales, 119-54:\n  in language, 125-27;\n  in inquiry, 127-29;\n  in construction, 129-30;\n  in artistic expression, 130-54;\n  in paper-cutting, 130-31;\n  in drawing, 132;\n  in painting, 132;\n  in song, 132-33;\n  in rhythm, 133-34;\n  in game, 134-35;\n  in dance, 137, 145, 147;\n  in dramatization, 138-54;\n  illustrated, 145-54, 265-72.\n\nReynard the Fox,\n  place in the animal tale, 212;\n  history, 172-74;\n  chap-book, 185, 186, 190, 196.\n\nRhyme, 56.\n\nRhythm, in fairy tales, 26-28;\n  plays, 133-34.\n\nRobin's Christmas song, 78-79.\n\nRomantic tale, 228-34;  types of, 228-34, 275-86.\n\nSt. Nicholas, Stories retold from, 241.\n\nSanskrit Tales, 171.\n\nSchool editions of fairy tales, 262-64.\n\nScience, relation of contemplative imagination to, 52-53.\n\nSea Fairy and the Land Fairy, 236-37.\n\nSelection of fairy tales by teacher, psychological or logical, 95-96.\n\nSense impression, 17-18.\n\nSetting,\n  element of fairy tale as short-story, 77-82;\n  sequence in, 78-79;\n  story told by, 81-82;\n  and phonics, 79-81.\n\nSheep and Pig, 215.\n\nShort-story,\n  fairy tale as, 70-87:\n  elements of, 70-71;\n  ways of writing, 71;\n  characters, 71-73;\n  plot, 73-77;\n  narration in, 74-75;\n  description in, 75;\n  setting, 77-82;\n  elements of, blended, 82-84;\n  tales tested as, 84-87;\n  telling of, 90-154.\n\nSilhouette pictures, cutting of, 130-31.\n\nSimple and sincere, 28-29.\n\nSincerity, principle of, 58-59;\n  illustrated in: Oeyvind and Marit, 60, 61;\n  Three Billy-Goats Gruff, 64-65.\n\nSindibad, The Book of, 172.\n\nSleeping Beauty,\n  romantic type, 231-32;\n  uniting partial narration, dramatization, and dramatic game, 146-47.\n\nSnow White, 145, 266-67.\n\nSnow White and Rose Red, 232, 282-86.\n\nSong, as expression, 132-33.\n\nSoul, in literature, 39-40.\n\nSources of material for fairy tales, 245-64:\n  list of fairy tales and folk-tales, 246-53;\n  bibliography of fairy tales, 253-54;\n  list of picture-books, 254-55;\n  list of pictures, 255;\n  list of fairy poems, 255-56;\n  main standard fairy-tale books, 256-58;\n  fairy tales of all nations, 258-59;\n  miscellaneous editions of fairy tales, 259-62;\n  school editions of fairy tales, 262-64.\n\nSparrow and the Crow, as expression, 125-26.\n\nSpider and the Flea, 79-81.\n\nStandards,\n  for testing fairy tales, 84;\n  for selecting tales, 204-05;\n  for making lists, 245-46. _See_ Summaries.\n\nStandard fairy-tale books, a list, 256-58.\n\nStory, place of,\n  in home, library, and school, 93-94;\n  formation of original stories, 126-27.\n\nStory-telling,\n  an ancient art, 91-93;\n  principles governing, 94;\n  teacher's preparation for, 94-102;\n  rules for, 94-102;\n  presentation in, 102-119;\n  voice in, 103-04;\n  breathing in, 104-05;\n  gesture in, 105-06;\n  re-creative method of, 113-17;\n  return from child, in, 119-54;\n  child's part in, 121-25.\n\nStraparola, 178.\n\nStraparola's Nights, 178.\n\nStraw Ox, 86-87.\n\nStructure, illustrated, 76-77;\n  study of, in story-telling, 99-100.\n\nStudy of tale as folk-lore and as literature, 96-99.\n\nStyle,\n  defined, 59-60;\n  illustrated, 60-65;\n  qualities of, 59-60;\n  principles controlling, 59-60.\n\nSuccess, 20.\n\nSuggestion,\n  illustrated by Pope, 55;\n  by Andersen, 136;\n  by Kipling, 56-57;\n  through gesture and sound, 55;\n  through arrangement of words and speech-tunes of voice, 56-57.\n\nSummaries: giving message of book, 13, 37-38, 40, 70-71, 84, 158,\n  204-05, 235.\n\nSurprise, 15-17.