,a ,,study ,,of ,,fairy ,,tales    by   
,,laura ,f4 ,,kready1 ,b4,s4    ,with an
 ,introduction by ,henry ,suzzallo1     
,ph4,d4  ,president of the ,university  
of ,washington1 ,seattle                
,,to ,,the ,,children ,,who1 ,,because  
,,of ,,it1 ,,may ,,receive ,,any ,,good4
          ,,preface      ,one of the    
problems of present-day education is to 
secure for the  entire school system1   
from the kindergarten to the university1
 a  curriculum which shall have a proved
 and permanent value4 ,in this          
curriculum literature has established   
itself as a subject of  unquestioned    
worth4 ,but children's literature1 as   
that distinct  portion of the subject   
literature written especially for       
children or  especially suited to them1 
is only beginning to take shape and     
form4  ,it seems necessary at this time 
to work upon the content of children's  
literature to see what is worthy of a   
permanent place in the child's          
,english1 and to dwell upon its         

possibilities4 ,a consideration of this 
subject has convinced me of three       
points3         7#a7 that literature in 
the kindergarten and elementary         
school should be taught as a distinct   
subject1 accessory       neither to     
reading nor to any other subject of the 
curriculum1 though intimately related to
 them2         7#b7 that it takes       
training in the subject to teach        
literature to little children2          
7#c7 that the field of children's       
literature is largely       untilled1   
inviting laborers1 embracing literature 
which       should be selected from past
 ages down to the present4    ,a single 
motif of this children's literature1    
,fairy ,tales1 is here  presented1 with 
the aim of organizing this small portion
 of the  curriculum for the child of    
five1 six1 or seven years1 in the       
kindergarten and the first grade4 ,the  
purpose has been to show this  unit of  
literature in its varied connection with
 those subjects which  bear an essential

 relation to it4 ,this presentation     
incidentally may  serve as an example of
 one method of giving to teachers a     
course in  literature by showing what   
training may be given in a single motif1
  ,fairy ,tales4 ,incidentally also it  
may set forth a few theories of         
education1 not isolated from practice1  
but united to the everyday  problems    
where the teacher will recognize them   
with greatest  impression4 ,in the      
selection of the subject no undue       
prominence is  hereby advocated for     
fairy tales4 ,we know fairy tales about 
which we  could agree with ,maria       
,edgeworth when she said3 ,even if      
children do  prefer fairy tales1 is this
 a reason why their minds should be     
filled  with fantastic visions instead  
of useful knowledge8 ,however1 there is 
no danger that fairy tales will occupy  
more than a fair share of the  child's  
interest1 much as he enjoys a tale2 for 
the little child's  main interest is    
centered in the actual things of        

everyday life and  his direct contact   
with them4 ,yet there is a part of him  
untouched by  these practical activities
 of his real and immediate life2 and it 
is  this which gives to literature its  
unique function1 to minister to the     
spirit4 ,fairy tales1 in contributing in
 their small way to this high  service1 
while they occupy a position of no undue
 prominence1  nevertheless hold a place 
of no mean value in education4    ,in   
the study of fairy tales1 as of any     
portion of the curriculum or as  in any 
presentation of subject-matter1 three   
main elements must unite  to form one   
combined whole3 the child1 the subject1 
and the teaching  of the subject4 ,in   
behalf of the child ,i want to show how 
fairy tales  contain his interests and  
how they are means for the expression of
 his  instincts and for his development 
in purpose1 in initiative1 in  judgment1
 in organization of ideas1 and in the   
creative return  possible to him4 ,in   
behalf of the subject ,i want to show   

what fairy  tales must possess as       
classics1 as literature and composition1
 and as  short-stories2 to trace their  
history1 to classify the types1 and to  
supply the sources of material4 ,in     
behalf of the teaching of fairy  tales  
,i want to describe the telling of the  
tale3 the preparation it  involves1 the 
art required in its presentation1 and   
the creative  return to be expected from
 the child4    ,in the consideration of 
the subject the main purpose has been to
  relate fairy tales to the large       
subjects1 literature and composition4   
,from the past those tales have come    
down to us which inherently  possessed  
the qualities of true classics4 ,in     
modern times so few  children's tales   
have survived because they have been    
written mainly  from the point of view  
of the subject and of the child without 
regard  to the standards of literary    
criticism4 ,in the school the teaching  
of  literature in the kindergarten and  
elementary grades has been  conducted   

largely also from the point of view of  
the child and of the  subject without   
regard to the arts of literature and    
composition4 ,in  bookshops counters are
 filled with many books that lack       
literary value  or artistic merit4 ,the 
object in this book has been to preserve
 the  point of view of the child and of 
the subject and yet at the same time    
relate the tale to the standards of     
literature and of composition4 ,the     
object has been to get the teacher1     
every time she selects or tells a  tale1
 to apply practically the great         
underlying principles of  literature1 of
 composition1 and of the short-story1 as
 well as those  of child-psychology and 
of pedagogy4    ,this relating of the   
tale to literary standards will give to 
the  teacher a greater respect for the  
material she is handling and a          
consequent further understanding of its 
possibilities4 ,it will reveal  what    
there is in the tale to teach and also  
how to teach it4 ,in  teaching          

literature as also other art            
subject-matter in the  kindergarten and 
first grade1 the problem is to hold fast
 to the  principles of the art and yet  
select1 or let the child choose1        
material adapted to his simplicity4 ,as 
the little child uses analysis  but     
slightly1 his best method of possessing 
a piece of literature is  to do         
something with it4    ,the fairy tale is
 also related to life standards1 for it 
presents to  the child a criticism of   
life4 ,by bringing forward in high light
 the  character of the fairy1 the fairy 
tale furnishes a unique contribution  to
 life4 ,through its repeated impression 
of the idea of fairyhood it  may implant
 in the child a desire which may        
fructify into that pure1  generous1     
disinterested kindness and love of the  
grown-up1 which aims  to play fairy to  
another1 with sincere altruism to make  
appear before  his eyes his heart's     
desire1 or in a twinkling to cause what 
hitherto  seemed impossible4 ,fairy     

tales thus are harbingers of that       
helpfulness  which would make a new     
earth1 and as such afford a contribution
 to the  religion of life4    ,in       
stressing the history of fairy tales the
 purpose has been to  present fairy     
tales as an evolution4 ,the kindergarten
 and first-grade  teacher must therefore
 look to find her material anywhere in  
the whole  field and intimately related 
with the whole4 ,special attention has  
been placed upon the ,english fairy tale
 as the tale of our language4  ,as we   
claim an ,american literature since the 
days of ,washington  ,irving1 the       
gradual growth of the ,american fairy   
tale has been  included1 for which we   
gratefully acknowledge the courtesy of  
the  ,librarian of the ,united ,states  
,bureau of ,education and the           
,bibliographer of the ,library of       
,congress4 ,a particular treatment of   
some ,north ,american ,indian folk-tales
 would also be desirable4 ,but a  study 
of these tales reveals but one          

unimportant pourquois tale1 of          
sufficient simplicity4 ,this study of   
the natural history of the fairy  tale  
as an art form is not necessary for the 
child4 ,but for the  teacher it reveals 
the nature of fairy tales and their     
meaning4 ,it is  an aid to that         
scholarly command of subject-matter     
which is the first  essential for       
expertness in teaching4 ,only when we   
view the ,american  fairy tale of to-day
 in the light of its past history can we
 obtain a  correct standard by which to 
judge of its excellence or of its worth4
    ,in the classification of fairy     
tales the purpose has been to organize  
the entire field so that any tale may be
 studied through the type  which        
emphasizes its distinguishing features4 
,the source material  endeavors to      
furnish a comprehensive treatment of    
fairy tales for the  kindergarten and   
elementary school4    ,in the           
preparation of this book the author     
takes pleasure in  expressing an        

appreciation of the criticism and       
helpful suggestions  given by the       
,editor1 ,dr4 ,henry ,suzzallo1 under   
whose counsel1  cooperation1 and        
incentive the work grew4 ,the author    
wishes also to  make a general          
acknowledgment for the use of many books
 which of  necessity would be consulted 
in organizing and standardizing any unit
  of literature4 ,special acknowledgment
 should be made for the use of  ,grimm's
 ,household ,tales1 edited by ,margaret 
,hunt1 containing  valuable notes and an
 introduction by ,andrew ,lang of       
,english ,fairy  ,tales1 ,more ,english 
,fairy ,tales1 ,indian ,fairy ,tales1   
and ,reynard  the ,fox1 and their       
scholarly introductions and notes1 by   
,joseph  ,jacobs2 of ,norse ,tales and  
its full introduction1 by ,sir ,george  
,w4  ,dasent2 of ,tales of the ,punjab  
and its ,appendix1 by ,mrs4 ,f4,a4      
,steel2  of the ,uncle ,remus ,books1 by
 ,j4,c4 ,harris2 of ,fairy ,tales1 by   
,hans  ,c4 ,andersen2 of ,fairy         

,mythology and ,tales and ,popular      
,fictions1 by  ,thomas ,keightley2 of   
,principles of ,literary ,criticism1 by 
,professor  ,c4,t4 ,winchester1 for its 
standards of literature2 of ,english    
,composition1 by ,professor ,barrett    
,wendell1 for its standards of          
composition2 of ,professor ,john        
,dewey's classification of the child's  
instincts2 and of the ,kindergarten     
,review1 containing many articles  of   
current practice illustrating standards 
emphasized here4    ,recognition is     
gratefully given for the use of various 
collections of  fairy tales and for the 
use of any particular fairy tale that   
has been  presented in outline1         
descriptive narrative1 criticism1 or    
dramatization4 ,among collections       
special mention should be made of  ,the 
,fairy ,library1 by ,kate ,d4 ,wiggin   
and ,nora ,a4 ,smith2 the ,fairy        
,books1 by ,clifton ,johnson2 and the   
,fairy ,books1 by ,andrew ,lang4  ,among
 tales1 particular mention should be    

made for the use1 in  adaptation1 made  
of ,oeyvind and ,marit1 given in        
,whittier's ,child  ,life in ,prose2 of 
,the ,foolish ,timid ,rabbit1 given in  
,the ,jataka  ,tales1 by ,ellen ,c4     
,babbit2 of ,the ,sheep and the ,pig1 in
 ,miss  ,bailey's ,for the ,children's  
,hour2 of ,drakesbill1 in ,the ,fairy   
,ring1 by ,wiggin and ,smith2 of ,the   
,magpie's ,nest1 in ,english ,fairy     
,tales1 by ,joseph ,jacobs2 of ,how the 
,evergreen ,trees ,lose their  ,leaves1 
in ,the ,book of ,nature ,myths1 by     
,miss ,holbrook2 of ,the  ,good-,natured
 ,bear1 described by ,thackeray in ,on  
,some ,illustrated  ,christmas ,books2  
and of ,the ,hop-,about-,man1 by ,agnes 
,herbertson1  given in ,the             
,story-,teller's ,book1 by ,alice       
,o',grady 7,moulton7 and  ,frances      
,throop4    ,the author wishes also to  
express thanks to the many teachers and 
children whose work has in any way      
contributed to ,a ,study of ,fairy      
,tales4    ,,laura ,f4 ,,kready         

,,lancaster1 ,,pennsylvania  ,august1   
#aiaf          ,,contents               
,,chapter                               
,,page         ,,introduction ,,by      
,,henry ,,suzzallo             xv       
,i4 ,,the ,,worth ,,of ,,fairy ,,tales  
#a     ,,ii4 ,,principles ,,of          
,,selection ,,for ,,fairy ,,tales    #ac
    ,,iii4 ,,the ,,telling ,,of ,,fairy 
,,tales                 #ij     ,,iv4   
,,the ,,history ,,of ,,fairy ,,tales    
#aeh      ,v4 ,,classes ,,of ,,fairy    
,,tales                    #bjd         
,,vi4 ,,sources ,,of ,,material ,,for   
,,fairy ,,tales       #bde              
,,appendix                              
#bfe         ,,outline                  
#bia         ,,index                    
#cje            ,,introduction      ,the
 fairy tale has a place in the training 
of children which common  sense and a   
sympathetic attitude toward childhood   
will not deny4 ,some  rigid             
philosophers1 who see no more of life   
than is to be found in  logical science1

 condemn the imaginative tale4 ,they    
regard the  teaching of myths and       
stories as the telling of pleasant lies1
 which1  if harmless1 are wasteful4     
,what the child acquires through them1  
he  must sooner or later forget or      
unlearn4    ,such arguments carry       
conviction until one perceives that     
their authors  are measuring the worth  
of all teaching in terms of strictly    
intellectual products4 ,life is more    
than precise information2 it is  impulse
 and action4 ,the fairy tale is a       
literary rather than a  scientific      
achievement4 ,its realities are matters 
of feeling1 in which  thought is a mere 
skeleton to support the adventure4 ,it  
matters little  that the facts alleged  
in the story never were and never can   
be4 ,the  values and ideals which enlist
 the child's sympathy are morally       
worthy1 affording a practice to those   
fundamental prejudices toward  right and
 wrong which are the earliest           
acquisitions of a young soul4  ,the     

other characteristics of the tale--the  
rhythmic1 the grotesque1  the weird1 and
 the droll--are mere recreation1 the    
abundant  playfulness which children    
require to rest them from the dangers   
and  terrors which fascinate them4      
,the fairy tale1 like every other       
literary production1 must be judged  by 
the fitness of its emotional effects4   
,fairyland is the stage-world  of       
childhood1 a realm of vicarious living1 
more elemental and more  fancy-free than
 the perfected dramas of sophisticated  
adults whose  ingrained acceptance of   
binding realities demands sterner stuff4
 ,the  tales are classics of a          
particular kind2 they are children's    
classics1  artful adaptations of life   
and form which grip the imaginations of 
little folks4    ,the diet of babes     
cannot be determined by the needs of    
grown-ups4 ,a  spiritual malnutrition   
which starves would soon set in if adult
 wisdom  were imposed on children for   
their sustenance4 ,the truth is amply   

illustrated by those pathetic objects of
 our acquaintance1 the men and  women   
who have never been boys and girls4     
,to cast out the fairy tale is to rob   
human beings of their childhood1  that  
transition period in which breadth and  
richness are given to  human life so    
that it may be full and plastic enough  
to permit the  creation of those        
exacting efficiencies which increasing  
knowledge and  responsibility compel4   
,we cannot omit the adventures of       
fairyland from  our educational program4
 ,they are too well adapted to the      
restless1  active1 and unrestrained life
 of childhood4 ,they take the objects   
which little boys and girls know vividly
 and personify them so that  instinctive
 hopes and fears may play and be        
disciplined4    ,while the fairy tales  
have no immediate purpose other than to 
amuse1  they leave a substantial        
by-product which has a moral            
significance4 ,in  every reaction which 
the child has for distress or humor in  

the tale1  he deposits another layer of 
vicarious experience which sets his     
character more firmly in the mould of   
right or wrong attitude4 ,every         
sympathy1 every aversion helps to set   
the impulsive currents of his  life1 and
 to give direction to his personality4  
,because of the important aesthetic and 
ethical bearings of this form  of       
literary experience1 the fairy stories  
must be rightly chosen and  artfully    
told4 ,in no other way can their full   
worth in education be  realized4 ,they  
are tools which require discrimination  
and skill4 ,out  of the wisdom of one   
who knows both tales and children1 and  
who holds  a thoughtful grasp on        
educational purpose1 we offer this      
volume of  unusually helpful            
counsel4--,,henry ,,suzzallo4           
,,chapter ,i          ,,the ,,worth ,,of
 ,,fairy ,,tales         ,in olde dayes 
of the kyng ,arthour1       ,of which   
that ,britouns speken gret honour1      
,al was this lond fulfilled of fayrie2  

,the elf-queen1 with hir joly           
compaignye1       ,daunced ful oft in   
many a grene mede4--,,chaucer4      ,i4 
,,two ,,public ,,tributes      ,only a  
few years ago1 in the gardens of the    
,tuileries1 in ,paris1 a  statue was    
erected in memory of ,charles ,perrault1
 to be placed there  among the          
sculptures of the never-to-be-forgotten 
fairy tales he had  created1--,red      
,riding ,hood1 ,sleeping ,beauty1       
,puss-in-,boots1  ,hop-o'-my-,thumb1    
,bluebeard1 and the rest1--so that the  
children  who roamed the gardens1 and in
 their play gathered about the statues  
of their beloved fairy friends1 might   
have with them also a reminder  of the  
giver of all this joy1 their friend     
,perrault4 ,two hundred years  before1  
,perrault truly had been their friend1  
not only in making for  them fairy      
tales1 but in successfully pleading in  
their behalf when he  said1 ,i am       
persuaded that the gardens of the ,king 
were made so great  and spacious that   

all the children may walk in them4      
,only in ,december1 #aiac1 in ,berlin1  
was completed the ,mrchen  ,brunnen1 or 
,fairy-,tale ,fountain1 at the entrance 
to ,friedrichshain  ,park1 in which the 
idea of the architect1 ,stadt-,baurat   
,ludwig  ,hoffmann1 wholly in harmony   
with the social spirit of the times1 was
  to erect an artistic monument to give 
joy to multitudes of children4  ,this   
fairy entrance to the park is a         
decorative lay-out1 a central  ground   
surrounded by a high1 thick lodge of    
beeches4 ,toward this  central          
ground--which has been transformed into 
a joyous fairy  world--many hedge walks 
lead2 while in the sidewalks1 to warn   
naughty  children1 are concealed        
fantastic figures4 ,there is the huge   
,menschen-fresser1 who grasps a tender  
infant in each ,titan hand and  bears on
 his head a huge basket of children too 
young to have known  much wrong4 ,a     
humorous touch1 giving distinct charm to
 the whole  creation1 pervades all4     

,from lions' heads and vases1           
distributed at  regular intervals in the
 semicircular arcade in the background1 
water  gushes forth2 while in the       
central basin1 nine small water         
animals--seven frogs and two larger     
animals--appear spouting great  jets of 
water4 ,clustered about the central     
fountain are the nine fairy  characters 
of ,professor ,ignatius ,taschner1 among
 whom are ,red ,riding  ,hood1 ,hansel  
and ,grethel each riding a duck1        
,puss-in-,boots1  ,cinderella1 and      
,lucky ,hans2 and looking down upon them
 from the  surrounding balustrade are   
the animal figures by ,joseph ,rauch4   
,in  these simple natural classic       
groups1 fancy with what pleasure the    
children may look to find the friendly  
beasts and the favorite tales  they     
love6    ,such is the tribute to fairy  
tales rendered by two great nations who 
have recognized fairy tales as the      
joyous right of children4 ,any          
education which claims to relate itself 

to present child life can  hardly afford
 to omit what is acknowledged as part of
 the child's  everyday life2 nor can it 
afford to omit to hand on to the child  
those  fairy tales which are a portion  
of his literary heritage4        ,,ii4  
,,the ,,value ,,of ,,fairy ,,tales ,,in 
,,education      ,in considering fairy  
tales for the little child1 the first   
question  which presents itself is1 ,why
 are fairy stories suited to the little 
child1 and what is their value for him8 
,fairy tales bring joy into child life4 
,the mission of joy has not been  fully 
preached1 but we know that joy works    
toward physical health1  mental         
brightness1 and moral virtue4 ,in the   
education of the future1  happiness     
together with freedom will be recognized
 as the largest  beneficent powers that 
will permit the individual of four1 from
 his  pristine1 inexperienced           
self-activity1 to become that final1    
matured1  self-expressed1               
self-sufficient1 social development--the

 educated man4  ,joy is the mission of  
art and fairy tales are art products4   
,as such  ,pater would say1 ,for ,art   
comes to you1 proposing to give nothing 
but  the highest quality to your moments
 as they pass1 and simply for those     
moments' sake4 ,not the fruit of        
experience1 but experience1 is the  end4
 ,such quality came from the art of the 
fairy tale into the walk  of a little   
girl1 for whom even the much-tabooed    
topic of the weather  took on a new1    
fresh charm4 ,in answer to a remark     
concerning the day  she replied1 ,yes1  
it's not too hot1 and not too cold1 but 
just  right4 ,all art1 being a product  
of the creative imagination1 has the    
power to stimulate the creative         
faculties4 ,for ,art1 like ,genius1     
says ,professor ,woodberry1 is common to
 all men1 it is the stamp of  the soul  
in them4 ,all are creatures of imitation
 and combination2 and  the little child1
 in handling an art product1 puts his   
thought through  the artist's mould and 

gains a touch of the artist's joy4      
,fairy tales satisfy the play spirit of 
childhood4 ,folk-tales are the  product 
of a people in a primitive stage when   
all the world is a  wonder-sphere4 ,most
 of our popular tales date from days    
when the  primitive ,aryan took his     
evening meal of yava and fermented mead1
 and  the dusky ,sudra roamed the       
,punjab4 ,all these fancies are pervaded
  with that purity by which children    
seem to us so wonderful1 said  ,william 
,grimm4 ,they have the same blue-white1 
immaculate bright  eyes4 ,little        
children are in this same wonder-stage4 
,they believe  that the world about     
throbs with life and is peopled with all
 manner  of beautiful1 powerful folk4   
,all children are poets1 and fairy tales
  are the poetic recording of the facts 
of life4 ,in this day of  commercial    
enterprise1 if we would fit children for
 life we must see  to it that we do not 
blight the poets in them4 ,in this day  
of emphasis  on vocational training we  

must remember there is a part of life   
unfed1  unnurtured1 and unexercised by  
industrial education4 ,moreover1        
whatever will be accomplished in life   
will be the achievement of a  free and  
vigorous life of the imagination4       
,before it was realized1  everything new
 had existed in some trained            
imagination1 fertile with  ideas4 ,the  
tale feeds the imagination1 for the soul
 of it is a bit of  play4 ,it suits the 
child because in it he is not bound by  
the law of  cause and effect1 nor by the
 necessary relations of actual life4 ,he
 is  entirely in sympathy with a world  
where events follow as one may  choose4 
,he likes the mastership of the         
universe4 ,and fairyland--where  there  
is no time2 where troubles fade2 where  
youth abides2 where  things come out all
 right--is a pleasant place4            
,furthermore1 fairy tales are play      
forms4 ,play1 ,bichter says1 is the     
first creative utterance of man4 ,it is 
the highest form in which the  native   

activity of childhood expresses itself1 
says ,miss ,blow4 ,fairy  tales offer to
 the little child an opportunity for the
 exercise of  that self-active inner    
impulse which seeks expression in two   
kinds of  play1 the symbolic activity of
 free play and the concrete presentation
  of types4 ,the play1 ,the ,light      
,bird1 and the tale1 ,the ,bremen ,town 
,musicians1 both offer an opportunity   
for the child to express that  pursuit  
of a light afar off1 a theme which      
appeals to childhood4 ,the  fairy tale1 
because it presents an organized form of
 human experience1  helps to organize   
the mind and gives to play the values of
 human life4  ,by contributing so       
largely to the play spirit1 fairy tales 
contribute  to that joy of activity1 of 
achievement1 of coperation1 and of      
judgment1 which is the joy of all work4 
,this habit of kindergarten  play1 with 
its joy and freedom and initiative1 is  
the highest goal to  be attained in the 
method of university work4    ,fairy    

tales give the child a power of accurate
 observation4 ,the habit  of            
re-experiencing1 of visualization1 which
 they exercise1 increases  the ability  
to see1 and is the contribution         
literature offers to  nature study4 ,in 
childhood acquaintance with the natural 
objects of  everyday life is the central
 interest2 and in its turn it furnishes 
those elements of experience upon which 
imagination builds4 ,for this  reason it
 is rather remarkable that the story1   
which is omitted from  the ,montessori  
system of education1 is perhaps the most
 valuable means  of effecting that      
sense-training1 freedom1 self-initiated 
play1  repose1 poise1 and power of      
reflection1 which are foundation stones 
of  its structure4    ,fairy tales      
strengthen the power of emotion1 develop
 the power of  imagination1 train the   
memory1 and exercise the reason4 ,as    
emotion and  imagination are considered 
in ,chapter #aa1 in the section1 ,the   
,fairy  ,tale as ,literature1 and the   

training of the memory and the exercise 
of the reason in connection with the    
treatment of various other topics  later
 on1 these subjects will be passed by   
for the present4 ,every day  the        
formation of habits of mind during the  
process of education is  being looked   
upon with a higher estimate4 ,the       
formation of habits of  mind through the
 use of fairy tales will become evident 
during  following chapters4    ,fairy   
tales extend and intensify the child's  
social relations4 ,they  appeal to the  
child by presenting aspects of family   
life4 ,through them  he realizes his    
relations to his own parents3 their     
care1 their  guardianship1 and their    
love4 ,through this he realizes         
different  situations and social        
relations1 and gains clear1 simple      
notions of  right and wrong4 ,his       
sympathies are active for kindness and  
fairness1  especially for the           
defenseless1 and he feels deeply the    
calamity of  the poor or the suffering  

and hardship of the ill-treated4 ,he is 
in  sympathy with that poetic justice   
which desires immediate punishment  of  
wrong1 unfairness1 injustice1 cruelty1  
or deceit4 ,through fairy  tales he     
gains a many-sided view of life4        
,through his dramas1 with a  power of   
sympathy which has seemed universal1    
,shakespeare has given  the adult world 
many types of character and conduct that
 are noble4  ,but fairy tales place in  
the hands of childhood all that the     
thousands  and thousands of the universe
 for ages have found excellent in       
character and conduct4 ,they hold up for
 imitation all those cardinal  virtues  
of love and self-sacrifice1--which is   
the ultimate criterion  of              
character1--of courage1 loyalty1        
kindness1 gentleness1 fairness1  pity1  
endurance1 bravery1 industry1           
perseverance1 and thrift4 ,thus  fairy  
tales build up concepts of family life  
and of ethical standards1  broaden a    
child's social sense of duty1 and teach 

him to reflect4  ,besides developing his
 feelings and judgments1 they also      
enlarge his  world of experience4    ,in
 the school1 the fairy tale as one form 
of the story is one part of  the largest
 means to unify the entire work or play 
of the child4 ,in  proportion as the    
work of art1 nature-study1 game1        
occupation1 etc41  is fine1 it will deal
 with some part of the child's everyday 
life4 ,the  good tale parallels life4   
,it is a record of a portion of the race
  reaction to its environment2 and being
 a permanent record of  literature1 it  
records experience which is universal   
and presents  situations most human4 ,it
 is therefore material best suited to   
furnish  the child with real problems4  
,as little children have their thoughts 
and observations directed mainly toward 
people and centered about the  home1 the
 fairy tale rests secure as the         
intellectual counterpart to  those      
thoughts4 ,as self-expression and       
self-activity are the great  natural    

instincts of the child1 in giving       
opportunity to make a crown  for a      
princess1 mould a clay bowl1 decorate a 
tree1 play a game1 paint  the wood1 cut 
paper animals1 sing a lullaby1 or trip a
 dance1 the tale  affords many problems 
exercising all the child's              
accomplishments in  the variety of his  
work4 ,this does not make the story the 
central  interest1 for actual contact   
with nature is the child's chief        
interest4 ,but it makes the story1      
because it is an organized  experience  
marked by the values of human life1 the 
unity of the  child's return or reaction
 to his environment4 ,the tale thus may 
bring  about that living union of       
thought and expression which dispels the
  isolation of studies and makes the    
child live in varied1 concrete1  active 
relation to a common world4    ,in the  
home fairy tales employ leisure hours in
 a way that builds  character4 ,critical
 moments of decision will come into the 
lives of  all when no amount of reason  

will be a sufficient guide4 ,mothers who
  cannot follow their sons to college1  
and fathers who cannot choose for  their
 daughters1 can help their children best
 to fortify their spirits  for such     
crises by feeding them with good        
literature4 ,this1 when they  are yet   
little1 will begin the rearing of a     
fortress of ideals which  will support  
true feeling and lead constantly to     
noble action4 ,then1  too1 in the home1 
the illustration of his tale may give   
the child much  pleasure4 ,for this is  
the day of fairy-tale art2 and the      
child's  satisfaction in the            
illustration of the well-known tale is  
limitless4  ,it will increase as he     
grows older1 as he understands art      
better1 and  as he becomes familiar with
 the wealth of beautiful editions which 
are  at his command4    ,and finally1   
though not of least moment1 fairy tales 
afford a vital  basis for language      
training and thereby take on a new      
importance in  the child's ,english4    

,through the fairy tale he learns the   
names of  things and the meanings of    
words4 ,one ,english fairy tale1 ,the   
,master  of all ,masters1 is a ludicrous
 example of the tale built on this very 
theme of names and meanings4 ,especially
 in the case of foreign  children1 in a 
tale of repetition1 such as ,the ,cat   
and the ,mouse1  ,teeny ,tiny1 or ,the  
,old ,woman and ,her ,pig1 will the     
repetitive  passages be an aid to verbal
 expression4 ,the child learns to follow
  the sequence of a story and gains a   
sense of order4 ,he catches the  note of
 definiteness from the tale1 which      
thereby clarifies his  thinking4 ,he    
gains the habit of reasoning to         
consequences1 which is  one form of a   
perception of that universal law which  
rules the world1  and which is one of   
the biggest things he will ever come    
upon in life4  ,never can he meet any   
critical situation where this habit of  
reasoning  to consequences will not be  
his surest guide in a decision4 ,thus   

fairy  tales1 by their direct influence 
upon habits of thinking1 effect         
language training4    ,fairy tales      
contribute to language training also by 
providing another  form of that basic   
content which is furnished for reading4 
,in the  future the child will spend    
more time in the kindergarten and early 
first grade in acquiring this content1  
so that having enjoyed the real         
literature1 when he reads later on he   
will be eager to satisfy his own        
desires4 ,then reading will take purpose
 for him and be accomplished  almost    
without drill and practically with no   
effort4 ,the reading book  will         
gradually disappear as a portion of his 
literary heritage4 ,in the  kindergarten
 the child will learn the play forms1   
and in the first  grade the real        
beginnings1 of phonics and of the form  
of words in the  applied science of     
spelling4 ,in music he will learn the   
beginnings of  the use of the voice4    
,this will leave him free1 when he      

begins reading  later1 to give attention
 to the thought reality back of the     
symbols4  ,when the elements combining  
to produce good oral reading are cared  
for  in the kindergarten and in the     
first grade1 in the subjects of which   
they properly form a part1 the child1   
when beginning to read1 no  longer will 
be needlessly diverted1 his literature  
will contribute to  his reading without 
interference1 and his growth in language
 will  become an improved1 steady       
accomplishment4        ,,references     
,allison1 ,samuel2 and ,perdue1 ,avis3  
,the ,story in ,primary                 
,instruction4 ,flanagan4         ,blow1 
,susan2 ,hill1 ,patty2 and ,harrison1   
,elizabeth3 ,the         ,kindergarten4 
,houghton4         ,blow1 ,susan3       
,symbolic ,education4 ,appleton4        
,chamberlain1 ,alexander3 ,folk-,lore in
 the ,schools1 ,pedagogical             
,seminary1 vol4 vii1 pp4 #cdg-ef4       
,chubb1 ,percival3 ,value and ,place of 
,fairy ,stories1 ,national              

,education ,association ,report1 #aije4 
,dewey1 ,john3 ,the ,school and the     
,child4 ,blackie  ,sons4         ,ibid43
 ,the ,school and ,society4 ,university 
of ,chicago ,press4         ,fairy      
,tales1 ,public ,libraries1 #aijf1 vol4 
#aa1 pp4 #age-gh4         ,palmer1      
,luella3 ,standard for ,kindergarten    
,training1         ,kindergarten        
,review1 ,june1 #aiad4         ,welsh1  
,charles3 ,right ,reading for ,children4
 ,heath4          ,,chapter ,,ii        
,,principles ,,of ,,selection ,,for     
,,fairy ,,tales         ,all our        
troubles come from doing that in which  
we have no       interest4--,,epictetus4
         ,that is useful for every man  
which is conformable to his own         
constitution and nature4--,,marcus      
,,aurelius4         ,genuine interest   
means that a person has identified      
himself       with1 or found himself in1
 a certain course of activity4 ,it      
is obtained not by thinking about it and
 consciously aiming       at it1 but by 

considering and aiming at the conditions
 that       lie back of it1 and compel  
it4--,,john ,,dewey4        ,i4 ,,the   
,,interests ,,of ,,children      ,now   
that the value of fairy tales in        
education has been made clear1  let us  
consider some of those principles of    
selection which should  guide the       
teacher1 the mother1 the father1 and the
 librarian1 in  choosing the tale for   
the little child4    ,fairy tales must  
contain what interests children4 ,it is 
a well-known  principle that selective  
interest precedes voluntary attention2  
therefore interest is fundamental4 ,all 
that is accomplished of  permanent good 
is a by-product of the enjoyment of the 
tale4 ,the tale  will go home only as it
 brings joy1 and it will bring joy when 
it  secures the child's interest4 ,now  
interest is the condition which         
requires least mental effort4 ,and fairy
 tales for little children must  follow 
that great law of composition pointed   
out by ,herbert ,spencer1  which makes  

all language consider the audience and  
the economy of the  hearer's attention4 
,the first step1 then1 is to study the  
interests of  the child4 ,we do not wish
 to give him just what he likes1 but we 
want  to give him a chance to choose    
from among those things which he ought  
to have and1 as good and wise guardians1
 see that we offer what is in  harmony  
with his interests4 ,any observation of 
the child's interest  will show that he 
loves the things he finds in his fairy  
tales4 ,he  enjoys--         ,a sense of
 life4 ,this is the biggest thing in the
 fairy       tales1 and the basis for   
their universal appeal4 ,the little     
child who is just entering life can no  
more escape its       attraction than   
can the aged veteran about to leave the 
pathway4 ,the little pig1 ,whitie1 who  
with his briskly       curling tail goes
 eagerly down the road to secure1 from  
the       man who carried a load of     
straw1 a bit with which to build        
his easily destructible house2 ,red     

,riding ,hood taking a pot       of jam 
to her sick grandmother2 ,henny ,penny  
starting out on       a walk1 to meet   
with the surprise of a nut falling on   
her       head--the biggest charm of all
 this is that it is life4         ,the  
familiar4 ,the child1 limited in        
experience1 loves to       come in touch
 with the things he knows about4 ,it    
soothes his       tenderness1 allays his
 fears1 makes him feel at home in the   
world1--and he hates to feel            
strange1--it calms his       timidity1  
and satisfies his heart4 ,the home and  
the people       who live in it2 the    
food1 the clothing1 and shelter of      
everyday life2 the garden1 the plant in 
it1 or the live ant       or toad2 the  
friendly dog and cat1 the road or street
 near       by1 the brook1 the hill1 the
 sky--these are a part of his           
world1 and he feels them his own even in
 a story4 ,the       presents which the 
,rabbit went to town to buy for the     
little       ,rabbits1 in ,how ,brother 

,rabbit ,frightens his ,neighbors2      
the distinct names1 ,miss ,janey and    
,billy ,malone1 given to       the      
animals of ,in ,some ,lady's ,garden1   
just as a child       would name her    
dolls2 and the new shoes of the ,dog    
which the       ,rabbit managed to get  
in ,why ,mr4 ,dog ,runs after ,brother  
,rabbit--these all bring up in the      
child's experience       delightful     
familiar associations4 ,the tale which  
takes a       familiar experience1 gives
 it more meaning1 and organizes         
it1 such as ,the ,little ,red ,hen1     
broadens1 deepens1 and       enriches   
the child's present life4         ,the  
surprise4 ,while he loves the familiar1 
nothing more       quickly brings a     
smile than the surprise4 ,perhaps the   
most       essential of the fairy traits
 is the combination of the              
familiar and the unfamiliar4 ,the desire
 for the unknown1       that curiosity  
which brings upon itself surprise1 is   
the       charm of childhood as well as 

the divine fire of the       scientist4 
,the naughty little ,elephant who asked 
a new1       fine question he had never 
asked before1 and who went to           
answer his own question of what the     
crocodile has for       dinner1 met with
 many surprises which were spankings2   
and       as a result1 he returned home 
with a trunk and experience4       ,he  
is a very good example of how delightful
 to the child       this surprise can   
be4 ,the essence of the fairy tale is   
natural life in a spiritual world1 the  
usual child in the       unusual        
environment1 or the unusual child in the
 natural       environment4 ,this       
combination of the usual and unusual is 
the chief charm of ,alice in            
,wonderland1 where a natural       child
 wanders through a changing environment 
that is       unusual4 ,for an idle     
moment enjoy the task of seeing how     
many ideas it contains which are the    
familiar ideas of       children1 and   
how they all have been made different4  

,all       children love a tea-party1   
but what child would not be       caught
 by having a tea-party with a ,mad      
,hatter1 a ,march       ,hare1 and a    
sleepy ,dormouse1 with nothing to eat   
and no tea6       ,red ,riding ,hood was
 a dear little girl who set out to take 
a       basket to her grandmother4 ,but 
in the wood1 after she had       been   
gathering a nosegay and chasing         
butterflies1 just as ,i       might do1 
any child might say1 she met a wolf6    
,and what       child's ears would not  
rise with curiosity8 ,now something's   
going to happen6 ,the ,three ,bears kept
 house4 ,that was usual       enough2   
but everything was different1 and the   
charm is in       giving the child a    
real surprise at every step4 ,the house 
was not like an ordinary house2 it was  
in the wood1 and more       like a      
play-house than a real one4 ,there was a
 room1 but not       much in it2 a      
table1 but there was not on it what is  
on your       table--only three bowls4  

,what they contained was usual1 but     
unusually one bowl of porridge was big  
and hot1 one was less       big and     
cold1 and one was little and just right4
 ,there were       usual chairs1 unusual
 in size and very unusual when          
,goldilocks sat in them4 ,upstairs the  
bedroom was usual1 but       the beds   
were unusual when ,goldilocks lay upon  
them4 ,the       ,bears themselves were 
usual1 but their talk and action was a  
delightful mixture of the surprising and
 the comical4       ,perhaps this love  
of surprise accounts for the perfect    
leap       of interest with which a     
child will follow the ,cock in ,the     
,bremen ,town ,musicians1 as he saw from
 the top of the tree       on which he  
perched1 a light1 afar off through the  
wood4       ,certainly the theme of a   
light in the distance has a charm       
for children as it must have had for man
 long ago4         ,sense impression4   
,good things to eat1 beautiful flowers1 
jewels1 the beauties of sight1 color1   

and sound1 of odor and       of taste1  
all gratify a child's craving for sense 
impression4 ,this1 in its height1 is the
 charm of the       ,arabian ,nights4   
,but in a lesser degree it appears in   
all       fairy tales4 ,cinderella's    
beautiful gowns at the ball and         
the fine supper stimulate the sense of  
color1 beauty1 and       taste4 ,the    
sugar-panes and gingerbread roof of the 
,witch's       ,house1 in ,hansel and   
,grethel1 stir the child's kindred      
taste for sweets and cookies4 ,the      
,gingerbread ,boy1 with his             
chocolate jacket1 his cinnamon buttons1 
currant eyes1       rose-sugar mouth1   
orange-candy cap1 and gingerbread shoes1
       makes the same strong sense      
appeal4 ,there is a natural             
attraction for the child in the         
beautiful interior of       ,sleeping   
,beauty's ,castle1 in the lovely perfume
 of roses in       the ,beast's         
,rose-,garden1 in the dance and song of 
the ,elves1       and in the dance of   

the ,goat and her seven ,kids about the 
well4         ,the beautiful4 ,closely  
related to this love of the             
material is the sense of the beautiful4 
,beauty is pleasure       regarded as   
the quality of a thing1 says ,santayana4
       ,pleasures of the eye and ear1 of
 the imagination and memory1       are  
those most easily objectified1 and form 
the groundwork       on which all higher
 beauty rests4 ,the green of the spring1
       the odor of ,red ,riding ,hood's 
flowers1 the splendor of the            
,prince's ball in ,cinderella--these    
when perceived       distinctly are     
intelligible1 and when perceived        
delightfully       are beautiful4       
,language is a kind of music1 too2 the  
mode of       speaking1 the sound of    
letters1 the inflection of the          
voice--all are elements of beauty4 ,but 
this material beauty       is tied up in
 close association with things eye hath 
not       seen nor ear heard1 the moral 
beauty of the good and the       message

 of the true4 ,the industry of the      
little ,elves       reflects the worth  
of honest effort of the two aged        
peasants1 and the dance of the ,goat and
 seven ,kids reflects       the triumph 
of mother wit and the sharpness of love4
 ,the       good1 the true1 and the     
beautiful are inseparably linked in     
the tale1 just as they forever grow     
together in the life of       the child4
 ,the tales differ largely in the       
element of beauty       they present4   
,among those conspicuous for beauty may 
be       mentioned ,andersen's          
,thumbelina2 the ,indian ,how the ,sun1 
the ,moon1 and ,west ,wind ,went ,out to
 ,dinner2 the ,japanese       ,mezumi1  
the ,beautiful2 and the ,english        
,robin's ,christmas       ,song4 ,little
 ,two-,eyes stands out as one containing
 a large       element of beauty1 and   
,oeyvind and ,marit represents in an    
ideal way the possible union of the     
good1 the true1 and the       beautiful4
 ,this union of the good1 the true1 and 

the       beautiful has been expressed  
by an old ,persian legend3 ,in       the
 midst of the light is the beautiful1 in
 the midst of the       beautiful is the
 good1 in the midst of the good is ,god1
 the       ,eternal ,one4               
,wonder1 mystery1 magic4 ,the spirit of 
wonder1 like a       will-o'-the-wisp1  
leads on through a fairy tale1 enticing 
the child who follows1 knowing that     
something will happen1       and        
wondering what4 ,when magic comes in he 
is gratified       because some one     
becomes master of the                   
universe--,cinderella1       when she   
plants the hazel bough1 and later goes  
to the       wishing-tree2 the fairy    
godmother1 when with her wand she       
transforms a pumpkin to a gilded coach  
and six mice to       beautiful gray    
horses2 ,little ,two-,eyes1 when she    
says1--              ,little kid1 bleat1
            ,i wish to eat6         and 
immediately her little table set with   
food so       marvelously appears2 or   

,hop-o'-my-,thumb when he steps into    
his ,seven-,league ,boots and goes like 
the wind4         ,adventure4 ,this is a
 form of curiosity4 ,in the old tale1   
as the wood was the place outside the   
usual habitation1       naturally it was
 the place where things happened4 ,often
       there was a house in the wood1   
like the one amidst the       forest    
darkly green1 where ,snow ,white lived  
with the       ,dwarfs4 ,this adventure 
the little child loves for its own      
sake4 ,later1 when he is about eleven or
 twelve1 he loves it       for its      
motive4 ,this love of adventure is part 
of the charm       of ,red ,riding      
,hood1 of the ,three ,bears1 of the     
,three       ,pigs1 or of any good tale 
you might mention4         ,success4    
,the child likes the fairy tale to tell 
him of       some one who succeeds4 ,he 
admires the little pig ,speckle who     
outwitted the ,wolf in getting to the   
field of turnips first1       or in     
going to the apple tree at              

,merry-,garden1 or to the       fair at 
,shanklin2 who built his house of brick 
which would       defy assault2 and     
whose cleverness ended the ,wolf's life4
       ,this observation of success     
teaches the child to admire             
masterliness1 to get the motto1 ,age    
quod agis1 stamped       into his child 
life from the beginning4 ,it influences 
character to follow such conduct as that
 of the ,little ,red       ,hen1 who    
took a grain of wheat1--her little      
mite1--who       planted it1 reaped it1 
made it into bread1 and then ate it2    
who1 in spite of the ,goose and the     
,duck1 secured to herself       the     
reward of her labors4         ,action4  
,akin to his love of running1 skipping1 
and       jumping1 to his enjoyment in  
making things go and in seeing          
others make things go1 is the child's   
desire for action in       his fairy    
tales2 and this is just another way of  
saying he       wants his fairy tales to
 parallel life4 ,action is the          

special charm of the ,gingerbread ,boy1 
who opened the oven       door and so   
marvelously ran along1 outrunning an old
 ,man1 an       old ,woman1 a little    
,boy1 two ,well-,diggers1 two           
,ditch-,diggers1 a ,bear1 and a ,wolf1  
until he met the ,fox       waiting by  
the corner of the fence4 ,dame ,wiggins 
of ,lee and       ,her ,seven ,wonderful
 ,cats--a humorous tale written by ,mrs4
       ,sharp1 a lady of ninety1 edited 
by ,john ,ruskin1 who added       the   
third1 fourth1 eighth1 and ninth        
stanzas1 and       illustrated by ,kate 
,greenaway--has this pleasing trait of  
action to a unique degree4 ,so also has 
,the ,cock1 the ,mouse1       and the   
,little ,red ,hen1 a modern tale by     
,flicit ,lefvre4       ,this very       
popular tale among children is a        
retelling of two       old tales        
combined1 ,the ,little ,red ,hen and the
 ,irish       ,little ,rid ,hin4        
,humor4 ,the child loves a joke1 and the
 tale that is       humorous is his     

special delight4 ,humor is the source of
       pleasure in ,billy ,bobtail1     
where the number of animals and         
the noises they make fill the tale with 
hilarious fun4 ,there       is most     
pleasing humor in ,lambikin4 ,here the  
reckless hero       frolicked about on  
his little tottery legs4 ,on his way to 
,granny's house1 as he met the ,jackal1 
the ,vulture1 the       ,tiger1 and the 
,wolf1 giving a little frisk1 he said1--
              ,to ,granny's house ,i go1
            ,where ,i shall fatter grow1
            ,then you can eat me so6    
,later1 on returning1 when the animals  
asked1 ,have you seen       ,lambikin8  
cozily settled within his ,drumikin1    
laughing and       singing to himself1  
he called out slyly--              ,lost
 in the forest1 and so are you1         
,on1 little ,drumikin6 ,tum-pa1         
turn-too6         ,humor is the charm1  
too1 of ,andersen's ,snow ,man4 ,here   
the       child can identify himself    
with the ,dog and thereby join in       

the sport which the ,dog makes at the   
,snow ,man's expense1       just as if  
he himself were enlightening the ,snow  
,man about       the ,sun1 the ,moon1   
and the ,stove4 ,there is most          
delightful       humor in ,the ,cat and 
the ,mouse in ,partnership1 where the   
,cat has the face to play upon the      
credulity of the poor       housekeeper 
,mouse1 who always stayed at home and   
did not go       out into the daytime4  
,returning home from his ventures       
abroad he named the first kitten        
,top-,off1 the second one               
,half-,out1 and the third one ,all-,out2
 while instead of having       attended 
the christening of each1 as he          
pretended1 he       secretly had been   
visiting the jar of fat he had placed   
for       safe-keeping in the church4   
,poetic justice4 ,emotional satisfaction
 and moral       satisfaction based on  
emotional instinct appeal to the        
child4 ,he pities the plight of the     
animals in the ,bremen       ,town      

,musicians1 and he wants them to find a 
refuge1 a safe       home4 ,he is glad  
that the robbers are chased out1 his    
sense       of right and wrong is       
satisfied4 ,poetic justice suits him4   
,this is one reason why fairy tales make
 a more definite       impression often 
than life--because in the tale the      
retribution follows the act so swiftly  
that the child may       see it1 while  
in life the mills of the gods grind     
slowly1       and even the adult who    
looks cannot see them grind4 ,the       
child wants ,cinderella to gain the     
reward for her goodness2       and he   
wishes the worthy ,shoemaker and his    
,wife1 in the       ,elves and the      
,shoemaker1 to get the riches their     
industry       deserves4         ,the   
imaginative4 ,fairy tales satisfy the   
activity of the       child's           
imagination and stimulate his fancy4    
,some beautiful       spring day1       
perhaps1 after he has enjoyed an        
excursion to a       field or meadow or 

wood1 he will want to follow ,andersen's
       ,thumbelina in her travels4 ,he  
will follow her as she floats       on a
 lily pad1 escapes a frog of a husband1 
rides on a       butterfly1 lives in the
 house of a field-mouse1 escapes a      
mole of a husband1 and then rides on the
 back of a friendly       swallow to    
reach the south land and to become queen
 of the       flowers4 ,here there is   
much play of fancy4 ,but even when the  
episodes are homely and the situations  
familiar1 as in       ,little ,red ,hen1
 the act of seeing them as distinct     
images       and of following them with 
interest feeds the imagination4         
,for while the elements are familiar1   
the combination is       unusual2 and   
this nourishes the child's ability to   
remove       from the usual situation1  
which is the essential element in       
all originality4 ,by entering into the  
life of the characters       and        
identifying himself with them1 he       
develops a large       sympathy and a   

sense of power1 he gains insight into   
life1       and a care for the interests
 of the world4 ,thus imagination        
grows in flexibility1 in scope1 and in  
sympathy1 till the       life which the 
individual lives is informed with the   
life of       nature and of society1 and
 acquires what ,professor ,john         
,dewey calls ,culture4         ,animals4
 ,very few of the child's fairy tales   
contain no       animals4 ,southey said 
of a home3 ,a house is never perfectly  
furnished for enjoyment unless there is 
in it a child rising       three years  
old and a kitten rising six weeks2      
kitten is in       the animal world what
 a rose-bud is in a garden4 ,in the     
same way it might be said of fairy      
tales3 ,no tale is quite       suited to
 the little child unless in it there is 
at least       one animal4 ,such animal 
tales are ,the ,bremen ,town            
,musicians1 ,henny ,penny1 ,ludwig and  
,marleen and ,the       ,elephant's     
,child4 ,the episode of the hero or     

heroine and       the friendly animal1  
as we find it retained in ,two-,eyes and
       her little ,goat1 was probably a 
folk-lore convention--since             
dropped--common to the beginning of many
 of the old tales4       ,it indicates  
how largely the friendly animal entered 
into       the old stories4         ,a  
portrayal of human relations1 especially
 with children4       ,in ,cinderella   
the child is held by the unkind         
treatment       inflicted upon          
,cinderella by her ,stepmother and the  
two       haughty ,sisters4 ,he notes   
the solicitude of the ,mother of        
the ,seven ,kids in guarding them from  
the ,wolf4 ,in the ,three       ,bears  
he observes a picture of family life4 ,a
 little child1       on listening to    
,the ,three ,pigs for the first time1   
was       overwhelmed by one thought and
 cried out1 ,and didn't the             
,mother come home any more8 ,naturally  
the child would be       interested     
especially in children1 for he is like  

the older       boy1 who1 when looking  
at a picture-book1 gleefully            
exclaimed1 ,that's me6 ,he likes to put 
himself in the place       of others4   
,he can do it most readily if the       
character is a       small individual   
like ,red ,riding ,hood who should obey 
her       mother2 or like ,goldilocks   
who must not wander in the wood2        
or like ,henny ,penny who went to take a
 walk and was accosted       by1 ,where 
are you going8 ,in ,brother ,rabbit and 
the ,little       ,girl the ,little     
,girl takes the keenest enjoyment in    
putting       herself in the customary  
grown-up's place of granting            
permission1 while the ,rabbit takes the 
usual child's place       of mentioning 
a request with much persuasion4 ,the    
child is       interested1 too1 in the  
strange people he meets in the fairy    
tales3 the clever little elves who lived
 in the groves and       danced on the  
grass2 the dwarfs who inhabited the     
earth-rocks and the hills2 the trolls   

who dwelt in the wild       pine forest 
or the rocky spurs1 who ate men or      
porridge1 and       who fled at the     
noise of bells2 the fairies who pleased 
with       their red caps1 green        
jackets1 and sprightly ways2 the        
beautiful fairy godmother who waved her 
wonderful wand2 or       those lovely   
fairy spirits who appeared at the moment
 when       most needed--just as all    
best friends do--and who could          
grant1 in a twinkling1 the wish that was
 most desired4         ,the diminutive4 
,this pleasure in the diminutive is     
found       in the interest in the fairy
 characters1 ,baby ,bear1 ,little       
,billy-,goat1 ,little ,pig1 the ,little 
,elves1 ,teeny ,tiny1       ,thumbelina1
 and ,tom ,thumb1 as well as in tiny    
objects4 ,in       the ,tale of ,tom    
,thumb the child is captivated by the   
miniature chariot drawn by six small    
mice1 the tiny       butterfly-wing     
shirt and chicken-skin boots worn by    
,tom1 and       the small speech        

produced by him at court1 when asked his
       name3--              ,my name is 
,tom ,thumb1            ,from the       
,fairies ,i come2            ,when ,king
 ,arthur shone1            ,this court  
was my home4            ,in me he       
delighted1            ,by him ,i was    
knighted4            ,did you never hear
 of            ,sir ,thomas ,thumb8     
,doll i' the ,grass contains a tiny     
chariot made from a       silver spoon  
and drawn by two white mice1 and ,little
       ,two-,eyes gives a magic table4  
,the child takes keen delight       in  
the fairy ship which could be folded up 
and put into a       pocket1 and in the 
wonderful nut-shell that could bring    
forth beautiful silver and gold dresses4
 ,the little wagon of       ,chanticleer
 and ,partlet that took them a trip up  
to the       hill1 and the tiny mugs and
 beds1 table and plates1 of ,snow       
,white's cottage in the wood--such as   
these all meet the       approval of    
child-nature4         ,rhythm and       

repetition4 ,the child at first loves   
sound2       later he loves sound and   
sense1 or meaning4 ,repetition          
pleases him because he has limited      
experience and is glad to       come    
upon something he has known before4 ,he 
observes and he       wants to compare1 
but it is a job4 ,repetition saves him a
       task and boldly proclaims1 ,we   
are the same4 ,such is the       effect 
of the repetitive expressions which we  
find in ,teeny       ,tiny3 as1 ,now    
when the teeny-tiny woman got home to   
her       teeny-tiny house1 she was a   
teeny-tiny bit tired2 or1 in            
,little ,jack ,rollaround1 who cried out
 with such vigorous       persistence1  
,roll me around6 and called to the moon1
 ,i       want the people to see me6 ,in
 ,the ,little ,rabbit ,who ,wanted      
,red ,wings1 one of the pleasantest     
tales for little       children1 the    
,white ,rabbit said to his ,mammy1 ,oh1 
,mammy1 ,i       wish ,i had a long gray
 tail like ,bushy ,tail's2 ,i wish ,i   

had       a back full of bristles like  
,mr4 ,porcupine's2 ,i wish ,i had a     
pair of red rubbers like ,miss          
,puddleduck's4 ,at last1 when       he  
beheld the tiny red-bird at the         
,wishing-,pond1 he said1       ,oh1 ,i  
wish ,i had a pair of little red wings6 
,then1 after       getting his wings1   
when he came home at night and his      
,mammy       no longer knew him1 he     
repeated to ,mr4 ,bushy ,tail1 ,miss    
,puddleduck1 and old ,mr4 ,ground ,hog1 
the same petition to       sleep all    
night1 ,please1 kind ,mr4 ,bushy ,tail1 
may ,i sleep       in your house all    
night8 etc4 ,repetition here aids the   
child in following the characters1 the  
story1 and its       meaning4 ,it is a  
distinct help to unity and to clearness4
         ,the ,elephant's ,child is an  
example of how the literary       artist
 has used this element of repetition1   
and used it so       wonderfully that   
the form is the matter and the tale     
cannot       be told without the        

artist's words4 ',satiable curtiosity1  
the banks of the great1 grey-green1     
greasy1 ,limpopo ,river1       all set  
about with fever-trees1 and ',scuse me1 
are but a       few of those expressions
 for which the child will watch as      
eagerly as one does for a signal light  
known to be due4 ,the       repetition  
of the one word1 curtiosity1 throughout 
the       tale1 simply makes the point  
of the whole story and makes       that 
point delightfully impressive4          
,rhythm and repetition also make a      
bodily appeal1 they appeal       to the 
child's motor sense and instinctively   
get into his       muscles4 ,this is    
very evident in ,brother ,rabbit's      
,riddle3--              ,de big bird bob
 en little bird sing2            ,de big
 bee zoon en little bee sting1          
,de little man lead en big hoss foller--
            ,kin you tell wat 's good   
fer a head in a holler8         ,the    
song in ,brother ,rabbit and the ,little
 ,girl appeals       also to the child's

 sense of sound3--              ,de     
jay-bird hunt de sparrer-nes2           
,de bee-martin sail all 'roun'2         
,de squer'l1 he holler from de top er de
 tree1            ,mr4 ,mole1 he stay in
 de ground2            ,he hide en he   
stay twel de dark drap down--           
,mr4 ,mole1 he hide in de groun'4       
,the simple and the sincere4 ,the       
child's taste for the       simple and  
the sincere is one reason for the appeal
 which       ,andersen's tales make4 ,in
 using his stories it is to be          
remembered that1 although ,andersen     
lacked manliness in being               
sentimental1 he preserved the child's   
point of view and gave       his thought
 in the true nursery story's mode of    
expression4       ,since real sentiment 
places the emphasis on the object which 
arouses feeling and the sentimental     
places the emphasis on       the        
feeling1 sincerity demands that in using
 ,andersen's       tales1 one lessen the
 sentimental when it occurs by omitting 

to give prominence to the feeling4      
,andersen's tales reflect       what is 
elementary in human nature1 childlike   
fancy1 and       emotion4 ,his speech is
 characterized by the simplest words    
and conceptions1 an avoidance of the    
abstract1 the use of       direct       
language1 and a nave poetic expression  
adapted to       general comprehension4 
,he is not to be equaled in child       
conversations4 ,the world of the fairy  
tale must be simple       like the world
 ,andersen has given us4 ,it must be a  
world of       genuine people and honest
 occupations in order to form a         
suitable background for the             
supernatural4 ,only fairy tales         
possessing simplicity are suited to the 
oldest kindergarten       child of five 
or six years4 ,to the degree that the   
child is       younger than five years1 
he should be given fewer and fewer      
fairy tales4 ,those given should be     
largely realistic stories       of      
extreme simplicity4         ,unity of   

effect4 ,the little child likes the     
short tale1       for it is a unity he  
can grasp4 ,if you have ever listened to
       a child of five spontaneously    
attempting to tell you a long       tale
 he has not grasped1 and have observed  
how the units of       the tale have    
become confused in the mind that has not
 held       the central theme1 you then 
realize how harmful it is to       give 
a child too long a story4 ,unity demands
 that there be       no heaping up of   
sensations1 but neat1 orderly1 essential
       incidents1 held together by one  
central idea4 ,the tale must       go to
 the climax directly4 ,it must close    
according to ,uncle       ,remus's idea 
when he says1 ,de tale ain't persoon    
atter em       no furder don de place   
whar dey the characters make der        
disappear'nce4 ,it will say what it has 
to say and lose no       time in saying 
it2 and often it will attempt to say    
only one       thing4 ,it will be       
remarkable as well for what it omits as 