\n\nSwedish tales, 193.\n\nTales:\n  of Mother Goose, 179-81;\n  of Perrault, 246;\n  of the Grimms, 246-47;\n  Norse, 247;\n  English, by Jacobs, 247-48;\n  modern fairy, by Andersen, 248;\n  Uncle Remus, 248-49;\n  miscellaneous, 249-53;\n  fairy, of all nations, 258-59;\n  literary collections of, 170-200.  _See_ Fairy tales.\n\nTeaching,\n  story-telling, a part of the art of, 119-25;\n  poetry of, 120;\n  good art in, 120;\n  great art in, 120-21;\n  a criticism of life, 120-21.\n\nTelling, of fairy tales, 90-154;\n  art of story-telling, 90-94;\n  principles controlling, 94;\n  preparation by teacher for, 94-102;\n  presentation by teacher, in, 102-19;\n  suggestions for, 107-12;\n  return by child, from, 119-54;\n  re-creative method of, 113-17;\n  adaptation of tales for, 117-19;\n  references, 154-57.\n\nTheories of origin of fairy tales:\n  detritus of myth, 161-63;\n  sun-myth theory, 163-64;\n  common Indian heritage, 165-67;\n  identity of early fancy, 167.\n\nThree Bears,\n  illustrating surprise, 16-17;\n  a chap-book, 190;\n  accumulative, 209-11.\n\nThree Billy-Goats Gruff, 64-65.\n\nThree Pigs,\n  illustrating structure, 76;\n  animal type, 216.\n\nThumbelina,\n  illustrating adaptation, 118;\n  illustrating rhythm play, 134.\n\nTin Soldier,\n  Steadfast, as emotion, 42;\n  tale of imagination, 46;\n  as representation, 135-38;\n  as a game, 135, 138.\n\nTitty Mouse and Tatty Mouse, 81, 208-09, 227-28.\n\nTom Hickathrift, 185, 186, 187, 196.\n\nTom Thumb,\n  chap-book tale, 185, 188, 190, 196;\n  romantic type, 278-81.\n\nTone-color, in story-telling, 105.\n\nTraining of voice, 103-04.\n\nTransformation, tales of, 32-33;  kinds of, 276.\n\nTransmission, of tales:\n  oral, 167-170;\n  literary, 170;\n  illustrated by: Dog Gellert, 166;\n  Dick Whittington, 169;\n  Peruonto, 169-70.\n\nTributes, two public, 1-3.\n\nTruth, basis of, in fairy tales, a distinguishing literary mark, 40,\n  53-54.\n\nTuileries, gardens of. _See_ Gardens.\n\nUncle Remus Tales, by Harris, 248-49;  editions, 257.\n\nUnhappy tales, 34.\n\nUnity,\n  of effect, 29-30;\n  principle of composition, 58-59;\n  illustrated in: Oeyvind and Marit, 61;\n  Three Billy-Goats Gruff, 65.\n\nValue,\n  of fairy tales in education, 3-12, 119-25;\n  to give joy, 3-4;\n  to satisfy the play-spirit, 4-6;\n  to develop observation, 6;\n  to give habits of mind, 6-7;\n  to strengthen emotion, 6-7, 44-45;\n  to extend social relations, 7-8\n  in home, library, and school, 8-9;\n  to give language-training, 10-11;\n  to develop imagination, 45-53;\n  to develop reason, 53-54;\n  to develop power of creative return, 119-54;\n  to develop self-activity, 121-22;\n  to develop consciousness, through problems, 122-23;\n  to develop initiative, 122;\n  to develop purpose, 123-25;\n  to develop self-expression, 124-54;\n  to strengthen originality, 127-29;\n  to develop organization of ideas, 153;\n  and to exercise memory, 226.\n\nVersion, of tale, 101-02.\n\nVilleneuve, Madam, 182.\n\nVoice, training of, 103-04.\n\nWitch tales, 31.\n\nWolf and the Seven Kids,\n  expression in painting, 132;\n  in song, 132-33.\n\nWords,\n  powers of, 54-55;\n  denotation, 54;\n  connotation, 54-55;\n  suggestion, 54-57.\n\nWonder, mystery, magic, an interest, 19.\n\nWorth of fairy tales, 1-12:\n  two public tributes, 1-3;\n  value of fairy tales in education, 3-12;\n  references, 12.","title":"A Study of Fairy Tales","tradition":"myth-cosmogony","translated_text":null,"word_count":85466}