for what it tells4 ,the ,norse ,doll i' 
the ,grass well       illustrates this  
unity4 ,boots set out to find a wife and
       found a charming little lassie   
who could spin and weave a       shirt  
in one day1 though of course the shirt  
was tiny4 ,he       took her home and   
then celebrated his wedding with the    
pleasure of the king4 ,this unity1 which
 is violated in       ,grimm's          
complicated ,golden ,bird1 appears      
pleasantly in       ,the ,little ,pine  
,tree that ,wished for ,new ,leaves4    
,here one       feeling dominates the   
tale1 the ,pine ,tree was no longer     
contented4 ,so she wished1 first for    
gold leaves1 next for       glass       
leaves1 and then for leaves like those  
of the oaks and       maples4 ,but the  
robber who stole her gold leaves1 the   
storm       that shattered her glass    
leaves1 and the goat that ate her       
broad green leaves1 changed her feeling 
of discontent1 until       she wished at
 last to have back her slender needles1 

green       and fair1 and awoke next    
morning1 happy and contented4    ,fairy 
tales for little children must avoid    
certain elements opposed to  the        
interests of the very young child4      
,temperaments vary and one must  be     
guided by the characteristics of the    
individual child4 ,but while  the little
 girl with unusual power of             
visualization1 who weeps on  hearing of 
,thumbling's travels down the cow's     
mouth in company with  the hay1 may be  
the exception1 she proves the rule3 the 
little child  generally should not have 
the tale that creates an emotion of     
horror  or deep feeling of pain4 ,this  
standard would determine what tales     
should not be given to the child of     
kindergarten age3--         ,the tale of
 the witch4 ,the witch is too strange   
and too       fearful for the child who 
has not learned to distinguish the      
true from the imaginative4 ,this would  
move ,hansel and       ,grethel into the
 second-grade work and ,sleeping ,beauty

       preferably into the work of the  
first grade4 ,the child soon       gains
 sufficient experience so that later the
 story       impresses1 not the         
strangeness4         ,the tale of the   
dragon4 ,this would eliminate ,siegfried
       and the ,dragon4 ,a dragon is too
 fearful a beast and       produces     
terror in the heart of the child4 ,tales
 of heroic       adventure with the     
sword are not suited to his strength4   
,he       has not yet entered the realm 
of bold adventure where       ,perseus  
and ,theseus and ,hercules display their
 powers4 ,the       fact that hero-tales
 abound in delightful literature is not 
adequate reason for crowding the        
,rhinegold ,legends1 ,wagner            
,stories1 and ,tales of ,king ,arthur1  
into the kindergarten4       ,their     
beauty and charm do not make it less    
criminal to       present to little     
children such a variety of images as    
knighthood carries with it4 ,these tales
 are not sufficiently       simple for  

the little child1 and must produce a    
mental       confusion and the crudest  
of returns4         ,giant tales4 ,this 
would omit ,jack and the ,beanstalk1    
,jack       the ,giant-,killer1 and ,tom
 ,hickathrift1 moving them up       into
 the primary field4 ,a little girl1 when
 eating tongue1       confidingly asked1
 ,whose tongue8 and when told1 ,a cow's1
       immediately questioned with      
tenderness1 ,don't he feel it8          
,thereafter she insisted that she didn't
 like tongue4 ,to a       child of such 
sensibilities the cutting off of heads  
is       savage and gruesome and should 
not be given a chance to       impress  
so prominently4 ,life cannot be without 
its strife       and struggle1 but the  
little child need not meet everything   
in life at once4 ,this does not mean    
that absolutely no giant       tale     
would be used at this time4 ,the tale of
 ,mr4 ,miacca1       in which little    
,tommy couldn't always be good and one  
day       went round the corner1 is a   

giant tale which could be used          
with young children because it is full  
of delightful humor4       ,because of  
the simplicity of ,tommy's language and 
his sweet       childishness it appeals 
to the child's desire to identify       
himself with the character4 ,tommy is so
 clever and inventive       and his     
lively surprises so brimful of fun that 
the final       effect is entirely      
pleasing4         ,some tales of        
transformation4 ,the little child is not
       pleased but shocked by the       
transformation of men into              
animals4 ,a little girl1 on looking at  
an illustration of       ,little        
,brother and ,sister1 remarked1 ,if my  
,sister would       turn into a fawn ,i 
would cry4 ,when the animals are        
terrifying1 the transformation contains 
horror for the       child4 ,this1      
together with the length and complexity 
of the       story1 would move ,beauty  
and the ,beast up into the second       
grade where the same transformation     

becomes an element of       pleasure4 ,a
 simple tale of transformation1 such as 
,the       ,little ,lamb and the ,little
 ,fish1 in which ,gretchen becomes      
a lamb and ,peterkin a little fish1 is  
interesting but not       horrible1 and 
could be used4 ,so also could a tale    
such as       ,grimm's ,fundevogel1 in  
which the brother and sister escape     
the pursuit of the witch by becoming1   
one a rosebush and the       other a    
rose2 later1 one a church and the other 
a steeple2       and a third time1 one a
 pond and the other a duck4 ,in both    
these tales we have the witch and       
transformation1 but the       effect    
contains no horror4         ,the tale of
 strange animal relations and strange   
creatures4       ,tom ,tit ,tot1 which  
,jacobs considers the most delightful of
       all fairy tales1 is brimful of   
humor for the older child1       but    
here the tailed man is not suited to the
 faith and       understanding of six   
years4 ,rumpelstiltskin1 its parallel1  

must also be excluded4 ,the ,house in   
the ,wood1 and its       ,norse         
parallel1 ,the ,two ,step-,sisters1 are 
both very       beautiful1 but are more 
suited to the second grade4 ,in the     
kindergarten it is much better to       
present the tale which       emphasizes 
goodness1 rather than the two just      
mentioned1       which present the good 
and the bad and show what happens to    
both4 ,besides there is a certain       
elation resulting from the              
superior reward won by the good child   
which crowds out any       pity for the 
erring child4 ,such elation is a form of
       selfishness and ought not to be  
emphasized4 ,snow ,white and       ,rose
 ,red contains the strange dwarf1 but it
 is a tale so       full of love and    
goodness and home life that in spite of 
its       length it could be used in the
 first grade4         ,unhappy tales4   
,the very little child pities1 and its  
tender heart must be protected from     
depressing sadness as       unrelieved  

as we find it in ,the ,little ,match    
,girl4 ,the       image of suffering    
impressed on a child1 who cannot forget 
the sight of a cripple for days1 is too 
intense to be       healthful4 ,the     
sorrow of the poor is one of the        
elements of       life that even the    
very little child meets1 and it is      
legitimate that his literature should   
include tales that       call for       
compassion4 ,but in a year or two1 when 
he develops       less impressionability
 and more poise1 he is better prepared  
to meet such situations1 as he must meet
 them in life4         ,the tale of     
capture4 ,this would eliminate          
,proserpine4 ,no       more beautiful   
myth exists than this one of the        
springtime1       but its beauty and its
 symbolism do not make it suitable for  
the kindergarten4 ,it is more suited to 
the elementary child       of the fourth
 grade4 ,in fact1 very few myths of any 
sort       find a legitimate place in   
the kindergarten1 perhaps only a        

few of the simpler pourquois tales4 ,the
 ,legend of the       ,pied ,piper of   
,hamelin1 which is very beautiful1 and  
appeals       to little children because
 of the piping and of the children      
following after1 should be omitted from 
the kindergarten       because the      
capture at the close--the disappearance 
of the       children in the hill--is   
tragic in pathos4 ,it is better to      
leave the literature as it is and offer 
it later when the       child reaches   
the second grade4 ,the effect of this   
tragic       end has been realized by   
,josephine ,scribner ,gates1 who 7,st4  
,nicholas1 ,november1 #aiad7 has given  
to the children1 ,and       ,piped      
,those ,children ,back ,again4 ,this is 
a modern       completion of ,the ,pied 
,piper4 ,it most happily makes the      
little lame boy who was left in ,hamelin
 when the ,piper       closed the door  
of the mountain1 the means of the       
restoration of the other children to    
their parents4         ,the very long   

tale4 ,this would omit ,the ,ugly       
,duckling4       ,the ,ugly ,duckling is
 a most artistic tale and one that is   
very true to life4 ,its characters are  
the animals of the       barn-yard1 the 
hens and ducks familiar to the little   
child's       experience4 ,but the theme
 and emotional interest working out     
at length through varied scenes1 make it
 much better adapted       to the       
capacities of a third-grade child4 ,the 
,white ,cat1 a       feminine           
counterpart of ,puss-in-,boots--which   
gives a most       charming picture of  
how a ,white ,cat1 a transformed        
princess1       helped a youth1 and     
re-transformed became his bride--because
       of its length1 is better used in 
the first grade at the same       time  
with ,puss-in-,boots4 ,the same holds   
true of ,peter1       ,paul1 and ,espen1
 or its parallel1 ,laboulaye's          
,poucinet4       ,this is a fine tale   
telling how the youngest of three sons  
succeeded in winning the king's favor   

and finally the       princess and half 
the kingdom4 ,first1 ,espen had to cut  
down       the giant oak that shadowed  
the palace and dig a well in the        
courtyard of the castle deep enough to  
furnish water the       entire year4    
,but after winning in these tests1 he is
       required to conquer a great ,ogre
 who dwells in the forest1       and    
later to prove himself cleverer in      
intellect than the       princess by    
telling the greater falsehood4 ,it is   
evident       that not only the         
subject-matter but the working out of   
the       long plot are much beyond     
kindergarten children4         ,the     
complicated or the insincere tale4 ,this
 would       eliminate a tale of        
complicated structure1 such as ,grimm's 
,golden ,bird2 and many of the modern   
fairy tales1 which       will be dealt  
with later on4    ,the fairy tales      
mentioned above are all important tales 
which the  child should receive at a    
later time when he is ready for them4   

,they  are mentioned because they all   
have been suggested for kindergarten    
use4 ,the whole field of children's     
literature is largely unclassified  and 
ungraded as yet1 and such arrangements  
as we possess show slight  respect for  
standards4 ,there is abundant material  
for the youngest1  and much will be     
gained by omitting to give the very     
young what they  will enjoy a little    
later1 much better and with freshness4  
,it is true  that a few classics are    
well-suited to the child at any age1    
such as  ,alice in ,wonderland1 ,the    
,jungle ,books1 and ,uncle ,remus       
,tales4 ,in  regard to this grading of  
the classics1 ,lamb in ,mackery ,end1   
speaking of his sister's education1     
said1 ,she was tumbled early1 by        
accident or design1 into a spacious     
closet of good old ,english  reading1   
without much selection or prohibition1  
and browsed at will  upon that fair and 
wholesome pasturage4 ,had ,i twenty     
girls they should  be brought up exactly

 in this fashion4 ,lamb would have      
argued3 ,set  the child free in the     
library and let him choose for himself1 
and feed  on great literature1 those    
stories which give general types of     
situation and character1 which give the 
simplest pictures of a people  at       
different epochs4 ,but with all due     
respect to ,lamb it must be said  that  
,lamb is not living in this scientific  
day of discovery of the  child's        
personality and of accurate attention to
 the child's needs4  ,because the       
,odyssey is a great book and will give  
much to any child  does not prove at all
 that the same child would not be better
 off by  reading it when his interests  
reach its life4 ,this outlook on the    
problem would eliminate the necessity of
 having the classics rewritten  from a  
new moral viewpoint1 which is becoming a
 custom now-a-days1 and  which is to be 
frowned upon1 for it deprives the       
literature of much of  its vigor and    
force4        ,,ii4 ,,the ,,fairy ,,tale

 ,,as ,,literature      ,from the point 
of view of the child1 we have seen that 
in a subjective  sense1 fairy tales must
 contain the interests of children4 ,in 
an  objective sense1 rather from the    
point of view of literature1 let us  now
 consider what fairy tales must contain1
 what are the main  standards which     
determine the value of fairy tales as   
literature1 and  as such1 subject-matter
 of real worth to the child4    ,the old
 tale will not always be perfect        
literature2 often it will be  imperfect1
 especially in form4 ,yet the tale      
should be selected with  the standards  
of literature guiding in the estimate of
 its worth and  in the emphasis to be   
placed upon its content4 ,such relating 
of the  tale to literary standards would
 make it quite impossible later in the  
primary grades when teaching the reading
 of ,three ,pigs1 to put the  main      
stress on a mere external like the      
expression of the voice4 ,a  study of   
the story as literature would have      

centered the attention on  the          
situation1 the characters1 and the plot4
 ,if the voice is receiving  training in
 music and in the phonics of spelling1  
then when the  reading of the tale is   
undertaken it will be a willing servant 
to the  mind which is concentrating on  
the reality1 and will express what the  
thought compels4    ,the fairy tale     
first must be a classic in reality even 
if it lacks the  crowning touch of      
perfect form given through the          
re-treatment of a  literary artist4 ,in 
,reynard the ,fox we have an exact      
example of the  folk-tale that has been 
elevated into literature4 ,but this was 
possible only because the tales         
originally possessed the qualities of  a
 true classic4 ,a true classic1         
,sainte-,beuve has said1 is one which   
enriches the human mind1 has increased  
its treasure and caused it to  advance a
 step1 which has discovered some moral  
and unequivocal truth  or revealed some 
eternal passion in that heart where all 

seemed known  and discovered2 which is  
an expression of thought1 observation1  
or  invention1 in no matter what form1  
only provided it be broad and  great1   
refined and sensible1 sane and beautiful
 in itself2 which  speaks in its own    
peculiar style which is found to be also
 that of the  whole world1 a style new  
and old1 easily contemporary with all   
time4  ,immediately some of the great   
fairy tales stand out as answering to   
this test--,red ,riding ,hood1 ,sleeping
 ,beauty1 ,jack and the ,beanstalk1     
,cinderella1 ,jack the                  
,giant-,killer1--which has been said to 
be the  epitome of the whole life of    
man--,beauty and the ,beast1 and a crowd
  of others4 ,any fairy tale which      
answers to the test of a real classic   
must1 like these1 show itself to contain
 for the child a permanent  enrichment  
of the mind4    ,fairy tales must have  
certain qualities which belong to all   
literature  as a fine art1 whether it is
 the literature of knowledge or the     

literature of power4 ,literature is not 
the book nor is it life2 but  literature
 is the sense of life1 whose artist is  
the author1 and the  medium he uses is  
words1 language4 ,it is good art when   
his sense of  life is truth1 and fine   
art when there is beauty in that truth4 
,the  one essential beauty of literature
 is in its essence and does not  depend 
upon any decoration4 ,as words are the  
medium1 literature will  distinguish    
carefully among them and use them as the
 painter1 for  particular lights and    
shades4 ,according to ,pater literature 
must have  two qualities1 mind and soul4
 ,literature will have mind when it has 
that architectural sense of structure   
which foresees the end in the  beginning
 and keeps all the parts related in a   
harmonious unity4 ,it  will have soul   
when it has that vagrant sympathy which 
makes it come  home to us and which     
makes it suggest what it does not say4  
,test the  ,tale of ,cinderella by this 
standard4 ,as to mind1 it makes one     

think  of a bridge in which the very    
keystone of the structure is the        
condition that ,cinderella return from  
the ball by the stroke of  twelve4 ,and 
its vagrant sympathy is quite definite  
enough to reach a  maid of five1 who    
remarked3 ,if ,i'd have been            
,cinderella1 ,i wouldn't  have helped   
those ugly sisters1 would you8    ,if   
the fairy tale stands the test of       
literature it must have proved  itself1 
not only a genuine classic according to 
,sainte-,beuve's  standard1 and a tale  
possessing qualities of mind and soul   
according  to ,pater's ,style1 but it   
must have shown itself also a work      
owning  certain features distinguishing 
it as literature4 ,these particular     
literary marks which differentiate the  
literary tale from the ordinary  prose  
tale have been pointed out by ,professor
 ,winchester in his  ,principles of     
,literary ,criticism4 ,they apply to the
 old tale of  primitive peoples just as 
well as to the modern tale of to-day4   

,as  literature the tale must have3     
7#a7 a power to appeal to the emotions2 
7#b7 a power to appeal to the           
imagination2         7#c7 a basis of    
truth2 and         7#d7 a form more or  
less perfect4    7#a7 ,a power to appeal
 to the emotions4 ,this appeal to the   
emotions is  its unique distinguishing  
literary trait4 ,literature appeals1 not
 to  the personal emotions but to the   
universal ones4 ,for this reason1       
through literature the child may come in
 time to develop a power of  universal  
sympathy1 which is not the least value  
literature has to  bestow upon him1 for 
this sympathy will become a benediction 
to all  those with whom he may have to  
deal4 ,in order that emotion in the     
tales may be literary--make a permanent 
appeal--according to ,professor         
,winchester's standards1 it must have   
justness given by a deep and  worthy    
cause2 vividness so that it may enlarge 
and thrill2 a certain  steadiness       
produced by everything in the tale      

contributing to the main  emotion2 a    
variety resulting from contrasts of     
character2 and a high  quality obtained 
through its sympathy with life and its  
relation to  the conduct of life1 so    
that the feeling for the material beauty
 of  mere sights and sounds is closely  
related to the deepest suggestions  of  
moral beauty4 ,the best literary tales  
will possess emotion having  all five   
characteristics4 ,many tales will       
exhibit one or more of these  traits    
conspicuously4 ,no tale that is         
literature will be found which  does not
 lay claim to some one of these         
qualities which appeal to the  broadly  
human emotions4    ,applying the test of
 emotion to fairy tales1 ,cinderella    
possesses a  just emotion1 ,cinderella's
 cause is the cause of goodness and     
kindness  and love1 and deserves a just 
reward4 ,the ,town ,musicians of ,bremen
  exhibits vivid emotion1 for all four  
characters are in the same  desperate   
danger of losing life1 all four unite to

 save it1 and to  find a home4          
,andersen's ,steadfast ,tin ,soldier is 
a good example of  steadiness of        
emotion1 as it maintains throughout its 
message of  courage4 ,the ,tin ,soldier 
remained steadfast1 whether on the table
 just  escaped from the toy-box1 or in  
the street after a frightful fall from  
the window1 or spinning in a paper boat 
that bobbed1 or sailing under  the      
crossing1 or lying at full length within
 the fish that swallowed  him1 or at    
last melting in the full glare of the   
hearth fire4 ,it is a  very good        
example1 too1 of vividness of emotion4  
,the ,little ,elves  illustrates        
steadiness of emotion1 it is pervaded by
 the one feeling1  that industry        
deserves reward4 ,the ,french tale1     
,drakesbill1 is  especially delightful  
and humorous because ,bill ,drake       
perseveres in  his happy1 fresh         
vivacity1 at the end of every rebuff of 
fortune1 and  triumphantly continues his
 one cry of1 ,quack1 quack1 quack6 ,when

  shall ,i get my money back8 ,lambikin 
leaves the one distinct  impression of  
light gaiety and happy-heartedness2 and 
,the ,foolish1  ,timid ,rabbit preserves
 steadily the one effect of the         
credulity of  the animals1 made all the 
more prominent by contrast to the wisdom
 of  the ,lion4 ,variety of emotion     
appears in tales such as ,cinderella1   
,little ,two-,eyes1 ,sleeping ,beauty1  
and ,three ,pigs1 where the various     
characters are drawn distinctly and     
their contrasting traits produce  varied
 emotional effects4 ,all the great fairy
 tales appeal to emotion  of a high     
moral quality and it is this which is   
the source of their  universal appeal4  
,it is this high moral quality of the   
spiritual  truth1 which is the center of
 the tale's unity1 holding together all 
the parts under one emotional theme4    
,this is the source of the  perennial   
freshness of the old tale2 for while the
 immortal truth it  presents is old1 the
 personality of the child that meets it 

is new4  ,for the child1 the tale is new
 because he discovers in it a bit of    
himself he had not known before1 and it 
retains for him a lasting  charm so that
 he longs to hear it again and again4   
,the beauty of  truth1 the reward of    
goodness1 and the duty of fairness1 give
 a high  emotional quality to ,little   
,two-,eyes2 and ,sleeping ,beauty       
illustrates the blighting power of      
hatred to impose a curse and the  saving
 power of love to overcome the works of 
hatred4    ,considering folk-tales from 
the standpoint of emotion1 if asked to  
suggest what author's work would rank in
 the same class1 one is rather          
surprised to find1 that for high moral  
quality1 variety1 and worthy  cause1 the
 author who comes to mind is none other 
than ,shakespeare4  ,perhaps1 with all  
due respect to literature's idol1 one   
might even  venture to question which   
receives honor by the comparison1       
,shakespeare or the folk-tales8 ,it     
might be rather a pleasant task to      

discover who is the ,cordelia1 the      
,othello1 the ,rosalind1 and the        
,portia of the folk-tales2 or who the   
,beauty1 the ,bluebeard1 the            
,cinderella1 the ,puss-in-,boots1 and   
the ,hop-o'-my-,thumb1 of  ,shakespeare4
    ,the little child is open to        
emotional appeal1 his heart is tender   
and  he is impressionable4 ,if he feels 
with the characters in his tales he     
develops a power of emotion4 ,in        
,andersen's ,snow ,man it is hard to    
say which seems more human to him or    
which makes more of an emotional        
appeal1 the ,snow ,man or the ,dog4 ,he 
is sorry for the poor ,shoemaker in     
,the ,little ,elves1 glad when he grows 
rich1 delighted for the ,elves  when    
they receive their presents1 and        
satisfied at the happy end4  ,since     
literature depicts life and character in
 order to awaken noble  emotions1 it    
follows that one must omit to present   
what awakens  repulsive or degrading    
emotions4 ,and it is for this reason1 as

 has  been mentioned under the heading  
,elements to be avoided1 that the  tales
 of the witch and the dragon must be    
excluded1 not for all time1  but for the
 earliest years1 when they awaken       
horror4    ,through fairy tales we have 
seen that the emotional power of the    
child  is strengthened4 ,this has been  
effected because1 in the tale just as   
truly as in life1 action is presented in
 real situations2 and back of  every    
action is the motive force of emotion4  
,this cumulative power of  emotion1     
secured by the child through the        
handling of tales1 will  serve daily a  
present need4 ,it will be the dynamic   
force which he will  require for        
anything he wishes to accomplish in     
life4 ,it will give the  child the      
ability to use it in any situation      
similar to that in which  it was        
acquired4 ,it will make a difference in 
his speech2 he will not  have to say so 
much1 for what he does say will produce 
results4 ,this  growing power of emotion

 will carry over into feelings of       
relation and  thus lead to judgment of  
values4 ,this evaluation is the basis of
  reasoning and answers to the child's  
daily call to think from causes  to     
consequences4 ,this increasing power of 
emotion develops into the  sthetic      
sensibilities and so results in a       
cultivation of taste and an             
understanding of life4 ,emotion         
therefore leads to appreciation1 which1 
when logically developed1 becomes       
expression4 ,fairy tales1 thus1 in      
conducting emotional capacity through   
this varied growth and toward  this high
 development1 hold an educational value 
of no mean order4    7#b7 ,the power to 
appeal to the imagination4 ,emotion can 
be aroused by  showing the objects which
 excite emotion4 ,imagination is this   
power to  see and show things in the    
concrete4 ,curry says1 ,whenever the    
soul  comes vividly in contact with any 
fact1 truth1 etc41 whenever it takes    
them home to itself with more than      

common intensity1 out of that  meeting  
of the soul and its object there arises 
a thrill of joy1 a  glow of feeling4 ,it
 is the faculty that can create ideal   
presence4  ,when through imagination we 
select spontaneously from the elements  
of  experience and combine into new     
wholes1 we call it creative             
imagination4--,the creative imagination 
will be viewed here as it  appears in   
action in the creative return given by  
the child to his  fairy tales4--,when we
 emphasize a similarity seen in mere    
external or  accidental relations or    
follow suggestions not of an essential  
nature  in the object1 we call it fancy4
 ,ruskin1 in his ,modern ,painters1     
vol4 ,i1 part ,,iii1 ,of the            
,imaginative ,faculty1 would distinguish
  three classes of the imagination3--   
7a7 ,the associative imagination4 ,this 
is the power of imagination by  which we
 call into association other images that
 tend to produce the  same or allied    
emotion4 ,when this association has no  

common ground of  emotion it is fancy4  
,the test for the associative           
imagination1 which  has the power to    
combine ideas to form a conception1 is  
that if one  part is taken away the rest
 of the combination goes to pieces4 ,it 
requires intense simplicity1 harmony1   
and absolute truth4 ,andersen's  ,fairy 
,tales are a perfect drill for the      
associative imagination4  ,literature   
parallels life and what is presented    
calls up individual  experience4 ,any   
child will feel a thrill of kinship with
 the  experiences given in ,the ,tin    
,soldier--a little boy's birthday1 the  
opening of the box1 the counting of the 
soldiers1 and the setting of  them upon 
the table4 ,and because here ,andersen  
has transformed this  usual experience  
with a vivacity and charm1 the tale     
ranks high as a  tale of imagination4   
,little ,ida's ,flowers and ,thumbelina 
are tales  of pure fancy4 ,grimm's ,the 
,straw1 the ,coal1 and the ,bean and    
,the  ,spindle1 the ,shuttle1 and the   

,needle rank in the same class1 as also 
do the ,norse ,the ,doll i' the ,grass  
and the ,english ,tom ,thumb4    7b7    
,the penetrative imagination4 ,this     
power of imagination shows the  real    
character of a thing and describes it by
 its spiritual effects4  ,it sees the   
heart and inner nature of things4       
,through fancy the child  cannot reach  
this central viewpoint since fancy deals
 only with  externals4 ,through the     
exercise of this power the child        
develops  insight1 intuition1 and a     
perception of spiritual values1 and     
gains a  love of the ideal truth and a  
perpetual thirst for it4 ,he develops   
genuineness1 one of the chief virtues of
 originality4 ,he will tend not  to have
 respect for sayings or opinions but    
will seek the truth1 be  governed by its
 laws1 and hold a passion for           
perfection4 ,this power of  imagination 
makes of him a continual seeker1 a      
pilgrim upon earth4  ,through the       
penetrative imagination the child       

forgets himself and  enters into the    
things about him1 into the doings of    
,three ,pigs or the  adventures of      
,henny ,penny4    7c7 ,the contemplative
 imagination4 ,this is that special     
phase of the  imagination that gives to 
abstract being consistency and reality4 
,through the contemplative imagination  
the child gains the significance  of    
meaning and discerns the true message of
 the tale4 ,when merely  external       
resemblance is caught1 when the likeness
 is forced1 and the  image created      
believed in1 we have fancy4 ,the        
contemplative  imagination interprets   
the past in the tale and relates it to  
the  future4 ,it shows what is felt by  
indicating some aspect of what is  seen4
 ,through the exercise of this power the
 child develops the  capacity to see4   
,this capacity has received a high      
estimate from  ,ruskin1 who said1       
,hundreds of people can talk for one who
 can think1  thousands can think for one
 who can see4 ,for language-training the

  capacity to see gives that ability to 
image words which results in  mental    
growth4    ,the labor of the spirit     
seeking the full message of the fairy   
tale1  often is rewarded with bits of   
philosophy which are the essence of its 
personal wisdom4 ,even the ,woman       
,suffragists of our day might be amused 
to find1 in ,the ,cat and ,mouse in     
,partnership1 this side-light on one  of
 their claims4 ,the ,mouse said she did 
not know what to think of the  curious  
names1 ,top-off1 ,half-,out1 and        
,all-,out1 which the ,cat had  chosen4  
,to which the ,cat replied1 ,that is    
because you always stay at  home4 ,you  
sit here in your soft gray coat and long
 tail1 and these  foolish whims get into
 your head4 ,it is always the way when  
one does  not go out in the daytime4    
,sometimes the philosophy of the tale is
  expressed not at all directly4 ,this  
is the case in ,andersen's ,the         
,emperor's ,new ,suit1 a gem in         
story-telling art--more suited to the   

second grade--where the purpose of the  
story is veiled1 and the satire  or     
humor is conveyed through a very telling
 word or two4--',i will  send my old1   
honest minister to the weavers1' thought
 the ,emperor4  ,and the old1 honest    
minister went to the room where the two 
swindlers  sat working at empty looms4  
',heaven preserve me6' thought the old  
minister1 opening his eyes wide4 ',why1 
,i cannot see anything6'--,but he  did  
not say so4 ,the entire tale is a       
concrete representation of one  point2  
and the concreteness is so explicit that
 at the close of the  story its         
philosophy easily forms itself into the 
implied message of  worldly wisdom3     
,people are afraid to speak truth       
concerning much  through cowardice or   
through fear of acting otherwise than   
all the  world4 ,the philosophy         
underlying ,the ,steadfast ,tin ,soldier
 is even  finer as a bit of truth than  
the perfect art of the literary story3  
,that what happens in life does not     

matter so much as the way you take  it4 
,the ,tin ,soldier always remained      
steadfast1 no matter what  happened4    
,kipling's ,elephant's ,child is more   
charming than ever when  looked at from 
the standpoint of its philosophy4 ,it   
might be  interpreted as an allegory    
answering the question1 ,how should one 
get  experience8 a theme which cannot be
 said to lack universal appeal4  ,the   
,ugly ,duckling is full of sayings of   
philosophy that contribute  to its      
complete message4 ,the ,cat and the ,hen
 to whom the duckling  crept for refuge 
said1 ,we and the world1 and could not  
bear a  difference of opinion4 ,you may 
believe me1 said the ,hen1 because ,i   
tell you the truth4 ,that is the way to 
tell your friends4 ,their  treatment of 
the ,duckling expressed the philosophy3 
,if you can't do  what ,i can you're no 
good4 ,the ,hen said to him1 ,you have  
nothing to  do1 that's why you have such
 strange ideas4 ,the ,duckling expressed
  his philosophy by saying quietly1 ,you

 don't understand me4    ,these bits of 
philosophy often become compressed into 
expressions  which to-day we recognize  
as proverbs4 ,the words of the ,mother  
,duck1  ,into the water he goes if ,i   
have to kick him in1 became a           
,scandinavian proverb4 ,a little bird   
told it1 a common saying of  to-day1    
appears in ,andersen's ,nightingale and 
in ,thumbelina4 ,but  this saying is    
traceable at least to the third story of
 the fourth  night in ,straparola1      
translated by ,keightley1 ,the ,dancing 
,water1 the  ,singing ,apple1 and the   
,beautiful ,green ,bird1 in which the   
bird tells  the ,king that his three    
guests are his own children4 ,even a cat
 may  look at a king1 is probably       
traceable to some fairy tale if not to  
,puss-in-,boots4 ,the philosophy in the 
fairy tales and the proverbs  that have 
arisen in them1 are subjects which offer
 to the adult much  pleasure and        
fruitfulness4    ,but one must ask1     
,does this philosophy appeal to the     

child8 ,is it not  adult wisdom foreign 
to his immaturity8 ,the old folk-tales  
are the  products of adult minds2 but   
the adults were grown-ups that looked   
upon the world with the eyes of         
children1 and their philosophy often    
was the philosophy of childhood4 ,for   
childhood has its philosophy2 but       
because it meets with repression on so  
many sides it usually keeps it  to      
itself4 ,when given freedom and         
self-activity and self-expression1  the 
child's philosophy appears also4 ,and it
 is the inner truth of the  tale rather 
than the outer forms of sense and shapes
 of beauty which1  when suited to the   
little child1 appeals to this           
child-philosophy and  makes the deepest 
impression upon him4    ,in the literary
 fairy tale there often appears a       
philosophy which is  didactic and above 
and beyond the child's knowledge of the 
world4 ,it  remains a question how much 
this adult philosophy appeals to him4   
,although his tales were written for his

 grandchildren1 so finished a  telling  
of the tale as we find in ,laboulaye1   
with its delightful hits  of satire1    
appeals more to the grown-up versed in  
the ways of the  world4 ,but the sage   
remarks of worldly wisdom of ,uncle     
,remus could not  fail to impress a     
little boy3 ,go where you will and when 
you may1 and  stay long ez you choosen  
ter stay1 en right dar en den you'll    
sholy  fin' dat folks what git full er  
consate en proudness is gwine ter git   
it tuck out 'm um4--,uncle ,remus       
treated the little boy as if he was     
pestered with sense1 like grown-ups1 and
 surely the little boy  gained much     
amusement from sayings such as these3   
,if you know the man  thab would refuse 
to take care of himself1 ,i'd like      
mighty well if  you'd point him         
out4--,well1 well1 said ,uncle ,remus   
soothingly1 in  deze low groun's er     
sorrer1 you des got to lean back en make
  allowances fer all sorts er folks4    
,you got ter low fer dem dat knows  too 

much same ez dem what knows too little4 
,a heap er sayin's en a  heap er doin's 
in dis roun' worl' got ter be tuck on   
trus'4--,the  child does not get the    
full force of the philosophy but he gets
 what  he can and that much sinks in4   
,it is through the contemplative        
imagination that the child realizes  the
 meaning of particular tales4 ,he       
learns3 that ,cinderella means  that    
goodness brings its own reward2 that    
,three ,pigs means that the  wise build 
with care and caution1 with foresight2  
that ,star ,dollars  means compassion   
for others and kindness to them2 and    
that ,red ,riding  ,hood means          
obedience4    ,the power of the         
contemplative imagination is based on   
the  indistinctness of the image4 ,it   
suggests1 too1 the relation between     
cause and effect1 which reason          
afterwards proves2 and therefore it is  
a direct aid to science4 ,in the tales  
there are expressed facts of  truth     
symbolically clothed which science since

 then has discovered4  ,and now that    
folk-lore is being studied seriously to 
unfold all it  gives of an earlier life1
 perhaps this new study may reveal some 
new  truths of science hidden in its    
depths4 ,the marvels of modern shoe     
manufacture were prophesied in ,the     
,little ,elves1 and the power of        
electricity to hold fast was foretold in
 ,dummling and his ,golden  ,goose4 ,the
 wonders of modern machinery appeared in
 the magic axe of  ,espen that hit at   
every stroke2 and the miracle of modern 
canals sees  a counterpart in the spring
 which ,espen brought to the giant's    
boiling-pot in the wood4 ,the magic     
sleep from which there was an           
awakening1 even after a hundred years1  
may have typified hypnotism and  its    
strange power upon man4 ,these are      
realizations of some of the  wonders of 
fairyland4 ,but there may be found      
lurking in its depths  many truths as   
yet undiscovered by science4 ,perhaps   
the dreams of  primitive man may suggest

 to the present-day scientist new       
possibilities4--,what primitive man has 
done in fancy present-day man  can do in
 reality4    7#c7 ,a basis of truth4    
,all fine emotional effects arise from  
truth4 ,the  tale must hold the mirror  
and show an image of life4 ,it must     
select  and combine facts which will    
suggest emotion but the facts must be a 
true expression of human nature4 ,the   
tale1 whether it is realistic in        
emphasizing the familiar1 the           
commonplace1 and the present1 or        
romantic in emphasizing the strange1 the
 heroic1 and the remote1 must  be       
idealistic to interpret truly the facts 
of life by high ideals4 ,if  the tale   
has this basis of truth the child will  
gain1 through his  handling of it1 a    
body of facts4 ,this increases his      
knowledge and  strengthens his          
intellect4 ,and it is to be remembered  
that1 for the  child's all-round        
development1 the appeal of literature to
 the  intellect is a value to be        

emphasized equally with the appeal to   
the  emotions and to the imagination4   
,speaking of the nature of the          
intellect in his essay on ,intellect1   
,emerson has said3 ,we do not  determine
 what we will think4 ,we only open our  
senses1 clear away as  we can all       
obstruction from the fact1 and suffer   
the intellect to  see4 ,attention to the
 intellectual element in literature     
gives a  power of thought4 ,the         
consideration of the truth of the fairy 
tale  aids the child to clear1 definite 
thinking because the experience of  the 
tale is ordered from a beginning1       
through a development1 to a  climax1 and
 to a conclusion4 ,it assists him to    
form conclusions  because it presents   
results of circumstances and            
consequences of  conduct4 ,continued    
attention to the facts1 knowledge1 and  
truth  presented in the tales1 helps the
 child to grow a sincerity of spirit4   
,this leads to that love of actual      
truth1 which is one of the armors of    

middle life1 against which false opinion
 falls harmless4    7#d7 ,a form1 more  
or less perfect4 ,form is the union of  
all the means  which the writer employs 
to convey his thought and emotion to the
  reader4 ,flaubert has said1 ,among all
 the expressions of the world  there is 
but one1 one form1 one mode1 to express 
what ,i want to  say4--,say what you    
have to say1 what you have a will to    
say1 in the  simplest1 the most direct  
and exact manner possible1 with no      
surplusage1 ,walter ,pater has spoken4  
,then the form and the matter  will fit 
each other so perfectly there will be no
 unnecessary  adornment4    ,in regard  
to form it is to be remembered that     
feeling is best awakened  incidentally  
by suggestion4 ,words are the           
instruments1 the medium of  the writer4 
,words have two powers3 the power to    
name what they mean1  or denotation2 and
 the power to suggest what they imply1  
or  connotation4 ,words have the power  
of connotation in two ways3 ,they may   

mean more than they say or they may     
produce emotional effect not only  from 
meaning but also from sound4 ,to make   
these two suggestive powers  of words   
work together is the perfect art of     
,milton4 ,pope describes  for us the    
relation of sound to sense in a few     
lines which themselves  illustrate the  
point3--         ,soft is the strain    
when zephyr gently blows1       ,and the
 smooth stream in smoother numbers      
flows4       ,but when loud surges lash 
the sounding shore1       ,the hoarse1  
rough verse1 should like the torrent    
roar4       ,when ,ajax strives some    
rock's vast weight to throw4       ,the 
line too labors1 and the words move     
slow3       ,not so when swift ,camilla 
scours the plain1       ,flies o'er the 
unbending corn and skims along the main4
    ,when a kindergarten child1 the most
 timid one of a group1 on listening  to 
the telling of ,the ,bremen ,town       
,musicians1 at the description of  the  
,donkey and the ,dog coming to the ,cat1

 sitting in the road with a  face dismal
 as three rainy ,sundays1 chuckled with 
humor at the word  dismal1 it was not   
because she knew the meaning of the word
 or the  significance of three rainy    
,sundays1 but because the sounds of the 
words and the facial expression of the  
story-teller conveyed the  emotional    
effect1 which she sensed4    ,the       
connection between sound and action     
appears in ,little ,spider's  ,first    
,web3 ,the ,fly said1 ,then ,i will     
buzz2 the ,bee said1 ,then ,i  will hum2
 the ,cricket said1 ,then ,i will chirp2
 the ,ant said1  ,then ,i will run to   
and fro2 the ,butterfly said1 ,then ,i  
will  fly2 and the ,bird said1 ,then ,i 
will sing4 ,the effect is  produced here
 because the words selected are concrete
 ones which  visualize4 ,repetitive     
passages in the tales often contribute  
this  effect of sound upon meaning1 as  
we find in ,the ,three ,billy-,goats    
,gruff3 ,trip1 trap2 trip1 trap6 went   
the bridge as the youngest  ,billy-,goat

 ,gruff came to cross the bridge4 ,the  
sound of the words in  this entire tale 
contributes largely to the meaning4 ,the
 ,troll roared  and said1 ,now ,i'm     
coming to gobble you up6 ,usually the   
bits of rhyme  interspersed throughout  
the tales1 illustrate this contribution 
of  sound to meaning2 as in the ,three  
,pigs3--         ,then ,i'll huff1      
,and ,i'll puff1       ,and ,i'll blow  
your house in6    ,especially is this   
the case in tales dignified by the      
cante-fable  form2 such as ,grimm's     
,cinderella3--         ,rustle and shake
 yourself1 dear tree1       ,and silver 
and gold throw down to me6    ,or in    
,little ,two-,eyes3--         ,little   
kid1 bleat1       ,i wish to eat6    ,or
 in ,the ,little ,lamb and the ,little  
,fish3--         ,ah1 my brother1 in the
 wood       ,a ,iamb1 now ,i must search
 for food6    ,the suggestive power of  
words to convey more than they mean1 is 
produced1 not only by the sounds        
contained in the words themselves1  but 

also largely by the arrangement of the  
words and by the  speech-tunes of the   
voice in speaking them4 ,kipling's      
,elephant's  ,child is a living example 
of the suggestive power of words4 ,the  
new1  fine question suggests that the   
,elephant's ,child had a habit of       
asking questions which had not been     
received as if they were fine4          
,wait-a-bit thorn-bush1 suggests the    
,kolokolo ,bird sitting alone on  the   
bush in placid quiet4 ,and still ,i want
 to know what the  crocodile has for    
dinner implies that there had been      
enough spankings  to have killed the    
curiosity1 but contrary to what one     
would expect1  it was living and active4
 ,when ,kolokolo ,bird said with a      
mournful  cry1 ,go to the banks of the  
great1 grey-green1 greasy ,limpopo      
,river1  etc41 the implication of       
mournful is1 that there the ,elephant's 
,child would have a sorry time of it4   
,the expression1 dear families1  which  
occurs so often1 is full of delightful  

irony and suggests the  vigorous        
treatment1 anything but dear1 which had 
come to the  ,elephant's ,child from    
them4    ,perfect form consists in the  
ability to convey thought and emotion   
with perfect fidelity4 ,the general     
qualities characteristic of  perfect    
form1 which have been outlined by       
,professor ,winchester1 in his          
,principles of ,literary ,criticism1    
are3 7#a7 precision or clearness2  7#b7 
energy or force2 7#c7 delicacy or       
emotional harmony2 and 7#d7             
personality4 ,precision or clearness    
demands the precise value and  meaning  
of words4 ,it requires that words have  
the power of denotation4  ,it appeals to
 the intellect of the reader or listener
 and demands that  language be neither  
vague nor ambiguous nor obscure4 ,energy
 or force  demands that perfect form    
have the quality of emotion4 ,it        
requires  that words have especially the
 power of connotation4 ,it appeals to   
the  emotions of the reader or listener 

and has the power to hold the           
attention4 ,it demands of language that 
sympathy which will imply what  it would
 suggest4 ,delicacy or emotional harmony
 demands that perfect  form please the  
taste4 ,it requires that an emotional   
harmony be  secured by a selection and  
arrangement of the melody of words and  
of  the emotional associations which1   
together with the meanings1 are tied  up
 in words4 ,it demands that words have  
the power of perfect  adaptation to the 
thought and feeling they express1 that  
words have  both the power of denotation
 and of connotation4 ,it appeals to the 
sthetic sense of the reader or listener1
 it gives to form beauty and  charm4    
,personality is the influence of the    
author1 the charm of  individuality1 and
 suggests the character of the writer4  
,at the same time that perfect form is  
characterized by the general  qualities 
of precision1 energy1 delicacy1 and     
personality1 as  composition consisting 
of words1 sentences1 paragraphs1 or     

large  wholes1 its elements must be     
controlled by certain main principles1  
which have been presented by ,professor 
,barrett ,wendell in ,english           
,composition4 ,perfect form cannot      
possess the four general qualities      
above mentioned unless its elements are 
controlled by these main  principles4   
,these are3 7#a7 the principle of       
sincerity2 7#b7 the  principle of unity2
 7#c7 the principle of mass2 and 7#d7   
the principle  of coherence4 ,sincerity 
demands of perfect form that it be a    
just  expression4 ,unity demands that   
every composition should group itself   
about a central idea4 ,there must be one
 story1 all incidents  subordinated1 one
 main course of action1 one main group  
of characters1  and one tone of feeling 
to produce an emotional effect4 ,variety
 of  action must lead to one definite   
result and variety of feeling to one    
total impression4 ,unity demands that   
the tale must have a plan that is       
complete1 with no irrelevant material1  

and that there must be a  logical order 
and a climax4 ,mass demands that the    
chief parts of every  composition should
 readily catch the eye4 ,it maintains a 
harmonious  proportion of all the parts4
 ,coherence demands of any composition  
that  the relation of each part to its  
neighbors should be unmistakable1 and   
that the order1 forms1 and connections  
of the parts preserve this  relation4   
,when form secures a perfect adaptation 
of the language to the thought  and     
feeling expressed1 it may be said to    
possess style1 in a broad  sense of the 
word4 ,in a more detailed sense1 when   
form is  characterized by precision1    
energy1 delicacy1 and personality1 and  
at  the same time has the elements of   
its composition controlled by the       
principles of sincerity1 unity1 mass1   
and coherence1 it is said to  possess   
style4 ,the fairy tale which is a       
classic characterized by that  perfect  
form called style1 will possess the     
general qualities of  precision1 energy1

 delicacy1 and personality2 and the     
elements of its  structure1 its words1  
its sentences1 its paragraphs1 will     
display a  control of the principles of 
sincerity1 unity1 mass1 and coherence4  
,a tale which well illustrates the      
literary form possible to the  child's  
tale1 which may be said to possess that 
perfection of form we  call style1 and  
which may be used with the distinct aim 
to improve the  child's ,english and    
perfect his language expression1 is the 
modern  realistic fairy tale1 ,oeyvind  
and ,marit4    ,oeyvind and ,marit is so
 entirely realistic as to be excluded   
here1  but the talking rhymes which the 
,mother sings to ,oeyvind bring in the  
fairy element of the talking animals4   
,in the form of this tale1 the  perfect 
fidelity with which the words fit the   
meaning is  apparent--nothing seems     
superfluous4 ,when ,oeyvind asked ,marit
 who she  was1 she replied3--    ,i am  
,marit1 mother's little one1 father's   
fiddle1 the elf in the  house1          

granddaughter of ,ole ,nordistuen of the
 ,heidi farms1 four years  old in the   
autumn1 two days after the frost nights1
 ,i6    ,and ,oeyvind replied3--        
,are you really8--and drew a long breath
 which he had not       dared to do so  
long as she was speaking4    ,the story 
is full of instances illustrating       
precision1 energy1 and  delicacy4 ,in   
fact1 almost any passage exemplifies the
 general  qualities of form and the     
qualities of composition4 ,the          
personality of  the writer has given to 
the tale a poetic and dramatic charm of 
simplicity4 ,note the precision and     
delicacy displayed in the opening       
paragraph3--         ,oeyvind was his   
name4 ,a low barren cliff overhung the  
house       in which he was born2 fir   
and birch looked down on the roof1      
and wild cherry strewed flowers over it4
 ,upon this roof       there walked     
about a little goat1 which belonged to  
,oeyvind4       ,he was kept there that 
he might not go astray2 and ,oeyvind    

carried leaves and grass up to him4 ,one
 fine day the goat       leaped down1   
and away to the cliff2 he went straight 
up and       came where he never had    
been before4    ,energy is apparent in  
the following passage3--         ,is it 
yours1 this goat8 asked the girl again4 
,yes1 he said1 and looked up4         ,i
 have taken such a fancy to the goat4   
,you will not give it       to me8      
,no1 that ,i won't4         ,she lay    
kicking her legs and looking down at    
him1 and then       she said1 ,but if ,i
 give you a butter-cake for the goat1   
can       ,i have him then8    ,the     
justness of expression1 the sincerity1  
is especially impressive  when          
,oeyvind's ,mother came out and sat down
 by his side when the goat  no longer   
satisfied him and he wanted to hear     
stories of what was far  away4 ,there is
 emotional harmony too1 because the     
words suggest the  free freshness of the
 mountain air and the landscape which   
rose round  about the ,boy and his      

,mother4         ,so she told him how   
once everything could talk3 ,the        
mountain talked to the stream1 and the  
stream to the river1       the river to 
the sea1 and the sea to the sky4--,but  
then he       asked if the sky did not  
talk to any one3 ,and the sky           
talked to the clouds1 the clouds to the 
trees1 the trees to       the grass1 the
 grass to the flies1 the flies to the   
animals1       the animals to the       
children1 the children to the grown-up  
people4444 ,oeyvind looked at the       
mountain1 the trees1 and       the sky  
and had never seen them before4         
,there is delicacy or emotional harmony 
also in the ,mother's song4 ,when       
,oeyvind asked1 ,what does the ,cat say8
 his ,mother sang3--         ,at evening
 softly shines the sun4       ,the cat  
lies lazy on the stone4       ,two small
 mice1       ,cream1 thick and nice1    
,four bits of fish1       #a stole      
behind a dish1       ,and am so lazy and
 tired1       ,because so well ,i have  

fared4    ,the unity is maintained      
through the central interest of the two 
,children and the goat4    ,the tale is 
characterized by fairly good mass4 ,as  
the story aims to  portray a natural    
picture of child life1 obviously it     
could not  maintain a style of too great
 solidity and force1 but rather would   
seek one of ease and naturalness4 ,mass1
 as shown in ,oeyvind and  ,marit1      
appears in the following description of 
,oeyvind's play with  the goat1 after he
 first realized its return3--           
,he jumped up1 took it by the two       
fore-legs1 and danced with       it as  
if it were a brother2 he pulled its     
beard1 and he was       just going in to
 his mother with it1 when he heard      
someone       behind him2 and looking1  
saw the girl sitting on the             
greensward by his side4 ,now he         
understood it all1 and let go       the 
goat4    ,the story of child-friendship 
is told in distinct little episodes     
which naturally connect4 ,that          

unmistakable relation of the parts which
  is essential to coherence1 appears in 
the following outline of the  story3--  
#a4 ,a new acquaintance2 ,oeyvind and   
,marit meet4 ,the exchange of a         
goat for a cake4 ,the departure of the  
goat4 ,marit sings to the          goat4
 ,the return of the goat4 ,marit        
accompanies the goat4         #b4 ,new  
interests4 ,the stories of what the     
animals say1 told to          ,oeyvind  
by his ,mother4 ,the first day of       
school4         #c4 ,an old acquaintance
 renewed3 ,oeyvind again meets ,marit at
          ,school4    ,the ,children's  
love of the goat1 the comradeship of    
,oeyvind and ,marit1  of ,oeyvind and   
his ,mother1 and of ,marit and her      
,grandfather1 are  elements which assist
 in producing coherence4 ,the songs of  
,marit1 and  the songs and stories of   
,oeyvind's ,mother1 especially preserve 
the  relation of parts4 ,in the         
following paragraphs1 which give        
distinct  pictures1 note the coherence  

secured internally largely by the       
succession of verbs denoting action and 
also by the denotation of the  words4   
,when he came in1 there sat as many     
children round a table as       he had  
ever seen at church2 others were sitting
 on their       luncheon-boxes1 which   
were ranged round the walls2 some       
stood in small groups round a large     
printed card2 the       school-master1  
an old gray-haired man1 was sitting on a
       stool by the chimney-corner1     
filling his pipe4 ,they all       looked
 up as ,oeyvind and his mother entered1 
and the       mill-hum ceased as if the 
water had suddenly been turned          
off4444         ,as he was going to find
 his seat1 they all wanted to make      
room for him4 ,he looked round a long   
time1 while they       whispered and    
pointed2 he turned round on all sides1  
with       his cap in his hand and his  
book under his arm4444         ,just as 
the boy is going to turn round to the   
school-master1       he sees close      

beside him1 sitting down by the         
hearthstone on       a little red       
painted tub1 ,marit1 of the many names2 
she had       covered her face with both
 hands1 and sat peeping at him          
through her fingers4    ,the imagination
 is appealed to continually through the 
simple concrete  expressions which      
present an image2 as1 ,he grew hot all  
over1 looked  around about1 and called1 
',killy-killy-killy-goat6'    ,the      
emotional element is distinct and       
pleasing and contributes to the  total  
impression of admiration for the        
characters4 ,we admire ,oeyvind  for his
 fondness for the goat and for his pain 
at losing it2 for his  dissatisfaction  
in keeping it after ,marit returned it1 
though she  wanted it2 for his delight  
in his ,mother's stories2 and for his   
pleasure in ,marit's friendship at      
school4 ,we admire ,marit for her       
appreciation of the beautiful goat2 for 
her obedience to her  ,grandfather2 for 
her sorrow at giving up the goat2 for   

her generosity  in giving the neck-chain
 with it2 and for the childish          
comradeship she  gave to ,oeyvind4 ,we  
admire the goat for his loyalty to his  
little  master4 ,we trust the           
,grandfather who trained ,marit to be   
fair and  courteous2 who guarded her    
from the cliff2 and who bought for her  
another goat4 ,we have faith in the     
,mother who had feeling for the  little 
goat her son bartered for a cake2 and   
who had the wisdom to  sing for her     
little boy and tell him stories when he 
was sorrowful and  needed new interests4
    ,undoubtedly ,oeyvind and ,marit is 
a tale which conveys its thought        
clearly and makes you feel its feeling1 
and therefore may be said to  possess   
style in a broad sense4 ,in a particular
 sense1 because its  form is marked by  
the four general qualities3 precision1  
energy1  delicacy1 and personality2 and 
its elements are controlled by the      
principles of composition3 sincerity1   
unity1 mass1 and coherence1 it          

therefore may be said to possess style4 
,an old tale which has a literary form  
unusual in its approach to the  perfect 
literary form1 is the ,norse1 ,the      
,three ,billy-,goats ,gruff1  told by   
,dasent in ,tales from the ,norse4      
,indeed after looking  carefully at this
 tale one is tempted to say that1 for   
perfection of  style1 some of the old   
folk-tales are not to be equaled4 ,note 
the  simple precision shown in the very 
first paragraph3--         ,once on a   
time there were three ,billy-,goats1 who
 were to go       up to the hill-side to
 make themselves fat1 and the name of   
all three was ,gruff4    ,energy or     
force appeals to the emotions in the    
words of the tiny  ,billy-,goat ,gruff  
to the ,troll3--         ,oh1 no6 pray  
don't take me4 ,i'm too little1 that ,i 
am1       said the ,billy-,goat2 wait a 
bit till the second ,billy-,goat        
,gruff comes1 he's much bigger4         
,there is emotional harmony displayed in
 the second paragraph2 the  words used  

fit the ideas3--         ,on the way up 
was a bridge over a burn they had to    
cross2       and under the bridge lived 
a great ugly ,troll1 with eyes as       
big as saucers1 and a nose as long as a 
poker4    ,the quality of personality is
 best described1 perhaps1 by saying that
  the tale seems to have impersonality4 
,any charm of the story-tellers  of the 
ages has entered into the body of the   
tale1 which has become an  objective    
presentment of a reality that           
concentrates on itself and  keeps       
personality out of sight4 ,the character
 of the tellers is shown  however in the
 qualities of the tale4 ,the charm of   
the primitive  story-tellers has given  
the tale inimitable morning-dew         
freshness4  ,this seems to result from a
 fine simplicity1 a sprightly           
visualization1 a quaint picturesqueness1
 a pleasing terseness1 and an           
,anglo-,saxon vigor4    ,sincerity is   
displayed in the words of the ,troll and
 of the three  ,billy-,goats4 ,note the 

sincerity of little ,billy-,goat        
,gruff3--         ,oh6 it is only ,i1   
the tiniest ,billy-,goat ,gruff2 and    
,i'm       going up to the hillside to  
make myself fat1 said the               
,billy-,goat1 with such a small voice4  
,the unity in this tale is unusually    
good4 ,the central idea which  groups   
all the happenings in the tale is3      
,three ,billy-,goats are  crossing a    
bridge to go up to the hillside to make 
themselves fat4  ,there are four        
characters1 three ,goats and the ,troll4
 ,all that happens  in the tale         
contributes to the one effect of a      
bridge going trip1  trap6 as a ,goat    
crossed it on his way up the hillside2  
of a ,troll  roaring3 ,who's that       
tripping over my bridge8 of the         
explanation of  the ,billy-,goat2 of the
 answer of the ,troll1 ,now ,i'm coming 
to gobble  you up2 and of the           
,billy-,goat's final petition4 ,unity is
 emphasized  by the repetition in the   
tale1 as the three ,billy-,goats        

successively  cross the bridge and reply
 to the ,troll4 ,the climax is the big  
,billy-,goat ,gruff's tramp across the  
bridge4    ,this tale is characterized  
by perfect mass1 the paragraphs always  
end  with words that deserve            
distinction1 and the sentences have     
their  strongest words at the points    
where the eye would most readily see    
them2 as1 ,but just then up came the big
 ,billy-,goat ,gruff4 ,the  coherence is
 fine1 and is secured largely by the    
cumulative plan in a  threefold sense4  
,the relation of the parts is           
unmistakable4 ,the  similarity and      
contrast evident in the episodes of the 
three  ,billy-,goats makes this relation
 very clearly defined4 ,to make doubly  
sure the end has been reached the tale  
concludes3--         ,snip1 snap1 snout1
       ,this tale's told out4    ,let us
 examine the folk-tale generally as to  
its literary form4 ,the  folk-tale      
originally did not come from the people 
in literary form4  ,the tale was first  

told by some nameless primitive man1    
who1 returning  from some adventure of  
everyday life1 would narrate it to a    
group of  his comrades4 ,first told to  
astonish and interest1 or to give a     
warning of the penalty of breaking      
,nature's laws1 or to teach a moral     
lesson1 or to raise a laugh1 later it   
became worked up into the  fabulous     
stories of gods and heroes4 ,these      
fabulous stories developed  into        
myth-systems1 and these again into      
household tales4 ,by constant           
repetition from one generation to       
another1 incidents likely to happen  in 
everyday life1 which represented        
universal experiences and  satisfied    
common needs of childhood1 were selected
 and combined4 ,these  gradually assumed
 a form of simplicity and literary      
charm1 partly  because1 just as a child 
insists on accuracy1 savage people      
adhered  strictly to form in repeating  
the tale1 and because it is a law of    
permanence that what meets the universal

 need will survive4 ,the great  old     
folk-tales have acquired in their form a
 clearness and precision2  for in the   
process of telling and re-telling       
through the ages all the  episodes      
became clearly defined4 ,and as         
irrelevant details dropped  out1 there  
developed that unity produced by one    
dominant theme and one  dominant mood4  
,the great old folk-tales1 then1        
naturally acquired a  good classic      
literary form through social selection  
and survival4 ,but  many of the tales as
 we know them have suffered either      
through  translation or through careless
 modern retelling4 ,many of the         
folk-tales take on real literary form   
only through the re-treatment of  a     
literary artist4 ,mrs4 ,steel1 who has  
collected the ,tales of the  ,punjab1   
tells how the little boys of ,india who 
seek to hold their  listening groups    
will vary the incidents in a tale in    
different  tellings1 proving that the   
complete tale was not the original unit1

  but that single incidents are much    
more apt to retain their stock  forms   
than plots4 ,the combination we now have
 in a given tale was  probably a good   
form once hit upon and thereafter       
transmitted4    ,jacob 7#aghe-ahfc7 and 
,william 7#aghf-ahei7 ,grimm1 both fine 
scholars1  incapable of any but good    
work1 did not undertake to put the tale 
into  literary form suited to children4 
,they were interested in preserving     
folk-lore records for scientific        
purposes4 ,and we must distinguish      
between the tale as a means of          
reflecting the ideals of social and     
religious life1 of displaying all the   
genius of primitive man for  science to 
interpret1 and the tale as a means of   
pleasing and  educating the child4 ,the 
,grimms obtained most of their tales    
from the  lips of people in ,hesse and  
,hanau1 ,germany4 ,they were very       
fortunate  in securing many of the tales
 they were thirteen years in collecting1
  from an old nurse1 ,frau ,vichmannin1 

the wife of a cowherd1 who lived  at    
,niederzwehrn1 near ,cassel1 who told   
her story with exactness and  never     
changed anything in repeating4 ,grimm   
himself said1 ,our first  care was      
faithfulness to the truth4 ,we strove to
 penetrate into the  wild forests of our
 ancestors1 listening to their noble    
language1  watching their pure customs1 
recognizing their ancient freedom and   
hearty faith4 ,the ,grimms sought the   
purity of a straightforward  narration4 
,they were against reconstruction to    
beautify and poetize  the legends4 ,they
 were not opposed to a free             
appropriation for modern  and individual
 purposes4 ,they kept close to the      
original1 adding  nothing of            
circumstance or trait1 but rendering the
 stories in a style  and language and   
development of detail which was their   
own literary  ,german4    ,perrault     
7#afbh-agjc7 had taken the old tales as 
his son1 ,charles1 a  lad of ten or     
twelve1 told them4 ,the father had told 

them to the son  as he had gathered them
 up1 intending to put them into verse   
after the  manner of ,la ,fontaine4 ,the
 lad loved the stories and re-wrote them
  from memory for his father with such  
charming navet that the father  chose   
the son's version in preference to his  
own1 and published it4  ,but the tales  
of ,perrault1 nevertheless1 show the    
embellishment of the  mature            
master-,academician's touch in subduing 
the too marvelous tone1  or adding a bit
 of court manners1 or a satirical hit at
 the vanity and  failings of man4       
,dasent 7#ahbj-if7 has translated the   
,norse tales from the original          
collection of ,asbjrnsen and ,moe4      
,comrades from boyhood to manhood1      
scholar and naturalist1 these two       
together had taken long walks into  the 
secluded peasant districts and had      
secured the tales from the  people of   
the dales and fells1 careful to retain  
the folk-expressions4  ,dasent1 with the
 instinct1 taste1 and skill of a true   

scholar1 has  preserved these tales of  
an honest manly race1 a race of simple  
men  and women1 free and unsubdued4 ,he 
has preserved them in their             
folk-language and in their true ,norse  
setting4 ,harris 7#ahdh-aijh7 has  given
 his tales in the dialect of ,uncle     
,remus4 ,jacobs 7#ahed-7 has  aimed to  
give the folk-tales in the language of  
the folk1 retaining  nurses'            
expressions1 giving a colloquial and    
romantic tone which often  contains what
 is archaic and crude4 ,he has displayed
 freedom with the  text1 invented whole 
incidents1 or completed incidents1 or   
changed  them4 ,his object has been to  
fill children's imaginations with bright
  images4 ,andrew ,lang 7#ahdd-aiab7 has
 given the tale mainly to entertain     
children4 ,he has accepted translations 
from many sources and has given  a      
straightforward narration4 ,he has      
collected fairy tales  indefatigably in 
his rainbow ,fairy ,books1 but they are 
not always to  be recommended for       

children4    ,andersen 7#ahje-ge71 like 
,perrault1 made his tale for the child  
as an  audience1 and he too has put the 
tale into literary form4 ,andersen's    
tale is not the old tale1 but an        
original creation1 a number of which    
are based on old folk-material4         
,preserving the child's point of view1  
,andersen has enriched his language with
 a mastery of perfection and  literary  
style4 ,and the mantle of ,andersen has1
 so far1 fallen on no  one4    ,to-day  
it is to be questioned if the child     
should be given the tale in  nurses'    
talk4 ,to-day children are best cared   
for by mothers who feel  ignorant if    
they cannot tell their children stories1
 and who1 having  an appreciation of    
their mother ,english1 want their       
children to hear  stories1 not only told
 by themselves rather than by their     
servants1  but also told in the best    
literary form possible4 ,they recognize 
that  these earliest years1 when the    
child is first learning his language1   

are the years for a perfection of form  
to become indelibly impressed4  ,the    
fairy tale1 like every piece of         
literature1 is an organism and  should  
be put before the youngest child with   
its head on1 and  standing on both feet4
 ,the wholesale re-telling of every tale
 is to  be deplored4 ,and stories which 
have proved themselves genuine          
classics1 which have a right to live1   
which have been handed down by          
tradition1 which have been preserved by 
folk-lore records1 and which  have been 
rescued from oblivion1--in this age of  
books should have a  literary form1     
which is part of their message1 settled 
upon them4 ,the  ,grimm tales await     
their literary master4        ,,iii4    
,,the ,,fairy ,,tale ,,as ,a            
,,short-,,story      ,the fairy tale1   
then1 which in an objective sense1 from 
the standpoint  of literature1 has      
proved itself subject-matter of real    
worth1 must be  a classic1 must have the
 qualities of mind and soul1 must       

possess the  power to appeal to the     
emotions1 a power to appeal to the      
imagination1  and it must have a basis  
of truth and a perfection of form4 ,but 
in  addition to possessing these        
characteristics1 because the fairy tale 
is a special literary form1--the        
short-story1--as literature it must     
stand the test of the short-story4      
,the three main characteristics of the  
short-story1 as given by  ,professor    
,brander ,matthews in his ,philosophy of
 the ,short-,story1 are  originality of 
theme1 ingenuity of invention1 and      
brevity1 or  compression4 ,a single     
effect must be conceived1 and no more   
written  than contributes to that       
effect4 ,the story depends for its power
 and  charm on 7#a7 characters2 7#b7    
plot2 and 7#c7 setting4 ,in ,the ,life  
and  ,letters of ,robert ,louis         
,stevenson1 by ,graham ,balfour1        
,stevenson has  said1 concerning the    
short-story3--         ,there are1 so   
far as ,i know1 three ways1 and three   

ways       only1 of writing a story4    
,you may take a plot and fit            
characters to it1 or you may take a     
character and choose       incidents and
 situations to develop it1 or           
lastly--you must       bear with me     
while ,i try to make this clear4444 ,you
 may take       a certain atmosphere and
 get action and persons to express      
and realize it4 ,i'll give you an       
example--,the ,merry ,men4       ,there 
,i began with the feeling of one of     
those islands on       the west coast of
 ,scotland1 and ,i gradually developed  
the       story to express the sentiment
 with which the coast affected       me4
    ,according to the method by which   
the story was made1 the emphasis will   
be on character1 plot1 or setting4      
,sometimes you may have a perfect       
blending of all three4    7#a7          
,characters4 ,the characters must be    
unique and original1 so that  they catch
 the eye at once4 ,they dare not be     
colorless1 they must have  striking     

experiences4 ,the ,elephant's ,child1   
,henny ,penny1 ,medio  ,pollito1 ,jack  
of the ,beanstalk1 the ,three ,pigs1 the
 ,three ,bears1 and  ,drakesbill--the   
characters of the fairy tales have no   
equal in  literature for freshness and  
vivacity4 ,the very mention of the      
thought  brings a smile of recognition2 
and it is for this reason1 no doubt1    
that leading men in large universities  
turn aside from their high  scholarly   
labors1 to work or play with fairy      
tales4 ,besides the  interesting chief  
characters1 moreover1 there are many    
more  subordinate characters that are   
especially unique3 the fairies1 the     
fairy godmothers and wise women1 the    
elves of the trees1 the dwarfs of  the  
ground1 the trolls of the rocks and     
hills1 and the giants and  witches4     
,then that great company of toilers in  
every occupation of  life bring the     
child in touch with many novel phases of
 life4 ,at best  we are all limited by  
circumstances to a somewhat narrow      

sphere and  like to enter into all that 
we are not4 ,the child1 meeting in his  
tale  the shoemaker1 the woodcutter1 the
 soldier1 the fisherman1 the hunter1    
the poor traveler1 the carpenter1 the   
prince1 the princess1 and a host  of    
others1 gets a view of the industrial   
and social conditions that  man in      
simple life had to face4 ,this could not
 fail to interest2 and  it not only     
broadens his experience and deepens his 
sympathy1 but is  the best means for    
acquiring a foundation upon which to    
build his own  vocational training4     
,this acquisition is one contribution of
  literature to industrial work4 ,those 
characters will appeal to the  child    
which present what the child has noticed
 or can notice4 ,they  should appear as 
they do in life1 by what they say and by
 what they  do4 ,this1 in harmony with  
the needs of the young child1 makes the 
tales which answer to the test of       
suitability1 largely dramatic4    7#b7  
,plot4 ,the characters of the tales can 

be observed only in action4  ,plot is   
the synthesis of the actions1 all the   
incidents which happen  to the          
characters4 ,the plot gives the picture 
of experience and allows  us to see     
others through the events which come to 
them4 ,according to  ,professor ,bliss  
,perry1 the plot should be entertaining1
 comical1  novel1 or thrilling4 ,it     
should present images that are clear-cut
 and  not of too great variety4 ,it     
should easily separate itself into      
large1  leading episodes that stand out 
distinctly4 ,the sequence of events     
should be orderly and proceed without   
interruption4 ,the general  structure   
should easily be discerned into the     
beginning1 the middle1  and the end4    
,various writers of tales have their    
particular ways of  beginning4 ,andersen
 loses no time in getting started1 while
 ,kipling  begins by stating his theme4 
,the old tales frequently began with the
  words1 ,once upon a time1 which       
,kipling modified to ,in the ,high and  

,far-,off times1 ,o ,best ,beloved1 etc4
 ,hawthorne begins variously with  ,once
 upon a time1 or1 ,long1 long ago2 or1  
,did you ever hear of  the golden       
apples8 etc4--,hawthorne has been       
omitted in this book  because1 so far as
 ,i can discover1 he furnishes no tale  
for the  kindergarten or first grade4   
,his simplest tale1 ,midas and the      
,golden  ,touch1 properly belongs in the
 second grade when told2 when read1 in  
the fourth grade4--,the introduction1 in
 whatever form1 should be  simple and to
 the point4 ,it should give the time and
 place and present  the characters2 and 
if good art it will be impatient of much
  preliminary delay4 ,the great stories 
all show a rise of interest  culminating
 in one central climax2 and after that1 
sometimes following  on its very heels1 
the conclusion where poetic justice is  
meted out4  ,this climax is a very      
important feature in the tale1 so       
important that  it has been said1 ,the  
climax is the tale4 ,it is the point    

where  interest focuses4 ,it makes the  
story because it is where the point of  
the story is made4 ,in a good story this
 point always is made  impressive and   
often is made so by means of surprise4  
,the conclusion  must show that the tale
 has arrived at a stopping place and in 
a moral  tale it must leave one         
satisfied1 at rest4    ,if the folk-tale
 is good narration1 in answer to the    
question1 ,what8  it will tell what     
happened2 in answer to the question1    
,who8 it will  tell to whom it happened2
 in answer to the question1 ,where8 it  
will  tell the place where1 and the time
 when1 it happened2 and in answer to    
the question1 ,why8 it will give the    
reason for telling the story1 it  will  
give the message1 and the truth embodied
 in its form4 ,as  narration the tale   
must have truth1 interest1 and          
consistency4 ,its  typical mood must be 
action and its language the language of 
suggestion4 ,this language of suggestion
 appears when it shows an  object by    

indicating how it is like something     
else2 by telling what we  feel when we  
see the object2 and by telling what     
actions of the person  or object make it
 hateful or charming4 ,we learn to know 
,andersen's  ,snow ,man through what the
 ,dog says of him4    ,description1 in  
the sense of a static1 detailed         
delineation of various  qualities of    
objects1 has no place in the child's    
story1 for it bores  the child1 who is  
very persistent in wanting the main     
theme  uninterrupted4 ,but description  
that has touches of movement and action 
or that lays emphasis on a single effect
 and has point1 distinctly  aids        
visualization1 and produces a pleasing  
result1 as we have seen in  ,kipling's  
,elephant's ,child4 ,the young child of 
to-day1 trained in  nature study to look
 upon bird1 tree1 and flower with vital 
interest1  to observe the color and the 
form of these1 gains a love of the      
beautiful that makes him exclaim over   
the plumage of a bird or tint of  a     

flower4 ,to him beauty in the tale must 
make a direct appeal which  the child   
unfamiliar with these things might not  
feel4 ,the ,wonderful  ,adventures of   
,nils makes an appeal to the modern     
child which could  not possibly have    
been felt by the child living before    
#ahej4 ,the  modern child brought up on 
phonics is sensitive to sound also1 and 
open to an appreciation of the beauty of
 the individual word used in            
description4 ,this description1 when it 
occurs1 should be characterized  mainly 
by aptness and concreteness4    ,having 
observed the general characteristics of 
the narrative contained  in the plot1   
let us examine the structure of a few   
tales to see3 ,what  is the main theme  
of the plot and how it works itself out2
 what are  the large1 leading episodes1 
and how they culminate in the climax2   
and  what is the conclusion1 and how    
closely it follows the climax4    ,the  
,story of ,three ,pigs         ,i4      
,introduction4 ,time4 ,place4           

,characters3 ,mother and                
,three ,pigs4 ,mother gone4        ,,ii4
 ,rise4            #a4 ,first ,pig's    
venture with a man with a load of straw4
             ,builds a straw house4     
7,wolf enters47             ,wolf comes 
and destroys him4            #b4 ,second
 ,pig's venture with a man with a load  
of furze4             ,builds a furze   
house4             ,wolf comes and      
destroys him4            #c4 ,third     
,pig's venture with a man with a load of
 bricks4             ,builds a brick    
house4             ,wolf comes4         
7,climax47       ,,iii4 ,conclusion4    
,third ,pig outwits the ,wolf4          
,at the turnip-field in ,mr4 ,smith's   
home-field4             ,at the apple   
tree in ,merry-,garden4             ,at 
the fair at ,shanklin4             ,at  
his own brick house4    ,evidently the  
climax here is when the ,wolf comes to  
the third ,pig's  brick house4 ,after   
that things take a turn2 and the final  
test of  strength and cleverness comes  

at the very end of the tale1 at ,little 
,pig's brick house4    ,grimm's ,briar  
,rose is a model of structure and easily
 separates  itself into ten large       
episodes4    ,briar ,rose         #a4   
,the ,introduction4         #b4 ,the    
,christening ,feast4          7a7 ,the  
,fairies and their gifts4          7b7  
,the wicked ,fairy and her curse4       
#c4 ,the ,king's decree4         #d4    
,princess ,rose's birthday4          7a7
 ,princess ,rose's visit to the old     
tower4          7b7 ,princess ,rose and 
the wicked ,fairy spinning4          7c7
 ,the magic sleep4         #e4 ,the     
hedge of briars4         #f4 ,the       
,prince and the old ,man4         #g4   
,the ,prince and the opening hedge4     
#h4 ,the ,prince in the castle4         
7,climax47         #i4 ,the awakening4  
#aj4 ,the wedding4 7,conclusion47       
,the climax here is the ,prince's       
awakening kiss4 ,the blossoming of the  
hedge into roses prepares for the       
climax2 and the conclusion--the         

awakening of all the life of the castle 
and the wedding--follow  immediately    
after4    7#c7 ,setting4 ,the third     
element of the short-story that is      
essential to  its power and charm is    
setting4 ,the setting is the            
circumstances or  events which surround 
the characters and action4 ,the setting 
occupies  a much more important place in
 the tale than we realize1 for it is the
  source of a variety of sensations and 
feelings which it may arouse4 ,it  gives
 the poetic or artistic touch to a tale4
 ,in the old tale the  setting is given 
often in a word or two which act like   
magic1 to open  to our eyes a whole     
vision of associations4 ,the road in the
 ,three  ,pigs1 the wood in ,red ,riding
 ,hood1 the castle in the ,sleeping     
,beauty--these add charm4 ,often the    
transformation in setting aids  greatly 
in producing effect4 ,in ,cinderella the
 scene shifts from the  hearth to the   
palace ballroom2 in the ,princess and   
the ,pea1 from the  comfortable castle  

of the ,queen to the raging storm1 and  
then back  again to the castle1 to the  
breakfast-room on the following morning4
  ,in ,snow ,white and ,rose ,red the   
scene changes from the cheery1          
beautiful interior of the cottage1 to   
the snowstorm from which the  ,bear     
emerged4 ,in accumulative tales1 such as
 ,the ,old ,woman and her  ,pig1 ,medio 
,pollito1 and ,the ,robin's ,christmas  
,song1 the sequence  of the story itself
 is preserved mainly by the change of   
setting4 ,this  appears in the following
 outline of ,the ,robin's ,christmas    
,song1 an  ,english tale which is the   
same as the ,scotch ,robin's            
,yule-,song1  which has been attributed 
to ,robert ,burns4 ,this tale           
illustrates one  main line of           
sequence3--    ,the ,robin's ,christmas 
,song         #a4 ,introduction4 ,a     
sunny morning4 ,waterside4 ,a ,gray     
,pussy4            ,a ,robin came along4
         #b4  ,rise4             ,pussy 
said1 444 ,see my white fur4            

,robin replied1 444 ,you ate the wee    
mousie4             ,change in setting4 
,stone wall on border of the wood4 ,a   
greedy ,hawk1 sitting4             ,hawk
 said1 444 ,see the speckled feather in 
my wing4             ,robin replied1 444
 ,you pecked the sparrow1 etc4          
,change in setting4 ,great rock4 ,a sly 
,fox4             ,fox said1 ,see the   
spot on my tail4             ,robin     
replied1 ,you bit the wee lambie4       
,change in setting4 ,banks of a rivulet4
 ,a small ,boy4             ,boy said1  
,see the crumbs in my pocket4           
,robin replied1 ,you caught the         
goldfinch4             ,change in       
setting4 ,king's palace4 ,the window    
sill4 ,the             ,king at the     
window4             ,robin sang1 ,a song
 for the ,king4             ,king       
replied1 ,what shall we give ,robin8    
#c4 ,conclusion4            ,no change  
in setting4 ,king's palace4 ,the window 
sill4            ,the ,king at the      
window4            ,king ,filled a plate

 and set it on the window sill4         
,robin ,ate1 sang a song again1 and flew
 away4    ,here1 not only the sequence  
of the tale is held largely by the      
change  in setting1 but also the        
pleasure in the tale is due largely to  
the  setting1 the pictures of landscape 
beauty it presents1 and the  feelings   
arising from these images4    ,a        
,japanese tale1 in which the setting is 
a large part of the tale1 and  a large  
element of beauty1 is ,mezumi1 the      
,beautiful1 or ,the ,rat  ,princess4    
,a ,grimm tale in which the setting is a
 very large element of pleasure  and in 
which it preserves the sequence of the  
tale1 is ,the ,spider and  the ,flea1 a 
lively accumulative tale that deserves  
attention for  several reasons4--,a     
,spider and a ,flea dwelt together4 ,one
 day a number  of unusual occurrences   
happened1 so that finally a little ,girl
 with a  water-pitcher broke it1 and    
then the ,streamlet from which she drew 
the  water asked1 ,why do you break your

 pitcher1 little ,girl8 ,and she        
replied3--         ,the little ,spider's
 burned herself4       ,and the ,flea   
weeps2       ,the little ,door creaks   
with the pain1       ,and the ,broom    
sweeps2       ,the little ,cart runs on 
so fast1       ,and the ,ashes burn2    
,the little ,tree shakes down its       
leaves4       ,now it is my turn6       
,and then the ,streamlet said1 ,now ,i  
must flow4    ,and it flowed on and on1 
getting bigger and bigger1 until it     
swallowed  up the little ,girl1 the     
little ,tree1 the ,ashes1 the ,cart1 the
 ,broom1  the ,door1 the ,flea1 and at  
last1 the ,spider--all together4        
,here we have a tale1 which1 in its     
language1 well illustrates  ,stevenson's
 pattern of style1 especially as regards
 the harmony  produced by the           
arrangement of letters4 ,from the       
standpoint of style1  this tale might be
 named1 ,the ,adventure of the ,letter  
,e2 it  illustrates the part the phonics
 of the tale may contribute to the      

effect of the setting4 ,follow the      
letter e in the opening of the  tale1   
both as to the eye and the ear3--       
,a ,spider and a ,flea dwelt together in
 one       house and brewed their beer  
in an egg-shell4       ,one day when the
 ,spider was stirring it up she         
fell in and burned herself4 ,thereupon  
the       ,flea began to scream4 ,and   
then the ,door asked1       ,why are you
 screaming1 little ,flea8    ,if we     
follow the e sound through the tale1 we 
find it in ,flea1  beer1 scream1 creak1 
weeps1 sweep1 reason1 heap1 ,tree1      
leaves1 and  ,streamlet4 ,this          
repetition of the one sound puts music  
into the tale  and creates a center of  
the harmony of sound4 ,but if we examine
 the  next part of the tale we find a   
variety of sounds of o in  thereupon1   
,door1 ,broom1 stood1 and corner4       
,later1 in connection  with ,cart1 we   
have began1 fast1 past1 and ,ashes4     
,other phonic  effects are crowded into 
the tale2 such as the sound of l in     

violently1 till1 all1 leaves1 and fell2 
the sound of i in  little and ,girl2 of 
p in pitcher and passing2 of t in       
little and pitcher2 and of ew in threw  
and drew4 ,altogether  this very        
effective use of sound is a fine        
employment of concrete  language1 words 
which present images that are clear-cut 
as a cameo4 ,it  also gives to the tale 
a poetical touch4    ,titty ,mouse and  
,tatty ,mouse1 an ,english tale1 and a  
parallel of ,the  ,spider and the ,flea1
 preserves the same beauty and sequence 
by means  of its setting and illustrates
 the same very unusual contribution of  
the sounds of particular letters        
combined in the harmony of the whole4   
,the ,phonics of the ,fairy ,tales is a 
subject which yields much  interest and1
 as yet1 has been almost untouched4     
,in ,the ,adventures of ,chanticleer and
 ,partlet1 in part ,i1 ,the ,trip  to   
the ,nut-,hill1 taken from ,arthur      
,rackham's ,grimm ,tales1 the  setting  
contributes largely to the              

attractiveness of the tale1 as is  shown
 in ,rackham's beautiful illustration4  
,the setting is given  throughout the   
tale often in a telling word or two4    
,chanticleer and  ,partlet went up the  
nut-hill to gather nuts before the      
squirrel  carried them all away4 ,the   
day was bright and they stayed till     
evening4 ,the carriage of nut-shells2   
the ,duck they met2 the  dirty road they
 traveled in the pitch dark2 the ,inn   
they arrived  at2 the night at the ,inn2
 the early dawn2 the hearth where they  
threw the egg-shells2 the ,landlord's   
chair whose cushion received  the       
,needle2 the towel which received the   
,pin2 the heath over which  they hurried
 away2 the yard of the ,inn where the   
,duck slept and the  stream he escaped  
by2 the ,landlord's room where he gained
  experience with his towel2 the kitchen
 where the egg-shells from the  hearth  
flew into his face2 and the arm-chair   
which received him  with a              
,needle--these are all elements of      

setting which contribute  largely to the
 humor and the beauty of the tale4    ,a
 blending of the three elements1        
characters1 plot1 and setting1  appears 
in the following outline of ,the ,elves 
and the ,shoemaker3--    ,the ,elves and
 the ,shoemaker         #a4             
,introduction4 ,a poor ,shoemaker4 ,a   
poor room containing       a bed and a  
shoemaker's board4 ,leather for one pair
 of       shoes4         #b4            
,development4            ,first night   
444 ,cut out shoes4 ,went to bed4 ,shoes
 ready          next morning4 ,sold     
them4 ,bought leather for two pairs4    
,second night 444 ,cut out shoes4 ,went 
to bed4 ,shoes          ready next      
morning4 ,sold them4 ,bought leather for
 four          pairs4            ,one   
night 444 ,conversation of ,shoemaker   
and his wife3          ,i should like to
 sit up to-night to see who it is that  
makes the shoes4 ,they sat up4 ,two     
,elves ran in1 sewed1          rapped1  
and tapped1 and ran away when the shoes 

were          made4            ,day     
after 444 ,conversation4 ,these ,elves  
made us rich4          ,i should like to
 do something for them4 ,you make each  
of them a little pair of shoes1 and ,i  
will make them          each a little   
shirt1 a coat1 a waistcoat1 trousers1   
and          a pair of stockings4       
,christmas ,eve 444 ,finished shoes and 
clothes put on the          table4      
,shoemaker and ,wife hid in the corner  
of the room          behind clothes1 and
 watched4 7,climax47            ,elves  
came in and put on clothes4         #c4 
,conclusion4            ,happy end4     
,elves danced and sang1--               
,smart and natty boys are we1           
,cobblers we'll no longer be4           
,shoemaker and ,wife became happy and   
prosperous4    ,the characters of this  
tale are usual1 a poor ,shoemaker and   
his ,wife2  and unusual1 the dainty     
,elves who made shoes in a twinkling4   
,but the  commonplace peasants become   
interesting through their generosity1   

kindness1 and service to the ,elves2 and
 the ,elves become human in  their joy  
at receiving gifts4 ,the structure of   
the tale is so distinct  as to be seen a
 thing itself1 apart from the story4    
,the framework is  built on what happens
 on two nights and following nights1 the
  conversation of the next day1 and what
 happens on ,christmas ,eve4 ,the       
climax evidently is what the ,shoemaker 
and his ,wife hid in the corner  to     
see--the entrance of the ,elves on      
,christmas ,eve--which episode has  been
 interpreted charmingly by the ,english 
illustrator1 ,cruikshank4  ,the joy of  
the ,elves and of the two aged people1  
the gifts received by  the one and the  
riches won by the other1 form the       
conclusion1 which  follows very closely 
upon the climax4 ,the commonplace       
setting1 the  poor room with its simple 
bed and table1 becomes transformed by   
the  unusual happenings in the place4   
,if we should take away this setting1   
we see how much the tale would suffer4  

,also without the characters the  tale  
would be empty4 ,and without the        
interesting1 human1 humorous1 and       
pleasing plot1 characters and setting   
would be insufficient4 ,each  element of
 the short-story contributes its fair   
share to the tale1 and  blends          
harmoniously in the whole4    ,various  
standards for testing the folk-tale have
 been given by  writers4 ,one might     
refer to the standards given by ,wilman 
in his  ,pedagogische ,vortrge and those
 mentioned by ,william ,rein in ,das    
,erste ,schuljahr4 ,we have seen here   
that the fairy tale must contain  the   
child's interests and it must be able to
 stand the test of a true  classic4 ,it 
must stand the test of literature in its
 appeal to emotion  and to imagination1 
in its appeal to the intellect through  
its basis  of truth1 and to the         
language-sense through its perfection of
 form2 it  must stand the test of the   
short-story and of good narration and of
  description4 ,let us now examine a few

 of the old tales to see how they  stand
 the complete test3--    ,how the ,sun1 
,moon1 and ,west ,wind went out to      
,dinner         ,this story of ,how the 
,sun1 ,moon1 and ,west ,wind ,went out  
to       ,dinner appeals to the         
children's interest in a family         
dinner--they went to dine with their    
,uncle and ,aunt1 ,thunder       and    
,lightning4 ,the characters are         
interesting to the child1       for they
 are the inhabitants of his sky that    
cause him much       wonder3 the star1  
the sun1 the moon1 the thunder1 and the 
lightning4 ,to the little child1 who as 
she watched a       grown-up drying her 
hands1 remarked1 ,i wouldn't like to be 
a towel1 would you8 the idea of the     
moon1 sun1 and wind       possessing    
personality and going to a dinner-party 
will       amuse and please4 ,the theme 
of the story finds a place in       the 
experience of children who go to a      
party2 and secretly       they will     
enjoy making comparisons4 ,when they go 

to a party       they too like to bring 
something home2 but they wouldn't       
think of hiding goodies in their hands4 
,they are fortunate       enough to have
 their hostess give them a toy animal or
 a box       of sweetmeats1 a tiny dolly
 or a gay balloon1 as a souvenir4       
,the greediness and selfishness of the  
,sun and ,wind impress       little     
children1 for these are perhaps the two 
sins possible       to childhood2 and   
all children will fully appreciate why  
the       ,sun and the ,wind received so
 swiftly the punishment they            
deserved4 ,the thoughtfulness of the    
loving gentle ,moon to       remember   
her ,mother the ,star1 appeals to them4 
,the rapid       punishment1            
well-deserved1 and the simplicity of the
 story       with its one point1 make it
 a very good tale for little            
children4 ,the whole effect is pleasing4
 ,what children recall       is the     
motherly ,star2 and the beautiful ,moon1
 who was cool       and calm and bright 

as a reward for being good4         ,the
 structure of the tale is neat and      
orderly1 dominated by       a single    
theme4 ,the form of the tale1 as given  
in ,jacobs's       ,indian ,tales1 shows
 a good use of telling expressions2     
such as1 the ,mother waited alone for   
her children's       return1 ,kept watch
 with her little bright eye1 the        
,moon1 shaking her hands showered down  
such a choice       dinner1 etc4 ,here  
we have too1 the use of concrete1       
visualized expressions and direct       
language4 ,there is also a       good   
use of repetition1 which aids the child 
in following       the plot and which   
clarifies the meaning4 ,the ,mother     
,star1       when pronouncing a         
punishment upon ,sun1 repeated his own  
words as he had spoken when returning   
from the dinner3 ,i       went out to   
enjoy myself with my friends4 ,in her   
speech to       ,wind she included his  
own remark3 ,i merely went for my own   
pleasure4--,the examination of this tale

 shows that it       stands well the    
complete test applied here to the fairy 
tale4    ,the ,straw ,ox         ,the   
,straw ,ox is an accumulative tale which
 has sufficient       plot to illustrate
 the fine points of the old tale        
completely4 ,a poor woman who could     
barely earn a living had       an idea  
and carried it out successfully4--,her  
need       immediately wins sympathy in 
her behalf4--,she asked her             
husband to make her a straw ox and smear
 it with tar4 ,then       placing it in 
the field where she spun1 she called    
out1       ,graze away1 little ,ox1     
graze away1 while ,i spin my flax6      
,first a ,bear came out of the ,wood and
 got caught by the tar       so that the
 ,straw ,ox dragged him home4 ,the old  
,man then put       the ,bear in the    
cellar4 ,then a ,wolf1 a ,fox1 and a    
,hare got       caught in the same way  
and also were consigned to the          
cellar4--,the plot has so far built     
itself up by an orderly       succession

 of incidents4--,but just when the ,man 
is preparing       to kill the animals1 
they save their lives by promising      
vicarious offerings3 ,the ,bear promises
 honey2 the ,wolf a       flock of      
sheep2 the ,fox a flock of geese2 and   
the ,hare kale       and                
cauliflower4--,then the plot1 having    
tied itself into a       knot1 unties   
itself as the animals return1 each with 
the       gift he promised4         ,the
 setting is the field where the old     
,woman placed the ,ox       and where   
she spun1 the wood from which the       
animals came1       and the peasant     
home4 ,the characters are two poor      
people who       need food and clothing 
and seek to secure both2 and the        
animals of the forest4 ,the peasants    
need the ,bear for a       coat1 the    
,wolf for a fur cap1 the ,fox for a fur 
collar1 and       the ,hare for mittens4
 ,this human need produces an emotional 
appeal so that we wish to see the       
animals caught4 ,but when       the plot

 unties itself1 the plight of the       
animals appeals to       us equally and 
we want just as much to see them win    
their       freedom4 ,each animal works 
out his own salvation by offering       
the old people a worthy substitute4     
,each animal is true to       his nature
 in the substitute he offers1 he        
promises what is       only natural for 
him to procure1 and what he himself     
likes       best4 ,the conclusion is    
satisfying because in the end           
everybody is happy3 the old people who  
have all they need2       and the       
animals who have life and freedom4 ,the 
distinct       pictures offered to the  
imagination are the capture of the      
four animals and their return with their
 life-substitutes4       ,the form of   
the tale is a good example of folk-story
 style1       with its vivid words1     
direct language1 and repetition4 ,this  
is one of the tales which is finer than 
at first appears       because it has a 
strong sense of life4 ,it touches the   

present-day problem3 ,how can the       
inhuman slaughter of       animals for  
man's use be avoided8 ,its underlying   
message       is3 ,self-help is a good  
way out of a difficulty4--,the ,straw   
,ox also answers the complete test of   
the tale with much       satisfaction4  
,,references3      ,the ,child3         
,barnes1 ,earl3 ,study of ,children's   
,stories4 7,children's                  
,interests47         ,dewey1 ,john3     
,interest and ,effort in ,education4    
,houghton4         ,king1 ,irving3      
,psychology of ,child ,development4     
,university of         ,chicago ,press4 
,lawrence1 ,isabel3 ,children's         
,interests in ,literature4 ,n4,e4,a4    
,report1 #ahii1 p4 #ajdd4               
,mc,cracken1 ,elizabeth3 ,what ,children
 ,like to ,read4 ,outlook1         ,dec1
 #aijd1 vol4 #gh4         ,tyler1 ,john 
,m43 ,growth in ,education4 ,houghton4  
,vostrovsky1 ,clara3 ,a ,study of       
,children's ,own ,stories4 ,studies     
in ,education1 vol4 i1 pp4 #ae-ag4      

,literature3         ,baldwin1 ,charles 
,s43 ,specimens of ,prose ,description4 
,holt4         ,brewster1 ,william ,t43 
,english ,composition and ,style4       
,century4         ,ibid43 ,specimens of 
,prose ,narration4 ,holt4               
,gardiner1 ,john ,h43 ,forms of ,prose  
,literature4 ,scribner4                 
,matthews1 ,brander3 ,the ,philosophy of
 the ,short-,story4 ,longmans4          
,pater1 ,walter3 ,appreciations4 7,essay
 on ,style74 ,macmillan4         ,perry1
 ,bliss3 ,a ,study of ,prose ,fiction4  
7,the ,short ,story47         ,houghton4
         ,sainte-,beuve1 ,charles ,a43  
,essays4 7,what is a ,classic87         
,dutton4         ,santayana1 ,george3   
,the ,sense of ,beauty4 ,scribner4      
,wendell1 ,barrett3 ,english            
,composition4 ,scribner4                
,winchester1 ,caleb ,t43 ,principles of 
,literary ,criticism4                   
,macmillan4      ,emotion3              
,bain1 ,alexander3 ,the ,emotions and   
the ,will4 ,appleton4         ,darwin1  

,charles3 ,expression of the ,emotions  
in ,man and         ,animals4 ,appleton4
      ,imagination3         ,colvin1    
,stephen3 ,the ,learning ,process4      
,macmillan4         ,curry1 ,s4,s43     
,imagination and the ,dramatic          
,instinct4 ,expression         ,co4     
,ruskin1 ,john3 ,modern ,painters1 vol4 
r4 7,of the ,imagination47              
,children's ,literature3         ,baker1
 ,franklin ,t43 ,bibliography of        
,children's ,reading4                   
7,introduction47 ,teachers ,college1    
,columbia ,university4         ,day1    
,mary ,b41 and ,wilson1 ,elisabeth3     
,suggestive ,outlines on                
,children's ,literature4 ,s4 ,illinois  
,normal1 ,carbondale4         ,dodd1    
,c4,f43 ,fairy ,tales in the            
,schoolroom4 ,living ,age1 ,nov4        
#h1 #aijb1 vol4 #bce1 pp4 #cfi-ge4      
,fay1 ,lucy1 and ,eaton1 ,anne3         
,instruction in the ,use of ,books and  
,libraries4 7,chap1 xv1 ,fairy ,tales47 
,boston ,book ,co4         ,field1 ,mrs4

 ,e4,m43 ,the ,child and ,his ,book4    
,wells ,gardner1 ,darton          ,co4  
,field1 ,walter ,t43 ,finger-,posts to  
,children's ,reading4 ,a4,c4            
,mc,clurg4         ,harron1 ,julia2     
,bacon1 ,corinne2 and ,dana1 ,j4,c43 ,a 
,course of ,study         on ,literature
 for ,children4 ,newark ,public         
,library4         ,hosic1 ,james ,f43   
,the ,conduct of a ,course in           
,literature for         ,children4      
,n4,e4,a4 ,report1 #aiac4               
,ibid43 ,the ,elementary ,course in     
,english4 ,university of                
,chicago4         ,hunt1 ,clara3 ,what  
shall we ,read to the ,children8        
,houghton4         ,kready1 ,laura ,f43 
,picture-,books for ,little ,children4  
,kindergarten ,review1 ,sept41 #aiad4   
,lowe1 ,orton3 ,literature for          
,children4 ,macmillan4                  
,mac,clintock1 ,porter ,l43 ,literature 
in the ,elementary ,school4             
,university of ,chicago4         ,moore1
 ,annie ,e43 ,principles in the         

,selection of ,stories for the          
,kindergarten4 ,i4,k4,u4 ,report1 #aiac4
        ,moses1 ,montrose3 ,children's  
,books and ,reading4 ,m4 ,kennerley4    
,olcott1 ,frances ,j43 ,the ,children's 
,reading4 ,houghton4          ,,chapter 
,,iii        ,,the ,,telling ,,of       
,,fairy ,,tales           ,the telling  
of stories refreshes the mind as a bath 
refreshes the body4 ,it gives exercise  
to the intellect and       its powers4  
,it tests the judgments and feelings4   
,the       story-teller must wholly take
 into himself the life of which       he
 speaks1 must let it live and operate in
 himself freely4       ,he must         
reproduce it whole and undiminished1 yet
 stand       superior to life as it     
actually is4--,,froebel4         ,the   
purpose of the story4--,to look out with
 new eyes upon       the many-featured1 
habitable world2 to be thrilled by the  
pity and the beauty of this life of     
ours1 itself brief as a       tale that 
is told2 to learn to know men and women 

better1       and to love them          
more4--,,bliss ,,perry4                 
,expertness in teaching consists in a   
scholarly command of                    
subject-matter1 in a better organization
 of character1 in a       larger and    
more versatile command of conscious     
modes of       transmitting facts and   
ideals1 and in a more potent and        
winsome1 forceful and sympathetic manner
 of personal contact       with other   
human beings4--,,henry ,,suzzallo4      
,story-telling as an art4 ,no matter how
 perfectly the tale1 in a  subjective   
sense1 may contain the interests of the 
child1 or how  carefully it may avoid   
what repels him2 though in an objective 
sense  it may stand the test of a true  
classic in offering a permanent         
enrichment of the mind and the test of  
literature in appealing to the  emotions
 and the imagination1 in giving a       
contribution of truth and an  embodiment
 of good form2 though it may stand the  
test of the  short-story--furnishing    

interesting characters1 definite plot1  
and  effective setting2 though its      
sequence be orderly and its climax      
pointed1 its narration consistent and   
its description apt--the tale  yet      
remains to be told4 ,the telling of the 
tale is a distinct art  governed by     
distinct principles because the life of 
the story must be  transmitted and      
rendered into voice4    ,story-telling  
is one of the most ancient and universal
 of arts4  ,concerning this art         
,thackeray has said3--         ,stories 
exist everywhere3 there is no           
calculating the       distance through  
which stories have come to us1 the      
number       of languages through which 
they have been filtered1 or the         
centuries during which they have been   
told4 ,many of them       have been     
narrated almost in their present shape  
for       thousands of years to the     
little copper-colored ,sanskrit         
children1 listening to their mothers    
under the palm-trees by       the banks 

of the yellow ,jumna--their ,brahmin    
mother1 who       softly narrated them  
through the ring in her nose4 ,the very 
same tale has been heard by the northern
 ,vikings as they lay       on their    
shields on deck2 and the ,arabs couched 
under the       stars on the ,syrian    
plains when their flocks were gathered  
in1 and their mares were picketed by the
 tents4    ,in his ,roundabout ,papers1 
,thackeray gives a picture of a score of
  white-bearded1 white-robed warriors or
 grave seniors of the city1  seated at  
the gate of ,jaffa or ,beyrout1         
listening to the story-teller  reciting 
his marvels out of ,arabian ,nights4 ,a 
,reading from ,homer1  by ,alma ,tadema1
 is a well-known picture which portrays 
the ,greeks  listening to the ,tales of 
,homer4 ,in the ,lysistrata of          
,aristophanes1 the chorus of old men    
begins with1 ,i will tell ye a  story6  
,plutarch1 in his ,theseus says1 ,all   
kinds of stories were  told at the      
festival ,oschophoria1 as the mothers   

related such things  to their children  
before their departure1 to give them    
courage4 ,in  his ,symposium he mentions
 a child's story containing the proverb1
  ,no man can make a gown for the       
moon4--         ,the ,moon begged her   
,mother to weave her a little frock     
which       would fit her4         ,the 
,mother said1 ,how can ,i make it fit   
thee1 when thou art       sometimes a   
,full ,moon1 and then a ,half ,moon1 and
 then a ,new       ,moon8--    ,in the  
works of the ,german1 ,schuppius        
7#afgg71 appeared this3--         ,your 
old folks can remember how1 in the olden
 times1 it was       customary at       
vespers on ,easter day1 to tell some    
,easter       tidings from the pulpit4  
,these were foolish fables and          
stories such as are told to children in 
the spinning-room4       ,they were     
intended to make people merry4    ,in   
,england1 ,chaucer's ,tales reflect the 
common custom of the times  for the     
pilgrim1 the traveler1 the lawyer1 the  

doctor1 the monk1 and  the nun1 to      
relate a tale4 ,the ,wife of ,bathes    
,tale is evidently a  fairy tale4 ,in   
,peele's ,old ,wives' ,tale we learn how
 the smith's  goodwife related some     
nursery tales of ,old ,england to the   
two  travelers her husband brought to   
the cottage for the night4 ,in          
,akenside's ,pleasures of ,imagination  
we find3--                              
,hence1 finally by night1       ,the    
village matres1 round the blazing hearth
       ,suspend the infant audience with
 their tales1       ,breathing          
astonishment4    ,the custom of         
,florentine mothers has been described  
by the poet1  ,dante1 when he says3--   
,another1 drawing tresses from her      
distaff4       ,told o'er among her     
family the tales       ,of ,trojans1 and
 of ,fesole and ,rome4    ,the ,french  
troubadours and the ,italian counts of  
,boccaccio's time told  tales4 ,it is   
recorded of the ,french ,galland1 the   
first translator of  ,the ,arabian      

,nights1 how the young men of his day   
would gather under  his windows at night
 and shout for him until he showed      
himself and  told them stories4 ,the    
,german ,luther paid a high tribute to  
stories2  and ,goethe's mother1 in      
giving her experience in telling stories
 to  her children1 has shown how the    
,german mother valued the story in the  
home4 ,to-day1 savage children1 when the
 day of toil is ended with the  setting 
sun1 gather in groups to listen to the  
never-dying charm of  the tale2 and the 
most learned of men1 meeting in the     
great centers of  civilization to work  
out weighty problems1 find relief and   
pleasure  when wit and culture tell the 
tale4    ,in the home the tale is the   
mother's power to build in her little   
children ideals of life which will tower
 as a fortress when there come  critical
 moments of decision for which no amount
 of reasoning will be  a sufficient     
guide1 but for which true feeling1 a    
kind of unconscious  higher reasoning1  

will be the safest guide4 ,in the       
library the story  is the greatest      
social asset of the librarian1 it is her
 best means of  reaching the obscure    
child who seeks there some food for his 
spirit1  it is her best opportunity to  
lead and direct his tastes4 ,in the     
school it is the teacher's strongest    
personal ally4 ,it is her  wishing-ring1
 with which she may play fairy to       
herself in  accomplishing a great       
variety of aims1 and incidentally be a  
fairy  godmother to the child4          
,story-telling is an art handling an art
 and therefore must be pursued  in      
accordance with certain principles4     
,these principles govern3 7#a7  the     
teacher's preparation2 7#b7 the         
presentation of the tale2 and 7#c7  the 
return from the child4        ,i4 ,,the 
,,teacher',s ,,preparation      #a4 ,the
 teacher's preparation must be concerned
 with a variety of  subjects4 ,the first
 rule to be observed is3 ,select the    
tale for some  purpose1 to meet a       

situation4 ,this purpose may be any one 
of the  elements of value which have    
been presented here under ,the ,worth of
  ,fairy ,tales4 ,the teacher must      
consider1 not only the possibilities of 
her subject-matter and what she wishes  
to accomplish through the  telling of   
the tale1 but also what the child's     
purpose will be in  listening4 ,she may 
select her tale specifically1 not just  
because it  contains certain interests1 
but because through those interests she 
can direct the child's activity toward  
higher interests4 ,she must  consider   
what problems the tale can suggest to   
the child4 ,she may  select her tale to 
develop habits in the child1 to clarify 
his  thinking1 to give a habit of memory
 or to develop emotion or  imagination4 
,she may select her tale just for fun1  
to give pure joy1  or to teach a        
definite moral lesson1 to make a selfish
 child see the  beauty of unselfishness 
or to impress an idea4 ,the ,story of   
,lazy  ,jack1 like the realistic        

,epaminondas1 will impress more deeply  
than  any word of exhortation1 the      
necessity for a little child to use the 
sense he was born with4    ,in the      
selection of the tale the teacher is up 
against the problem of  whether she     
shall choose her tale psychologically or
 logically4 ,as  this is the day of the 
psychologic point of view in education1 
the  teacher realizing this feels that  
she must select a tale for a  particular
 purpose1 according to the child's      
interests1 his needs1 and  the          
possibilities it offers for his         
self-activity and self-expression4      
,looking freely over the field she may  
choose any tale which satisfies  her    
purposes4 ,this is psychologic4 ,but in 
a year's work this choice of  a tale for
 a particular purpose is followed by    
successive choices  until she has       
selected a wide variety of tales giving 
exercise to many  forms of activity1    
establishing various habits of growth4  
,this method  of choice is the          

psychologic built up until1 in the hands
 of the  teacher who knows the subject1 
it becomes somewhat logical4 ,it is the 
method which uses the ability of the    
individual teacher1 alone and  unaided4 
,there is another method4 ,the teacher  
may be furnished with a  course of tales
 arranged by expert study of the full   
subject outlined  in large units of a   
year's work1 offering the literary      
heritage  possible to the child of a    
given age4 ,this is logical4 ,from this 
logical course of tales she may select  
one which answers to the  momentary     
need1 she may use it according to its   
nature1 to develop  habits1 to give     
opportunity for self-activity and       
self-expression1 and  to enter into the 
child's daily life4 ,this method of     
choice is the  logical1 which through   
use and adaptation has become           
psychologized4 ,it  uses the ability of 
the individual teacher in adaptation1   
not unaided  and alone1 but assisted by 
the concentrated knowledge and practice 

of  the expert4 ,such a logical course1 
seeking uniformity only by what it      
requires at the close of a year's work1 
would give to the individual  teacher a 
large freedom of choice and would bring 
into kindergarten  and elementary       
literature a basis of content demanding 
as much respect  as high school or      
college literature4 ,it is in no way    
opposed to  maintaining the child as the
 center of interest4 ,the teacher's     
problem  is to see that she uses the    
logical course psychologically4    #b4  
,having selected the tale then1 from a  
logical course1 and  psychologically for
 a present particular purpose1 the next 
step is3  ,know the tale4 ,know the tale
 historically1 if possible4 ,know it    
first as folk-lore and then as          
literature4 ,read several versions of   
the tale1 the original if possible1     
selecting that version which seems  most
 perfectly fitted to express what there 
is in the tale4 ,as  folk-lore1 study   
its variants and note its individual    

motifs4 ,note  what glimpses it gives of
 the social life and customs of a       
primitive  people4 ,the best way to     
dwell on the life of the story1 to      
realize it1  is to compare these motifs 
with similar motifs in other tales4 ,it 
has  been said that we do not see       
anything clearly until we compare it    
with  another2 and associating          
individual motifs of the tales makes the
  incidents stand out most clearly4     
,henny ,penny's walk appears more       
distinctly in association with that of  
,medio ,pollito or that of  ,drakesbill 
or of the ,foolish ,timid ,rabbit2 the  
fairy words in  ,sleeping ,beauty and   
the good things they bestowed upon      
,briar ,rose in  association with the   
fairy wand in ,cinderella and the good  
things it  brought her2 the visit of the
 ,wolf in ,the ,wolf and ,seven ,kids   
with  the visit of the ,wolf in ,three  
,pigs and of the ,fox in ,the ,little   
,rid ,hin4 ,it is interesting to note   
that a clog motif1 similar to the  motif

 of shoes in ,the ,elves and the        
,shoemaker1 occurs in the ,hindu        
,panch-,rhul ,ranee1 told in ,old       
,deccan ,days4    ,all the common motifs
 which occur in the fairy tales have    
been  classified by ,andrew ,lang under 
these heads3--          7#a7 ,bride or  
bridegroom who transgresses a mystic    
command4          7#b7 ,penelope        
formula2 one leaves the other and       
returns later4          7#c7 ,attempt to
 avoid ,fate4          7#d7 ,slaughter  
of monster4          7#e7 ,flight1 by   
aid of animal4          7#f7 ,flight    
from giant or wizard4          7#g7     
,success of youngest4          7#h7     
,marriage test1 to perform tasks4       
7#i7 ,grateful beasts4         7#aj7    
,strong man and his comrades4           
7#aa7 ,adventure with ,ogre1 and trick4 
7#ab7 ,descent to ,hades4         7#ac7 
,false bride4         7#ad7 ,bride with 
animal children4    ,from a less        
scientific view some of the common      
motifs noticeable in  the fairy tales1  

which however would generally fall under
 one of the  heads given by ,lang1 might
 be listed3--          7#a7 ,child      
wandering into a home2 as in ,three     
,bears and             ,snow ,white4    
7#b7 ,transformation2 simple1 as in     
,puss-in-,boots2 by            love1 as 
in ,beauty and the ,beast1 by sprinkling
 with            water1 as in ,beauty   
and the ,beast or by bathing1 as in     
,catskin2 by violence1 as in ,frog      
,prince and ,white            ,cat4     
7#c7 ,tasks as marriage tests2 as in    
,cinderella4          7#d7 ,riddle test2
 as in ,peter1 ,paul1 and ,espen2       
questions            asked1 as in ,red  
,riding ,hood4          7#e7 ,magic     
sleep2 as in ,sleeping ,beauty4         
7#f7 ,magic touch2 as in ,golden ,goose4
          7#g7 ,stupid person causing   
royalty to laugh2 as in ,lazy ,jack4    
7#h7 ,exchange2 as in ,jack and the     
,beanstalk4          7#i7 ,curiosity    
punished2 as in ,bluebeard and ,three   
,bears4         7#aj7 ,kindness to      

persons rewarded2 as in ,cinderella1    
,little            ,two-,eyes1 and ,the 
,house in the ,wood4         7#aa7      
,kindness to animals repaid2 as in      
,thumbelina1 ,cinderella1            and
 ,white ,cat4         7#ab7 ,industry   
rewarded2 as in ,elves and the          
,shoemaker4         7#ac7 ,hospitality  
rewarded2 as in ,tom ,thumb4            
7#ad7 ,success of a venture2 as in ,dick
 ,whittington4    ,after studying the   
tale as folk-lore1 know it as           
literature4 ,master it  as a classic1   
test it as literature1 to see wherein   
lies its appeal to  the emotions1 its   
power of imagination1 its basis of      
truth1 and its  quality of form2 study  
it as a short-story and view it as a    
piece of  narration4 ,it is rather      
interesting to note that you can get all
 there  is in a tale from any one point 
of view4 ,if you follow the sequence as 
setting1 through association you get the
 whole1 as may be seen by  referring to 
,chanticleer and ,partlet under the     

heading1 ,setting1  in the chapter on   
the ,short-,story4 ,or1 if you follow   
the successive  doings of the characters
 you get the whole1 as may be observed  
in the  story of ,medio ,pollito1       
described later in the ,animal ,tale in 
the  chapter1 ,classes of ,tales4 ,or if
 you follow the successive  happenings  
to the characters1 the plot1 you get the
 whole1 as may  appear in the outline of
 ,three ,pigs given in the chapter which
  handles ,plot4 ,note the beauty of    
detail and the quality of  atmosphere   
with which the setting surrounds the    
tale2 note the  individual traits of the
 characters and their contrasts2 observe
 how  what each one does causes what    
happens to him4 ,realize your story from
  the three points of view to enter into
 the author's fullness4 ,get a  good    
general notion of the story first4      
#c4 ,the next step is3 ,master the      
complete structure of the tale4 ,this   
is the most important step in the       
particular study of the tale1 for it  is

 the unity about which any perfection in
 the art of telling must  center4 ,to   
discern that repose of centrality which 
the main theme of  the tale gives1 to   
follow it to its climax and to its      
conclusion1  where poetic justice leaves
 the listener satisfied--this is the    
most  fundamental work of the           
story-teller4 ,the teacher must analyze 
the  structure of her tale into its     
leading episodes1 as has been           
illustrated in the handling of          
structure1 under the subject1 ,plot1  in
 the chapter on the ,short-,story4      
#d4 ,the next step is3 ,secure the      
message of the tale4 ,the message is    
what we wish to transmit1 it is the     
explicit reason for telling the  tale4  
,and one evidently must possess a       
message before one can give it4  ,as the
 message is the chief worth of the tale1
 the message should  dominate the       
telling and pervade its life4 ,a        
complete realization of  the message of 
the tale will affect the minutest       

details giving color  and tone to the   
telling1 and resulting so that what the 
child does  with the story will deepen  
the impression of the message he        
receives4    #e4 ,the next step is3     
,master the tale as form4 ,this means   
that if the  tale is in classic form1   
not only the message and the structure  
must  be transmitted1 but the actual    
words4 ,words are the artist's medium1  
,stevenson includes them in his pattern 
of style1 and how can we  exclude them  
if we wish to express what they have    
expressed8 ,a tale  like ,kipling's ,the
 ,elephant's ,child would be ruined     
without those  clinging epithets1 such  
as the wait-a-bit thorn-bush1 mere-smear
  nose1 slushy squshy mud-cap1          
,bi-,colored-,python-,rock-,snake1 and  
satiable curtiosity4 ,no one could      
substitute other words in this  tale2   
for contrasts of feeling and humor are  
so tied up with the words  that other   
words would fail to tell the real story4
 ,if an interjection  has seemed an     

insignificant part of speech1 note the  
vision of  tropical setting opened up by
 the exclamation1 ,o ,bananas6 ,where   
did  you learn that trick8 ,this is     
indeed a tale where the form is the     
matter1 the form and the message are one
 complete whole that cannot be          
separated4 ,but it is a proof that where
 any form is of sufficient  perfection  
to be a classic form1 you may give a    
modified tale by  changing it1 but you  
do not give the real complete tale4 ,you
 cannot  tell ,andersen's ,tin ,soldier 
in your own words2 for its sentences1   
its phrases1 its sounds1 its suggestive 
language1 its humor1 its  imagination1  
its emotion1 and its message1 are so    
intricately woven  together that you    
could not duplicate them4    ,when the  
fairy tale does not possess a settled   
classic form1 select1  as was mentioned1
 that version in which the language best
 conveys the  life of the story1        
improving it yourself1 if you can1 in   
harmony with  the standards of          

literature1 until the day in the future 
when the tale  may be fortunate enough  
to receive a settled form at the hands  
of a  literary artist4 ,sometimes a     
slight change may improve greatly an old
  tale4 ,in ,grimm's ,briar ,rose#a the 
episode of the ,prince and the old  ,man
 contains irrelevant material4 ,the two 
paragraphs following1 after  the lapse  
of many years there came a king's son   
into the country1  easily may be        
re-written to preserve the same unity   
and simplicity  which mark the rest of  
the tale4 ,this individual retelling of 
an old  tale demands a careful          
distinction between what is essential   
and  internal and what may have been    
added1 what is accidental and  external4
 ,the clock-case in ,the ,wolf and      
,seven ,kids evidently is not  a part of
 the original story1 which arose before 
clocks were in use1  and is a feature   
added in some ,german telling of the    
tale4 ,it may be  retained but it is not
 essential to the tale that it should   

be4 ,exact  conversations and bits of   
dialogue1 repetitive phrases1 rhymes1   
concrete words which visualize1 brief   
expressions1 and ,anglo-,saxon          
words--these are all bits of detail     
which need to be mastered in a  complete
 acquirement of the story's form1       
because these are  characteristics of   
the form which time has settled upon the
 old tales4  ,any literary form bestowed
 upon the tales worthy of the name      
literature1 will have to preserve these 
essentials4        ,,ii4 ,,the          
,,presentation ,,of ,,the ,,tale        
,in the oral presentation of the tale   
new elements of the teacher's           
preparation enter1 for here the voice is
 the medium and the teacher  must use   
the voice as the organist his keys4 ,the
 aim of the oral  presentation is to    
give the spiritual effect4 ,this        
requires certain  conditions of         
effectiveness--to speak with            
distinctness1 to give the  sense1 and to
 cause to understand2 and certain       

intellectual  requirements--to          
articulate with perfection1 to present  
successive  thoughts in clear outline1  
and to preserve relative values of      
importance4    ,the production of the   
proper effect necessitates placing in   
the  foreground1 with full expression1  
what needs emphasis1 and throwing  back 
with monotony or acceleration parts that
 do not need emphasis4 ,it  requires    
slighting subordinate1 unimportant      
parts1 so that one point  is made and   
one total impression given4 ,this       
results in that  flexibility and        
lightsomeness of the voice1 which is one
 of the most  important features in the 
telling of the tale4 ,the study of      
technique1  when controlled by these    
principles of vocal expression1 is not  
opposed to the art of story-telling any 
more than the painter's  knowledge of   
color is opposed to his art of painting4
 ,to obtain  complete control of the    
voice as an instrument of the mind1     
there is  necessary3 7#a7 training of   

the voice2 7#b7 exercises in breathing2 
7#c7  a knowledge of gesture2 and 7#d7 a
 power of personality4    7#a7 ,training
 of the voice4 ,this training aims to   
secure freedom of  tone1 purity of tone1
 fullness of tone1 variety of volume1   
and  tone-color4 ,it will include a     
study of phonetics to give correct      
pronunciation of sounds and a knowledge 
of their formation2 freeing  exercises  
to produce a jaw which is not set1 an   
open throat1 a mobile  lip1 and nimble  
tongue2 and exercises to get rid of     
nasality or  throatiness4 ,the art of   
articulation adds to the richness of    
meaning1  it is the connection between  
sound and sense4 ,open sounds are in    
harmony with joy1 and very distinct     
emotional effects are produced by       
arrangements of consonants4 ,the effect 
created by the use of the  vowels and   
consonants in ,the ,spider and the ,flea
 has already been  referred to under    
,setting4 ,the open vowels of n1 little 
,drumikin6  ,tum-p1 tum-too6 help to    

convey the impression of lightsome      
gaiety  in ,lambikin4 ,the effect of    
power displayed by ,then ,i'll huff and 
,i'll puff1 and ,i'll blow your house   
in1 is made largely by the sound  of the
 consonants ff and the n in the         
concluding in1 the force  of the rough u
 of huff and puff1 and the prolonged o  
in  blow4 ,the effect of walking is     
produced by the p of ,trip1  trap1 and  
of varied walking by the change of vowel
 from ui to  ua4 ,the action of ,i have 
come to gobble you up1 is emphasized    
and made realistic by the bb of gobble  
and the p of up4  ,attention to the     
power of phonics to contribute to the   
emotional force  and to the strength of 
meaning in the tale1 will reveal to the 
story-teller many new beauties4    7#b7 
,exercises in breathing4 ,training in   
breathing includes exercises  to secure 
the regulation of proper breathing      
during speech and to  point out the     
relation between breathing and voice    
expression4 ,the  correct use of the    

voice includes also ability to place    
tone4--,find out  your natural tone and 
tell the story in that tone4--,many of  
the  effects of the voice need to be    
dealt with from the inside1 not         
externally4 ,the use of the pause in    
story-telling is one of the  subtlest   
and most important elements that        
contribute to the final  effect4 ,the   
proper placing of the pause will follow 
unconsciously as a  consequence when the
 structure of the story is realized in  
distinct  episodes and the proper       
emphasis given mentally to the most     
important  details of action1 while less
 emphasis in thought is given to        
subordinate parts4 ,therefore1 the study
 of the pause must be made1 not         
artificially and externally1 but        
internally through the elements of  the 
story which produce the pause4          
,tone-color1 which is to ordinary       
speech what melody is to music--those   
varied effects of intonation1           
inflection1 and modulation--is to be    

sought1 not as a result from an         
isolated study of technique1 but from   
attention to those elements in          
association with the complete           
realization of the life of the story4   
,genuine feeling is worth more than mere
 isolated exercises to secure           
modulation1 and complete realization    
eliminates the necessity of  pretending 
to be4 ,the study of the fairy tale as  
literature1 as has  been indicated in   
the chapter on ,principles of           
,selection1 will  therefore be          
fundamental to the presentation of the  
tale4 ,entering  into the motives of the
 story gives action1 entering into the  
thought  gives form1 and entering into  
the feeling gives tone-color to the     
voice4 ,the sincere desire to share the 
thought will be the best aid to  bring  
expression4    7#c7 ,a knowledge of     
gesture4 ,the teacher must understand   
the laws of  gesture4 ,the body is one  
means of the mind's expression4 ,there  
is the  eloquence of gesture and of     

pose4 ,the simplest laws of gesture may 
be  stated3--         7a7 ,all gesture  
precedes speech in proportion to the    
intense realization of emotion4         
7b7 ,all expression begins in the face  
and passes to some           other agent
 of the body in proportion to the       
quality           ,of the emotion4 ,the 
eye leads in pointing4         7c7      
,hands and arms remain close to the body
 in gesture           when intensity of 
emotion is controlled4    ,in regard to 
gesture1 a ,children's ,library         
pamphlet1 dealing with the  purpose of  
story-telling1 has said1 ,the object of 
the story-teller is  to present the     
story1 not in the way advocated usually 
in the schools1  but to present it with 
as little dramatic excitement and       
foreign  gesture as possible1 keeping   
one's personality in the background and 
giving all prominence to the story      
itself1 relying for interest in the     
story alone4 ,the schools have perhaps  
been misinterpreted4 ,it is  clear that 

only that personality is allowable which
 interprets truly  the story's life4    
,the listening child must be interested 
in the life  of the story1 not in the   
story-teller2 and therefore gesture1    
tone1 or  sentiment that is individual  
variation and addition to the story     
itself1 detracts from the story1 is     
foreign to its thought1 and  occupies a 
wrong place of prominence4 ,it is       
possible to tell a story1  however1 just
 as the author tells it1 and yet give it
 naturally by  realizing it             
imaginatively and by using the voice and
 the body  artistically1 as means of    
expression4    7#d7 ,a power of         
personality4 ,what rules shall be given 
for the making  of that personality     
which is to bring with it force in the  
telling of  the tale and which must     
override phonetics1 inflection1 and     
gesture8    ,the very best help towards 
acquiring that personality which is the 
power of story-telling1 is to have a    
power of life gained through the        

experience of having lived2 to have a   
power of emotion acquired  through the  
exercise of daily affairs2 a power of   
imagination won from  having dwelt upon 
the things of life with intentness1 a   
power of  sympathy obtained from seeing 
the things of others as you meet them   
day by day2 and a first-hand knowledge  
of the sights and sounds and  beauties  
of ,nature1 a knowledge of bird and     
flower1 tree and rock1  their names and 
some of their secrets--knowledge        
accumulated from  actual contact with   
the real physical world4 ,this power of 
life will  enable the story-teller to   
enter1 at the same time1 into the life  
of  the story she tells1 and the life of
 those listening1 to see the gift  of   
the one and the need of the other4      
,the ideal position for the story-teller
 is to be seated opposite the  center of
 the semicircle of listeners1 facing    
them4 ,the extreme  nearness of the     
group1 when the teller seeks the fingers
 of the  listeners to add force to the  

telling1 seems an infringement upon the 
child's personal rights4 ,a strong      
personality will make the story go  home
 without too great nearness and will    
want to give the children a  little room
 so that their thoughts may meet hers   
out in the story4    ,suggestions for   
telling4 ,now that the teacher is ready 
to speak1 her  first step in the art of 
story-telling1 which is the first step  
in the  art of any teaching1 which lies 
at the very foundation of teaching1     
which is the most important step1 and   
which is the step that often is         
neglected1 is the establishing of the   
personal relation between  herself and  
the listener4 ,this is one of those     
subtleties which  evades measuring1 but 
its influence is most lasting4 ,it is   
the setting  to the whole story of      
teaching4 ,it must play so important a  
part  because1 as teacher and listener  
are both human beings1 there must be    
between them a common bond of humanity4 
,how do you wish to appear to  this     

group of listeners8 ,as a friend to be  
trusted1 a brother or  sister to give   
help1 or as a good comrade to be played 
with2 as  master1 expert1 leader1 or    
servant8 ,if you wish to be as real and 
forceful as the characters in your      
story1 you must do something which  will
 cause the personal relation you desire1
 to be established2 and  moreover1      
having established it1 you must live up 
to it1 and prove no  friend without     
faith4 ,you must do this before you     
presume to teach or  to tell a story4   
,you need not do it before each         
individual story you  present to a group
 you meet often2 you may do it so       
effectively1 with  a master-stroke1 at  
the beginning when you first meet your  
class1 that  all you need do at         
successive meetings will be but to add  
point to  your first establishment4     
,a student-teacher1 in telling a story  
to a group of kindergarten  children who
 were complete strangers1 and telling it
 to them as they  sat in a semicircle in

 front of her comrades1 adult students1 
established this personal relation by   
beginning to tell the little  children  
her experience with the first telling of
 ,three ,bears to a  little girl of     
four3--,seated before a sand-box in the 
yard1 after  hearing the story of ,three
 ,bears1 ,m---- had been asked1         
,wouldn't  this be a good time for you  
to tell me the story8 ,in reply1 she    
paused1 and while the story-teller was  
expecting her to begin1  suddenly said1 
,do you think ,m----'s big enough for   
all that8 and  refused to tell a word4  
,then turning to the group before her1  
the  student-teacher made the direct    
appeal4 ,but you are the biggest  little
 people in the kindergarten1 and you    
wouldn't treat a story like  that1 would
 you8 ,the children1 through the        
personal picture of  friendly           
story-telling with a little child1 that 
paralleled their own  situation         
somewhat1 immediately felt at home with 
the teller2 it was  just as if they were

 the same intimate friends with her that
 the  little girl portrayed to them was4
 ,the human bond of good comradeship    
and intimacy was established4 ,in the   
direct appeal at the end1 the  children 
were held up to an ideal they dare not  
disappoint1 they must  live up to their 
size1 be able to get the story1 and be  
the biggest  little people in the       
kindergarten by showing what they could 
do with  it4 ,again there was an        
undefined problem thrown at them1 as it 
were--an element of wonder4 ,they did   
not know just what was coming and  they 
were mentally alert1 waiting1 on the    
lookout4 ,the way for the  story was    
open4--,this is what you want1 for no   
matter how perfect a  gem of folk-lore  
you tell1 it will fall heedless if the  
children do  not listen to it4    ,the  
second step in the art of story-telling 
is one which grows  naturally out of    
this first step4 ,this second step1 to  
put the story  in a concrete situation  
for the child1 to make the connection   

between  the child and the literature   
you present1 is the one which displays  
your unique power as an artist4 ,it is  
the step which often is omitted  and is 
the one which exercises all your        
individual ability and  cleverness4 ,it 
is the step which should speak comfort  
to the eager  teacher of to-day1 who is 
compelled to stand by1 ,montessori      
fashion1  while many changing           
conceptions say to her3 ,hands off6 ,it 
is not what  you do that helps the child
 develop2 it is what he himself does6   
,here  at least is one of the teacher's 
chances to act4 ,this step is the       
opening of the gateway so that the story
 you are about to tell may  enter into  
the thoughts of your listeners4 ,it is  
your means to  organize the tale in the 
child's life4 ,if in the school program 
you  permit nature study1 representing  
the central interest1 to occupy the     
place of main emphasis1 and if the game1
 occupation1 and song work is  related  
to the child's life1 this organization  

of the child's tale in  his life will be
 accomplished naturally4    ,in the     
example cited above1 both the           
establishment of the personal  relation 
and the placing of the story in a       
concrete situation1 were  managed partly
 at the one stroke4 ,your best help to  
furnish a concrete  situation will be to
 preserve at the one end a sympathy for 
the life  of your story and at the other
 to perceive the experience of the      
children in the listening group4 ,seeing
 both at once will result in a          
knowledge of what the children need most
 to make the story go home4 ,if  your   
children are good enough1 and you and   
they sufficiently good  friends to bear 
the fun of pantomime and the gaiety of  
hilarity1  asking several boys1 as they 
walk across the room before the         
children1  to imitate some animals they 
had seen at a circus1 and getting the   
children to guess the animal represented
 until they hit upon the  elephant1     
would put certain children in a spirit  

of fun that would be  exactly the       
wide-awake brightness and good humor    
needed to receive the  story of ,the    
,elephant's ,child4 ,you can get        
children best into the  story-telling   
mood by calling up ideas in line with   
the story4 ,in the  case of the story   
cited above1 under the establishment of 
the personal  relation1 the story1 ,the 
,bremen ,town ,musicians1 was related to
 the  child's experience by a few       
questions concerning kinds of music he  
knew1 and what musician and kind of     
music the kindergarten had4 ,in  telling
 ,andersen's ,tin ,soldier you must call
 up experience  concerning a soldier1   
not only because of the relation of the 
toy to  the real soldier1 but because   
the underlying meaning of the tale is   
courage1 and the emotional theme is     
steadfastness4 ,and to preserve the     
proper unity between the tale and the   
telling of it1 the telling must  center 
itself in harmony with the message of   
the tale1 its one  dominant impression  

and its one dominant mood4    ,every    
story told results in some return from  
the child4 ,the teacher1  in her        
presentation1 must conceive the child's 
aim in listening4  ,this does not mean  
that she forces her aim upon him4 ,but  
it does mean  that she makes a mental   
list of the child's own possible        
problems that  the tale is best suited  
to originate1 one of which the child    
himself  will suggest4 ,for the return  
should originate1 not in imitation of   
what the teller plans1 but              
spontaneously1 as the child's own plan1 
answering to some felt need of his4 ,but
 that does not prevent the  story-teller
 from using her own imagination1 and    
through it1 from  realizing what        
opportunities for growth the story      
presents1 and what  possible activities 
ought to be stimulated4 ,a good guide   
will keep  ahead of the children1 know  
the possibilities of the material1 and  
by  knowledge and suggestion lead them  
to realize and accomplish the plans     

they crudely conceive4 ,a consideration 
of these plans will modify the  telling 
of the tale1 and should be definitely   
thought about before the  telling of the
 tale4 ,a story told definitely to      
stimulate in the  children              
dramatization1 will emphasize action and
 dialogue2 while one  told to stimulate 
the painting of a water-color sketch1   
will emphasize  the setting of the tale4
    ,the telling of the tale4 ,with this
 preparation1 directions seem  futile4  
,the tale should tell itself naturally4 
,you must begin at the  beginning1 as   
your tale will if you have selected a   
good one4 ,you must  tell it simply1 as 
your tale will have simplicity if it is 
a good one1  and your telling must be in
 harmony with the tale you tell4 ,you   
will  tell it with joy2 of course1 if   
there is joy in it1 or beauty1 which  is
 a joy forever1 or if you are giving joy
 to your listeners4 ,tell  it1 if       
possible1 with a sense of bestowing a   
blessing1 and a delicate  perception of 

the reception it meets in the group     
before you1 and the  pleasure and       
interest it arouses in them1 so that in 
the telling there  is that human setting
 which is a quickening of the spirit and
 a union  of ideas1 which is something  
quite new and different from the story1 
yet born of the story4    ,the          
re-creative method of story-telling4    
,this preparation for telling  here     
described will result in a fundamental  
imitation of the author of  the story4  
,by participating in the life of the    
story2 by realizing it  as folklore2 by 
realizing it as literature--its emotion1
 its  imagination1 its basis of truth1  
its message1 its form2 by paying        
conscious attention to the large units  
of the structure1 the exact  sequence of
 the plot1 the characters1 and the      
setting1 the particular  details of     
description1 and the unique word--the   
story-teller  reproduces the author's   
mode of thinking4 ,she does with her    
mind what  she wishes the child to do   

with his4 ,with the very little child in
 the  kindergarten and early first      
grade1 who analyzes but slightly1 this  
results consciously in a clear notion of
 the story1 which shows itself  in the  
child's free re-telling of the story as 
a whole4 ,he may want to  tell the story
 or he may not4 ,usually he enjoys      
re-telling it after  some lapse of time2
 perhaps he tells it to himself1        
meanwhile4 ,with  the older child1 who  
analyzes more definitely1 this results  
in a  retelling which actually          
reproduces the teller's mode of         
thinking4 ,if  persisted in1 it gives to
 one's mode of thinking1 the story-mode1
  just as nature study gives to life the
 nature point of view4 ,this mode  of   
thinking is the mode of re-creation1 of 
realization4 ,it  re-experiences the    
life1 it reaches the processes of the   
mind1 and  develops free mind movement4 
,it is a habit of thinking1 and is at   
the  basis of reading1 which is thinking
 through symbols2 at the basis of  the  

memorization of poetry1 which must first
 see the pictures the poet  has         
portrayed2 it is the best help toward   
the adult study of  literature1 and the 
narration of history and geography4 ,it 
is the  power to conceive a situation1  
which is most useful in science1        
mathematics1 and the reasoning of logic4
 ,for1 says ,professor ,john  ,dewey1   
the mind which can make independent     
judgments1 look at facts  with fresh    
vision1 and reach conclusions with      
simplicity1 is the  perennial power in  
the world4    ,this re-creative method  
of fundamental imitation was illustrated
 in the  telling of ,andersen's         
,princess and the ,pea1 in a            
student-teacher's  class3         ,the  
story was told by the ,professor4 ,after
 the telling of       the story it was  
decided to have the story told again1   
but       this time in parts and by     
those who had listened1 in such a       
way that it would seem as if one person 
were telling the       whole story4     

,the ,professor named the first part of 
the story4 ,a student       was asked to
 tell the story from the beginning to   
the end       of the ,prince's coming   
home again1 sad at heart4 ,another      
student told the second part1 beginning 
with the storm and       ending with    
what the old ,queen thought4 ,a third   
student       told the third part1      
beginning with the next morning and     
ending with the close of the story1 ,now
 this is a true       story4            
,the ,professor next asked students to  
think over the entire       story1 to   
see if each student could find any weak 
places in       the remembering of the  
story4 ,several students reported       
difficulty--one failed to remember the  
exact description of       the storm4 ,a
 number of details were thus filled in1 
in the       exact words of the author4 
,after this intimate handling of        
the separate parts of the story1 a final
 re-telling by one                      
student--omitted in this case because of

 lack of time--would       bring        
together what had been contributed by   
individual       students1 and would    
represent the final re-creation of the  
entire story4    ,the simplicity of this
 selection1 the simplicity of the plot1 
the few  characters1 the literary art of
 the story1 the skillful use of the     
unique word1 the art of presenting      
distinct pictures by means of vivid     
words1 through suggestion rather than   
through illustration1 together  with the
 delicate humor that hovered about the  
tale1 and the art of  the ,professor's  
telling--all combined in the final      
effect4 ,the  re-telling of the story in
 parts accomplished the analysis of the 
story into three big heads3         7#a7
 ,from ,the ,prince who wanted a real   
,princess 444 to his           return   
home4         7#b7 ,from ,the storm1 one
 dark evening 444 to what the old ,queen
           thought4         7#c7 ,from  
,what the ,queen did next morning 444 to
 the end of the           story4    ,in 

the analysis of the story into parts1   
telling exactly what happened  gave the 
framework of the story1 gave its basis  
of meaning4 ,telling it  in three steps 
gave a strong sense of sequence and a   
vivid conception  of climax4--,if the   
division into parts for re-telling      
corresponds with  the natural divisions 
of the plot into its main episodes1 this
 telling  in steps impresses the        
structure of the tale and is in harmony 
with  the real literary mastery of the  
story4--,the re-telling of each part    
drew attention to the visualization of  
that part4 ,each hesitation on  behalf  
of a student telling a part1 led the    
class to fill in the  details for       
themselves1 and impressed the           
remembrance of the exact  words of the  
author4 ,this resulted in the mastery of
 each part through  a visualization of  
it4 ,hand in hand with the visualization
 came the  feeling aroused by the       
realization4 ,this was more easily      
mastered  because changes of feeling    

were noticeable in passing from one part
 of  the story to another4    ,after a  
mastery of the structure of the story   
through analysis1 after  a mastery of   
the thought1 imagination1 and feeling of
 the story1 after  a mastery of the     
form1 and the exact words of the author 
in the  description of details embodied 
in that form1 the story is possessed  as
 the teller's own1 ready to be given1   
not only to bestow pleasure1  as in this
 case1 but often to transmit a message  
of worth and to  preserve a classic     
form4    ,the ,foolish ,timid ,rabbit1 a
 ,jataka tale1 might be prepared for    
telling by this same re-creative method 
of story-telling4 ,it  must be          
remembered--and because of its          
importance it will bear                 
repetition1--that the separation of the 
story-structure into parts for  separate
 telling should always be in harmony    
with the divisions of the  plot so that 
there may be no departure from the      
author's original mode  of thinking1 and

 no break in the natural movement of    
sequence4 ,a  separation of the tale    
into parts for re-telling would result  
in the  following analysis3--           
7#a7 ,rabbit asleep under a palm tree   
444 to his meeting           hundreds of
 ,rabbits4         7#b7 ,rabbits met a  
,deer 444 to when the ,elephant joined  
them4         7#c7 ,lion saw the animals
 running 444 to when he came to         
the ,rabbit who first had said the earth
 was all breaking up4         7#d7 ,lion
 asked the ,foolish ,rabbit1 ',is it    
true the earth is           all breaking
 up1' 444 to end of the story1 ',and    
they all           stopped running4'    
,after the re-telling of these parts1   
each part should be filled in  with the 
exact details so that in the final      
re-telling practically the  whole tale  
is reproduced4 ,this is a very good tale
 to tell by this  method because the    
theme is attractive1 the plot is simple1
 the  sequence a very evident movement1 
the characters distinctive1 the  setting

 pleasing and rather prominent1 and the 
details sufficiently  few and separate  
to be grasped completely4 ,the final    
re-telling  therefore may be            
accomplished readily as a perfected     
result of this  method of telling a     
tale4    ,during the telling1 the charm 
here is in preserving the typical bits  
of dialogue1 giving to the ,lion's words
 that force and strength and  sagacity  
which rank him the ,king of the ,beasts4
 ,one must feel clearly  the message and
 make this message enter into every part
 of the  telling3 ,that the ,lion showed
 his superior wisdom by making a stand  
and asking for facts1 by accepting only 
what he tested2 while the  ,rabbit      
showed his credulity by foolishly       
accepting what he heard  without testing
 it4    ,adaptation of the fairy tale4  
,sometimes1 in telling a story one      
cannot  tell it exactly as it is4 ,this 
may be the case when the story is too   
long for a purpose1 or if it contains   
matter which had better be  omitted1 or 

if it needs to be amplified4 ,in any    
case one must follow  these general     
rules3--         7#a7 ,preserve the     
essential story from a single point of  
view4         7#b7 ,preserve a clear    
sequence with a distinct climax4        
7#c7 ,preserve a simplicity of plot and 
simple language4    ,in shortening a    
long story one may3         7#a7        
,eliminate secondary themes4            
7#b7 ,eliminate extra personages4       
7#c7 ,eliminate passages of description4
         7#d7 ,eliminate irrelevant     
events4    ,it has been the practice to 
adapt such stories as ,andersen's ,ugly 
,duckling and ,ruskin's ,king of the    
,golden ,river4 ,in the ,king of the    
,golden ,river the description of       
,treasure ,valley could be condensed    
into a few sentences and the character  
of ,south ,west ,wind omitted2 and  in  
,the ,ugly ,duckling1 passages of       
description and bits of philosophy      
might be left out4 ,but there is no     
reason why literature in the  elementary

 school should be treated with          
mutilation4 ,these stories are  not     
suited to the kindergarten or first     
grade and may be reserved for  the third
 and fourth grades where they may be    
used and enjoyed by the  children as    
they are4 ,andersen's ,thumbelina might 
be adapted for  kindergarten children   
because it is suitable for them yet it  
is very  long4 ,it could easily be      
analyzed into its leading episodes1 each
  episode making a complete tale1 and   
one or more episodes be told at  one    
time4 ,this would have the added        
attraction for the child of having  one 
day's story follow naturally the        
preceding story4 ,adapted thus1  the    
episodes would be3--         7#a7       
,thumbelina in her ,cradle4         7#b7
 ,thumbelina and the ,toad4         7#c7
 ,thumbelina and the ,fishes4           
7#d7 ,thumbelina and the ,cockchafer in 
the tree4         7#e7 ,thumbelina and  
the ,field-,mouse4         7#f7         
,thumbelina and the ,mole4         7#g7 

,thumbelina and the ,swallow4           
7#h7 ,thumbelina as ,queen of the       
,flowers4    ,andersen's ,snow ,man as  
adapted for the kindergarten would      
require  the episode of the lover       
omitted4 ,it is irrelevant1 not         
essential to  the story1 and is an      
illustration of the sentimental1 which  
must be  omitted when we use ,andersen4 
,to omit this episode one would cut out 
from ',that is wonderfully beautiful1'  
said a young girl1 to the end  of ',why1
 they belong to the ,master1' retorted  
the ,yard ,dog4          ,,iii4 ,,the   
,,return ,,from ,,the ,,child#b         
,the telling of the fairy tale is one   
phase of the teacher's art4 ,and  it is 
maintained that fairy tales are one     
portion of subject-matter  suited to    
accomplish the highest greatness of the 
teaching art4 ,for  teaching is an art1 
an art of giving suggestions1 of bearing
  influences1 of securing adjustments1  
an art of knowing the best and of       
making it known4 ,the material the      

artist works upon is the living  child4 
,the medium the artist uses is          
subject-matter4 ,in the process  the    
artist must ask1 ,what new connections  
or associations am ,i  establishing in  
the child8 ,to what power of curiosity  
and of  problem-solving do these        
connections and associations lead8 ,the 
ideal  which guides the teacher is the  
child's best self as she can interpret  
him4 ,this ideal will be higher and     
larger than the child himself can  know4
 ,in the manipulation of subject-matter1
 through the practical  application of  
principles1 the artist aims to have the 
child awake1  inquire1 plan1 and act1 so
 that under her influences he grows by  
what  he thinks1 by what he feels1 by   
what he chooses1 and by what he         
achieves4    ,teaching will be good art 
when the child's growth is a perfect fit
 to  the uses of his life1 when         
subject-matter brings to him influences 
he  needs and can use4 ,teaching will be
 good art when it breaks up old  habits1

 starts new ones1 strengthens good      
traits1 and weakens bad  ones2 when it  
gives a new attitude of cheerfulness in 
life or of  thoughtfulness for others or
 of reason in all things4 ,it will be   
good  art when under it the child wants 
to do something and learns how to  do   
it4 ,teaching will be great art when    
under it the child continually  attains 
self-activity1 self-development1 and    
self-consciousness1 when  he continually
 grows so that he may finally contribute
 his utmost  portion to the highest     
evolution of the race4 ,teaching will be
 great  art when it touches the emotions
 of the child1--when history calls      
forth a warm indignation against wrong1 
when mathematics strengthens a  noble   
love of truth or literature creates a   
strong satisfaction in  justice4 ,this  
is the poetry of teaching1 because mere 
subject-matter  becomes a criticism of  
life4 ,teaching will be great art when  
you1 the  teacher1 through the humble   
means of your presentation of           

subject-matter1 furnish the child at the
 same time with ideas1  perceptions1 and
 opinions which are your personal       
criticism of life4  ,teaching will be   
great art when you1 the teacher1 have   
worked up into  your own character a    
portion of life which is of value1 so   
that the  child coming in touch with you
 knows an influence more powerful than  
anything you can do or say4 ,teaching   
will then awaken in the child a  social 
relation of abiding confidence1 of      
secure trust1 of faith  unshakable4 ,and
 this relation will then create for the 
teacher the  obligation to keep this    
trust inviolable1 to practice daily1    
noblesse  oblige4 ,teaching will be     
great art when with the subject-matter  
the  artist gives love1 a great         
universal kindness that thinks not of   
itself but1 being no respecter of       
persons1 looks upon each child in  the  
light of that child's own best          
realization4 ,this penetrating          
sympathy1 this great understanding1 will

 call forth from the child an  answering
 love1 which grows daily into a larger  
humanity of soul until  the child1 in   
time too1 comes to have a universal     
sympathy4 ,this is  the true greatness  
of teaching4 ,this it is which brings   
the child into  harmony with the ,divine
 love which speaks in all ,god's        
handiwork and  brings him into that     
unity with ,god which is the mystery of 
,froebel's  teaching4    ,during the    
story-telling one must ask1 ,in all this
 what is the part  the child has to     
play8 ,in the telling the teacher has   
aimed to give  what there is in the     
tale4 ,the child's part is to receive   
what there  is in the tale1 the emotion1
 the imagination1 the truth1 and the    
form  embodied in the tale4 ,the content
 of feeling1 of portrayal1 of truth1    
and of language he receives1 he will in 
some way transmit before the  school day
 is ended1 even if in forms obscure and 
hidden4 ,long years  afterwards1 he may 
exhibit this same emotion1 imagination1 

truth and  form1 in deeds that proclaim 
loudly the return from his fairy tales4 
,however1 if the child is being         
surrounded by pragmatic influences      
through his teachers he will soon become
 aware that his feelings are  useless   
unless he does something because of     
them2 that what he sees is  worthless   
unless he sees to some purpose2 that it 
is somewhat  fruitless to know the truth
 and not use it2 and if words have in   
their  form expressed the life of the   
tale1 he is more dead than words not to 
express the life that teems within his  
own soul4 ,the little child  grows      
gradually into the responsibility for   
action1 for expression1  into a         
consciousness of purpose and a knowledge
 of his own problems4  ,but each        
opportunity he is given to announce his 
own initiative breaks  down the         
inhibition of inaction and aids him to  
become a free  achieving spirit4 ,as the
 child listens to the tale he is a      
thinking  human creature2 but in the    

return which he makes to his tale he    
becomes a quickened creator4 ,the use   
which he makes of the ideas he  has     
gained through his fairy tales1 will be 
the work of his creative  imagination4  
,fairy tales1 though perfectly ordinary 
subject-matter1 may become the  means of
 the greatest end in education1 the     
development in the child  of the power  
of consciousness4 ,the special appeal to
 the various  powers and capacities of  
the child mind1 such as emotion1        
imagination1  memory1 and reason1 here  
have been viewed separately4 ,but in    
life  action the mind is a unit4        
,thinking is therefore best developed   
through subject-matter which focuses the
 various powers of the child4  ,the one 
element which makes the child manipulate
 his emotion1  imagination1 memory1 and 
reason1 is the presence of a problem4   
,the  problem is the best chance for the
 child to secure the adjustment of      
means to ends4 ,this adjustment of means
 to ends in a problem  situation1 is    

real thinking and is the use of the     
highest power of  which man is capable1 
that of functional consciousness4 ,the  
real need  of doing things is the best  
element essential to the problem4       
,through  a problem which expresses such
 a genuine need1 to learn to know       
himself1 to realize his capacities and  
his limitations1 and to secure  for     
himself the evolution of his own        
character until it adapts1 not  itself  
to its environment1 but its environment 
to its own uses and  masters            
circumstances for its own purposes--this
 is the high hill to  which education   
must look1 from which cometh its        
strength4 ,the  little child1 in        
listening to a fairy tale1 in seeing in 
it a problem  of real need1 and in      
working it out1 may win some of this    
strength4 ,we  have previously seen that
 fairy tales1 because of their universal
  elements1 are subject-matter rich in  
possible problems4    ,during the       
story-telling what is the part the child

 has to play8 ,the  part of the child in
 all this may be to listen to the story 
because he  has some problem of his own 
to work out through the literature1     
because he has some purpose of his own  
in listening1 because he enjoys  the    
story and wishes to find out what there 
is in it1 or because he  expects it to  
show him what he may afterwards wish to 
do with it4 ,in  any case the child's   
part is to see the characters and what  
they do1  to follow the sequence of the 
tale1 and to realize the life of the    
story through the telling4 ,he may have 
something to say about the  story at the
 close of the telling1 he may wish to   
compare its motifs  with similar motifs 
in other tales1 or he may wish to talk  
about the  life exhibited by the story4 
,the various studies of the curriculum  
every day are following more closely the
 ,greek ideal and giving the  child     
daily exercise to keep the channels of  
expression free and open4  ,and when the
 well-selected fairy tale which is art  

is told1 through  imitation and         
invention it awakens in the child the   
art-impulse and  tends to carry him from
 appreciation to expression4 ,if before 
the  telling the story-teller has asked 
herself1 ,what variety of creative      
reaction will this tale arouse in the   
child8 and if she has told the  story in
 the way to bring forward the best      
possibility for creative  reaction the  
nature of the tale affords1 she will    
help to make clear  to the child what he
 himself will want to do with the story4
 ,she will  help him to see a way to use
 the story to enter into his everyday   
life4 ,the return of creative reaction  
possible to the child will be  that in  
harmony with his natural instincts or   
large general interests4  ,these        
instincts1 as indicated by ,professor   
,john ,dewey1 in ,the ,school  and      
,society1 are3--         7#a7 the       
instinct of conversation or             
communication2         7#b7 the instinct
 of inquiry or finding out things2      

7#c7 the instinct of construction or    
making things2 and         7#d7 the     
instinct of artistic expression or of   
imitating and           combining       
things4    7#a7 ,the instinct of        
conversation4 ,the little child likes to
 talk4 ,if  you have ever listened to a 
little girl of five artlessly proceeding
  to tell a story1 such as ,little      
,black ,sambo1 which she had gathered   
from looking at a neighbor's book1 but  
which she had not yet mastered          
sufficiently to grasp its central theme1
 reiterating the particular  incidents  
with the enthusiasm and joy and         
narrative tone of the  story-teller1 you
 realized how the child likes to talk4  
,for there  appeared the charm of the   
story-telling mode distinct from the    
story  it told4    ,because of this     
instinct of conversation one form of    
creative reaction  may be language      
expression4 ,the oral reproduction of   
the story  re-experiences the story     
anew4 ,the teacher may help here by     

creating a  situation for the           
re-telling4 ,a teacher might put a      
little foreign boy  through rapid paces 
in learning ,english by selecting a     
story like ,the  ,sparrow and the ,crow 
and by managing that in the re-telling  
the  little foreigner would be the ,crow
 who makes the repetitive speeches1  who
 must go to the ,pond and say3--        
,your name1 sir1 is ,pond       ,and my 
name is ,crow1       ,please give me    
some water1       ,for if you do so     
,i can wash and be neat1       ,and the 
nice soup can eat1       ,though ,i     
really don't know       ,what the       
sparrow can mean1       ,i'm quite sure1
 as crows go1       ,i'm remarkably     
clean4    ,as the ,crow must go to the  
,deer1 the ,cow1 the ,grass1 and the    
,blacksmith1 and each time varies the   
beginning of his speech1 four  other    
children could represent the ,crow      
successively1 thus bringing in  a social
 element which would relieve any one    
child's timidity4 ,by that  time any    

group of children would realize the fun 
they could get by  playing out the      
simple tale2 and there would be         
petitions to be the  ,deer1 the ,cow1   
etc4 ,if the teacher sees that the      
characters place  themselves as they    
should1 carry out the parts naturally1  
and that the  ,crow begs with the       
correct rhyme1 she is performing her    
legitimate  task of suggestion and      
criticism that works toward developing  
from the  first attempts of children1 a 
good form in harmony with the story4    
,here1 while there is free play1 the    
emphasis is on the speeches of  rhyme1  
so that the reaction is largely a       
language expression4 ,the  language     
expression is intimately related to all 
varieties of  expression of which the   
child is capable1 and may be made to    
dominate  and use any of them1 or be    
subordinated to them4    ,a most        
delightful form of creative reaction    
possible to the child in  language      
expression1 is the formation of original

 little stories  similar to the ,toy    
,stories written by ,carolyn ,bailey for
 the  ,kindergarten ,review during      
#aiae4 ,a story similar to ,the ,little 
,woolly ,dog might be originated by the 
little child about any one of  his toys4
 ,this would be related to his work with
 fairy tales because  in such a story   
the child would be imitating his        
accumulative tales2  and the adventures 
given the toy would be patterned after  
the familiar  adventures of his tales4  
,a form of creative reaction1 which will
 be a part of the language  return given
 by the first-grade child from the      
telling of the tale1  will be his       
reading of the tale4 ,when the child    
re-experiences the  life of the story as
 has been described1 his mental         
realization of it  will be re-creative1 
and his reading the tale aloud          
afterwards will be  just as much a form 
of re-creative activity as his          
re-telling of the  tale4 ,the only      
difference is1 that in one case the     

re-creative  activity is exercised by   
thinking through symbols1 while in the  
other  case it is employed without the  
use of a book4 ,this concentration on   
the reality brings about the proper     
relation of reading to literature4  ,it 
frees literature from the slavery to    
reading which it has been made  to      
serve1 yet it makes literature          
contribute more effectively toward  good
 reading than it has done in the past4  
7#b7 ,the instinct of inquiry4 ,no more 
predominating trait proclaims  itself in
 the child than the instinct of inquiry4
 ,every grown-up  realizes his habit of 
asking questions1 which trait ,kipling  
has  idealized delightfully in ,the     
,elephant's ,child4 ,we know also that  
the folk-tale in its earliest beginnings
 was the result of primitive  man's     
curiosity toward the actual physical    
world about him1 its sun  and sky1 its  
mountain and its sea4 ,the folk-tale    
therefore is the  living embodiment of  
the child's instinct of inquiry         

permanently  recorded in the adventures 
and surprises of the folk-tale          
characters4  ,and because the folk-tale 
is so pervaded with this quest of the   
ages  in search of truth1 and because   
the child by nature is so deeply        
imitative1 the folk-tale inherently     
possesses an educational value to  stir 
and feed original impulses of           
investigation and experiment4 ,this  is 
a value which is above and beyond its   
more apparent uses4    ,in the creative 
reaction to be expected from the child's
 use of fairy  tales the expression of  
this instinct of investigation unites   
with the  instinct of conversation1 the 
instinct of construction1 and the       
instinct of artistic expression4 ,in    
fact1 it is the essence of  creative    
reaction in any form1 whether in the    
domain of the ,industrial  ,shop1 the   
,domestic ,science ,kitchen1 the        
,household ,arts' ,sewing-,room1  or the
 ,fine ,arts' ,studio4 ,to do things and
 then see what happens1 is  both the    

expression of this instinct and the     
basis of any creative  return the child 
makes through his handling of the fairy 
tale4 ,in the  formation of a little    
play such as is given on page #adi1 the 
instinct  of conversation is expressed  
in the talk of the ,trees to the little 
,bird4 ,but this talk of the ,trees also
 expresses doing things to see  what    
happens2 each happening to the ,bird1   
each reply of a ,tree to the  ,bird1    
influences each successive doing of the 
,bird4 ,after the ,story of  ,medio     
,pollito all the child's efforts of     
making ,little ,half-,chick  into a     
weathervane and of fixing the directions
 to his upright shaft1  will be         
expressions of the search for the       
unknown1 of the instinct of  experiment4
 ,after the story of ,the ,little       
,elves1 the dance of the  ,elves to the 
accompaniment of music will represent an
 expression of  the artistic instinct2  
but it also represents expression of the
  instinct for the new and the untried4 

,after the dance is finished the  child 
has seen himself do something he had not
 done before4 ,this union  of the       
instinct of inquiry with that of        
artistic expression shows  itself most  
completely in the entire dramatization  
of a fairy tale4    7#c7 ,the instinct  
of construction4 ,in his industrial work
 the very  youngest child is daily      
exercising his active tendency to make  
things4 ,in the kindergarten he may make
 the toy with which he plays1  the      
doll-house and its furnishings1 small   
clay dishes1 etc4 ,in  the first grade  
he may make small toy animals1 baskets1 
paper hats1  card-board doll-furniture1 
little houses1 book-covers1 toys1 etc4  
,self-expression1 self-activity1 and    
constructive activity would all  be     
utilized1 and the work would have more  
meaning to the child1 if it  expressed  
some idea1 if after the story of ,three 
,bears the child  would make the ,bears'
 kitchen1 the table of wood1 and the    
three  porridge bowls of clay1 or the   

,bears' hall with the three chairs4 ,in 
the ,grimm tale1 ,sweet ,rice ,porridge1
 after the story has been told  and     
before the re-telling1 children would   
like to make a clay  porridge-pot1 which
 could be there before them in the      
re-telling4  ,perhaps they would make   
the rice porridge also1 and put some in 
the  pot1 for little children are very  
fond of making things to eat1 and       
domestic science has descended even into
 the kindergarten4 ,after the  story of 
,chanticleer and ,partlet1 children     
would enjoy making a  little wagon and  
harnessing to it a ,duck1 and putting in
 it the ,cock  and the ,hen1 little     
animals they have made4 ,in the first   
grade1 after  the story of ,sleeping    
,beauty1 children would naturally take  
great  pleasure in making things needed 
to play the story3 the paper silver  and
 gold crowns of the maids and ,princess 
and the ,prince's sword4  ,after the    
story of ,medio ,pollito1 we have noted 
with what special  interest children    

might make a weathervane1 with ,little  
,half-,chick  upon it6    7#d7 ,the     
instinct of artistic expression4 ,this  
is the instinct of  drawing1 painting1  
paper-cutting1 and crayon-sketching1 the
 instinct  of song1 rhythm1 dance1 and  
game1 of free play and dramatization4   
7a7 ,one form of artistic creative      
reaction will be the cutting of  free   
silhouette pictures4 ,the child should  
attempt this with the  simplest of the  
stories which are suited for drawing1   
painting1 or  crayon-sketching4 ,he     
loves to represent the animals he sees  
every day2  and the art work should     
direct this impulse and show him how to 
do it  so that he may draw or cut out a 
dog1 a cat1 a sheep1 or a goat2 or      
simple objects1 as a broom1 a barrel1 a 
box1 a table1 and a chair4  ,the ,bremen
 ,town ,musicians1 while offering a fine
 opportunity for  dramatization1 also   
might stimulate the child to cut out the
  silhouettes of the ,donkey1 the ,dog1 
the ,cat1 and the ,cock1 to draw the    

window of the cottage and to place the  
animals one on top of another1  looking 
in the window4 ,the beautiful           
picture-books illustrating his  fairy   
tales1 which the child may see1 will    
give him many ideas of  drawing and     
sketching1 and help him to arrange his  
silhouettes4 ,a  recent primer1 ,the    
,pantomime ,primer1 will give the child 
new ideas  in silhouettes4 ,recent      
articles in the ,kindergarten ,review   
will give  the teacher many helpful     
suggestions along the line of           
expression4 ,in  the ,may number1 #aiae1
 in ,illustrated ,stories1 the story of 
,ludwig  and ,marleen1 by ,jane ,hoxie1 
is shown as a child might illustrate it 
with paper-cutting4--,a class of        
children were seen very pleasantly      
intent on cutting out of paper a basket 
filled with lovely tinted  flowers4 ,but
 how attractive that same work would    
have become if the  basket had been ,red
 ,riding ,hood's basket and they were   
being helped by  an art-teacher to show 

peeping out of her basket the cake and  
pot of  butter1 with the nosegay tucked 
in one end4 ,a very practical problem   
in paper-cutting would arise in any room
 when children desire to make  a frieze 
to decorate the front wall4 ,the ,old   
,woman and her ,pig1 ,the  ,country     
,mouse and the ,city ,mouse1 ,the       
,little ,red ,hen1 ,the ,story of       
,three ,pigs1 ,the ,story of ,three     
,bears1 and ,little ,top-,knot1 would be
  admirably adapted for simple work4    
7b7 ,the ,straw1 the ,coal1 and the     
,bean is most likely to stir the        
child's impulse to draw4 ,leslie        
,brooke's illustration in ,the ,house   
in the ,wood might aid a child who      
wanted to put some fun into his         
representation4 ,birdie and ,lena or    
,fundevogel1 is a story that  naturally 
would seek illustration4 ,three         
crayon-sketches1 one of a  rosebush and 
a rose1 a second of a church and a      
steeple1 and a third  of a pond and a   
duck1 would be enough to suggest the    

tale4    7c7 ,the ,story of ,the ,wolf  
and ,seven ,kids1 if told with the      
proper  emphasis on the climax of       
triumph and conclusion of joy1 would    
lead  the child to react with a         
water-color sketch of the dance of the  
,goat and her ,kids about the well4 ,for
 here you have all the elements  needed 
for a simple picture--the sky1 the full 
moon1 the hill-top1 the  well1 and the  
animals dancing in a ring4 ,after       
finishing their  sketches the children  
would enjoy comparing them with the     
illustration  of ,der ,wolf und die     
,sieben ,geislein in ,das ,deutsche     
,bilderbch1  and perhaps they might try 
making a second sketch4 ,this same tale 
would afford the children a chance to   
compose a simple tune and a  simple     
song1 such as the well-taught           
kindergarten child to-day knows4  ,such 
are songs which express a single theme  
and a single mood2 as1  ,the ,muffin    
,man and ,to the ,great ,brown ,house2  
or ,there was a ,small  ,boy with a     

,toot and ,dapple ,gray in ,st4         
,nicholas ,songs4 ,in this  tale of ,the
 ,wolf and ,seven ,kids1 the conclusion 
impresses a single  mood of joy and the 
single theme of freedom because the     
,wolf is dead4  ,the child could produce
 a very simple song of perhaps two      
lines1 such  as1--         ,let's sing  
and dance6 ,hurrah1 hurrah6       ,the  
,wolf is dead6 ,hurrah6    7d7 ,it is a 
little difficult to get down to the     
simplicity of the  little girl who will 
play her own tune upon the piano and    
sing to it  just the number of the house
 in which she lives1 repeating it again 
and again4 ,but the child can compose   
little songs that will please  him1 and 
he can use1 too1 in connection with the 
tales1 some of the  songs that he knows4
 ,the first-grade child could work into 
,snow ,white  and ,rose ,red1 ,good     
morrow1 little rosebush1 and into       
,little  ,two-,eyes a lullaby such as   
,sleep1 baby1 sleep4 ,later in ,hansel  
and  ,grethel he may learn some of the  

simple songs that have been written  for
 ,hansel and ,grethel to sing to the    
birds when they spend the night  in the 
wood4 ,in ,snow ,white he may learn some
 of the songs written  for the          
children's play1 ,snow ,white4 ,in      
connection with music1 the  kindergarten
 child learns to imitate the sounds of  
animals1 the sound  of bells1 whistles1 
the wind1 etc4 ,all this will cause him 
to react1  so that when these occur in  
his stories he will want to make them4  
7e7 ,one of the forms of creative       
reaction possible to the child as a     
variety of expression1 which has        
received attention most recently1 has   
been handled by ,miss ,caroline         
,crawford in ,rhythm ,plays of          
,childhood2  and by ,miss ,carol        
,oppenheimer in ,suggestions ,concerning
 ,rhythm  ,plays1 in the ,kindergarten  
,review1 ,april and ,may1 #aiae4 ,here  
again  the fairy tales cannot be        
excelled in abundant situations for     
rhythm  plays4 ,the sea1 the wind1 the  

clouds1 the sun1 the moon1 the          
stars--all nature is rich in suggestion 
of rhythms4 ,the social  situations     
furnish the rhythm of simple            
housekeeping tasks4 ,in ,snow  ,white   
and ,rose ,red there are the rhythms of 
fishing and of chasing  animals4 ,in    
,the ,elves we have the rhythm of       
shoe-making and in ,the  ,straw ,ox1 the
 rhythm of spinning4 ,the story of      
,thumbelina1 after  its eight episodes  
have been re-told by the children1 might
 very  attractively be re-told in eight 
rhythms1 each rhythm expressing a       
single episode4 ,and for the oldest     
children1 a union of the oral           
re-telling by individual children with  
the retelling in rhythms by all  the    
children1 would give much pleasure and  
social exhilaration4  ,thumbelina in her
 ,cradle1 ,thumbelina and the ,toad1    
,thumbelina and the  ,swallow and       
,thumbelina as ,queen of the            
,flowers--these at once suggest  a      
cradle rhythm1 a toad rhythm1 the flight

 of birds1 and a butterfly  dance4      
,because the rhythm is a lyric form it  
must be remembered that  the part of a  
story suited to a rhythm play is always 
a part  characterized by a distinct     
emotional element4 ,in the performance  
of  rhythm plays the point is to secure 
the adjustment of music1 motion1  and   
idea4    7f7 ,many of the fairy tales   
might arouse in the child a desire to   
originate a game1 especially if he were 
accustomed to originate games  in the   
regular game work4 ,a modification of   
the game of tag might grow  from ,red   
,riding ,hood and a pleasant ring game  
easily might develop  from ,sleeping    
,beauty4 ,in fact there is a traditional
 ,english game  called ,sleeping        
,beauty4 ,an informal ring game which   
would be  somewhat of a joke1 and would 
have the virtue of developing attention1
  might grow from ,the ,tin ,soldier4   
,the ,tin ,soldier stands in the  center
 while the circle is formed of          
,jack-in-the-boxes1 with lids  closed4  

,the ,tin ,soldier turns round and round
 slowly1 and when he  stops looks       
steadily at a certain ,jack-in-the-box1 
whereupon the ,jack  must bob up and    
retort1 ,keep your eyes to yourself1    
,tin ,soldier6 ,the  ,jack and ,soldier 
then change places4 ,any ,jack failing  
to open when  looked at forfeits his    
place in the ring4 ,some games derived  
from  folk-tales were given in the      
,delineator1 ,november1 #aiad4 ,these   
could  not be used by the youngest      
without adaptation2 they suggest a form 
of  fun that so far as ,i know has been 
undeveloped4    7g7 ,the artistic       
creative return of the child may        
sometimes take the  form of             
objectification or representation4 ,the 
,steadfast ,tin  ,soldier is a model of 
the literary fairy tale which gives a   
stimulus  to the child to represent his 
fairy tale objectively4 ,as             
straightforward narrative it ranks high4
 ,its very first clause is the  child's 
point of view3 ,there were five and     

twenty tin soldiers2 for  the child     
counts his soldiers4 ,certainly the     
theme is unique and the  images         
clear-cut4    ,it makes one total       
impression and it has one emotional tone
 to which  everything is made to        
contribute4 ,its message of courage and 
its  philosophy of life1 which have been
 mentioned previously1 are not so       
insignificant even if the story does    
savor of the sentimental4 ,its          
structure is one single line of         
sequence1 from the time this marvelous  
soldier was stood up on the table1 until
 he1 like many another toy1  was thrown 
into the fire4 ,the vivid language used 
gives vitality to  the story1 the words 
suit the ideas1 and often the words     
recall a  picture or suggestion2 as1    
,the ,soldier fell headlong1 trod1  came
 down in torrents1 boat bobbed1 spun    
round1 clasped  his gun1 boat shot      
along1 blinked his eyes1 etc4 ,the      
method  of suggestion by which an object
 is described through its effect on     

some one else1 produces a very pleasing 
result here4 ,you see the  steadfast    
look of the ,tin ,soldier's eyes when   
the ,jack-in-the-box  says1 ,keep your  
eyes to yourself1 ,tin ,soldier6 ,the   
position of the  ,soldier in the street 
is given through the exclamation of the 
little  boys who see him--,look6 there  
lies a ,tin ,soldier1 let us give him a 
sail in the gutter6    ,the setting in  
this story is a table in a sitting-room 
and the  playthings on the table4 ,the  
characters are two playthings4 ,after   
the  first telling of this story the    
child naturally would like to  represent
 it4 ,the story has made his playthings 
come alive and so he  would like to make
 them appear also4 ,this is a tale in   
which  representation1 after the first  
telling1 will give to the child much    
pleasure and will give him a chance to  
do something with it  cooperatively4 ,he
 can reproduce the setting of this tale 
upon a table  in a schoolroom4 ,each    
child could decide what is needed to    

represent  the story and offer what he  
can4 ,one child could make the yard     
outside  the castle of green            
blotting-paper4 ,another child could    
furnish a  mirror for the lake1 another 
two toy green trees1 one two wax swans1 
one a box of tin soldiers1 another a    
jack-in-the-box1 while the girls  might 
dress a paper doll for a tinsel maid4   
,the teacher1 instructed by  the class1 
might make a castle of heavy gray       
cardboard1 fastening it  together with  
heavy brass paper-fasteners and cutting 
out the door1  windows1 and tower4 ,it  
is natural for children to handle       
playthings2  and when a story like this 
is furnished the teacher should not be  
too  work-a-day to enter into its       
play-spirit4 ,after the representation  
objectively1 the re-telling of the tale 
might be enjoyed4 ,the child  who likes 
to draw might tell this story also in a 
number of little  sketches3 ,the        
,jack-in-the-box1 ,the ,window1 ,the    
,boat1 ,the ,rat1 ,the  ,fish1 and ,the 

,fire4 ,or a very simple little dramatic
 dance and song  might be invented1     
characterized by a single mood and a    
single form of  motion1 something like  
this1 sung to the tune of ,here we go   
round the  mulberry bush1 etc3--        
,here we come marching1 soldiers tin1   
soldiers tin1 soldiers tin1       ,here 
we come marching1 soldiers tin1         
,on one leg steady we stand4            
7,circle march on one leg74    ,this    
could easily be concluded with a game if
 the child who first was  compelled to  
march on two legs had to pay some       
penalty1 stand in the  center of the    
ring1 or march at the end of the line4  
7h7 ,creative reaction as a result of   
listening to the telling of fairy       
tales1 appears in its most varied form  
of artistic expression in free  play and
 dramatization4 ,it is here that the    
child finds a need for  the expression  
of all his skill in song and dance1     
construction1  language1 and art1 for   
here he finds a use for these things4   

,in free play the child represents the  
characters and acts out the  story4 ,his
 desire to play will lead to a keenness 
of attention to the  story-telling1     
which is the best aid to                
re-experiencing1 and the play  will     
react upon his mind and give greater    
power to visualize4 ,nothing  is better 
for the child than the freedom and      
initiative used in  dramatization1 and  
nothing gives more self-reliance and    
poise than to  act1 to do               
something4--,we must remember that in   
the history of the  child's literature  
it was education that freed his spirit  
from the  deadening weight of           
didacticism in the days of the ,new     
,england  ,primer4 ,and we must now have
 a care that education never may become 
guilty of crushing the spirit of his    
freedom1 spontaneity1 and  imagination1 
by a dead formalism in its teaching     
method4--,the play  develops the voice1 
and it gives freedom and grace to bodily
  movements4 ,it fixes in the child mind

 the details of the story and  impresses
 effectively many a good piece of       
literature2 it combines  intellectual1  
emotional1 artistic1 and physical       
action4 ,the simplest  kindergarten     
plays1 such as ,the ,farmer1 ,the       
,blacksmith1 and ,little  ,travelers1   
naturally lead into playing a story such
 as ,the ,sheep and  the ,pig or ,the   
,gingerbread ,man4 ,the ,mouse that     
,lost ,her ,tail and  ,the ,old ,woman  
and ,her ,pig are delightful simple     
plays given in  ,chain ,stories and     
,playlets by ,mara ,chadwick and ,e4    
,gray ,freeman1  suited to the          
kindergarten to play or the first grade 
to read and  play4 ,working out a       
complete dramatization of a folk-tale   
such as  ,sleeping ,beauty1 in the first
 grade1 and having the children come    
into the kindergarten and there play it 
for them1 will be a great  incentive    
toward catching the spirit of           
imaginatively entering into a  situation
 which you are not4 ,this is the        

essential for dramatization4  ,johnny   
,cake is a good tale to be played in the
 kindergarten because  it uses a great  
number of children4 ,as the kindergarten
 room generally  is large1 it enables   
the children who represent the man1 the 
woman1  the little boy1 etc41 to station
 themselves at some distance4    ,there 
are some dangers in dramatization which 
are to be avoided3--    7#a7            
,dramatization often is in very poor    
form4 ,the result is not the  important 
thing1 but the process4 ,and sometimes  
teachers have  understood this to mean1 
,hands off6 and left the children to    
their  crude impulses1 unaided and      
unimproved4 ,when the child shows what  
he  is trying to do the teacher may show
 him how he can do what he wants  to do4
 ,by suggestion and criticism she may   
get him to improve his  first effort1   
provided she permits him to be          
absolutely free when he  acts4--,the    
place of this absolute freedom in the   
child's growth has  been emblazoned to  

the kindergarten by the ,montessori     
,system4--,also by  participating in the
 play as one of the characters1 the     
teacher may  help to a better form4     
,literature will be less distorted by   
dramatization when teachers are better  
trained to see the  possibilities of the
 material1 when through training they   
appreciate  the tale as one of the      
higher forms of literature1 and respect 
it  accordingly4 ,also it will be less  
distorted by dramatization when the     
tales selected for use are those        
containing the little child's           
interests1 when he will have something  
to express which he really  knows about4
 ,moreover1 as children gain greater    
skill in expression in  construction1 in
 the game1 in song1 in dance1 and in    
speech1 the parts  these contribute to  
the play will show a more perfected     
form4 ,each  expression by the child    
grows new impressions1 gives him new    
sensory  experiences4 ,perhaps if the   
high school would realize the           

possibilities in a fairy tale such as   
,beauty and the ,beast1 work it  up into
 really good artistic form1 and play it 
for the little  children1 much would be 
gained not only towards good form in    
dramatics1 in both the elementary school
 and the high school1 but  towards      
unifying the entire course of literature
 from the kindergarten  to the          
university4 ,using ,crane's picture-book
 as a help1 they might  bring into the  
play the beauty of costume and scenery1 
the  court-jester1 and ,beauty's pages4 
,into the ,rose-,garden they might      
bring a dance of ,moon ,fairies1 ,dawn  
,fairies1 ,noon1 and ,night who1 in     
their symbolic gauzy attire1 dance to   
persuade ,beauty to remain in the       
,beast's castle4 ,there might be singing
 fairies who decorate the bushes  with  
fairy roses1 and others who set the     
table with fairy dishes1  singing as    
they work3--         ,see the trees with
 roses gay4       ,fairy roses1 fairy   
roses1 etc4    ,elves and ,goblins might

 surround the ,beast when dying4 ,the   
change of  scene from the simple home of
 ,beauty to the rich castle of the      
,beast1  and the change of costume1     
would furnish ample opportunity for     
original artistic work from older       
students4 ,for the little child it is   
good to see the familiar dignified with 
art and beauty2 and for the  older      
student the imagination works more      
freely when dealing with  rather simple 
and familiar elements such as the       
folk-tale offers4  ,cinderella1 like    
,beauty and the ,beast1 offers abundant 
opportunity  to the high school student 
for a play or pantomime which it would  
be  good for the little people to see4  
,the stately minuet and folk-dances  of 
different peoples may be worked into the
 ball-scene4 ,and here1 too1  the       
beautiful picture-books will suggest    
features of costume and  scenery4       
7#b7 ,dramatization may develop boldness
 in a child4 ,the tendency is to  use   
children with good dramatic ability     

continually for leading parts1  even    
when the children choose the parts4     
,this fault may be  counteracted by     
distinguishing between work for growth  
and one or two  rather carefully        
prepared plays to be given on special   
occasions4 ,it  is also counteracted by 
looking well to the social aspect of the
 play1  by introducing features such as 
the song1 dance1 or game1 where all     
have a part1 or by adding attractive    
touches to less important parts1  so    
that while a character may still be     
leading it will have no reason  to feel 
over-important4 ,this danger is not     
prominent until after the  first grade4 
7#c7 ,dramatization may spoil some      
selections4 ,beautiful descriptions     
which make a tale poetic are not to be  
represented1 and without them a  tale is
 cheapened4 ,such is the case with ,the 
,king of the ,golden  ,river and ,the   
,ugly ,duckling4 ,care should be        
exercised to choose for  dramatization  
only what is essentially dramatic and   

what is of a grade  suited to the child4
 ,tales suited to the little child are  
largely  suited for dramatization4      
7#d7 ,dramatization has omitted to      
preserve a sequence in the  selections  
used from year to year4 ,a sequence in  
dramatization will  follow naturally as 
the tales offered from year to year show
 a  sequence in the variety of interests
 they present and the  opportunities for
 growth and activity they offer4 ,plays 
most suited to  the kindergarten are    
those which do not require a complete   
re-telling  of the story in the acting1 
so that the child need not say so much4 
,such are stories like ,the ,old ,woman 
and ,her ,pig1 ,henny ,penny1 ,the      
,foolish ,timid ,rabbit1 ,little        
,tuppen1 ,three ,billy-,goats1 ,johnny  
,cake1 and ,billy ,bobtail4 ,when the   
course of literature in the  elementary 
school gets its content organized1 the  
sequence of  dramatization will take    
care of itself4    ,dramatization has   
one rather unusual virtue3--    7#a7    

,dramatization may be used to establish 
a good habit4 ,an indolent  child may be
 given the part of the industrious child
 in the play4 ,at  first the incongruity
 will amuse him1 then it will support   
his  self-respect or please his vanity1 
then it will prove to him the  pleasure 
of being industrious1 and finally       
stimulate the desire to be  that which  
before he was not4 ,it may build a habit
 and1 if repeated1  fortify one4 ,this  
is the true ,direct ,moral ,method4 ,the
 so-called  ,direct ,moral ,method1     
advocated by ,dr4 ,gould1 an ,english   
educator1  which in telling a story     
separates the moral from the tale to    
emphasize it and talk about it1 leaves  
the child a passive listener  with only 
a chance to say ,yes or ,no or a single 
word in answer to  the moral questions4 
,it is unnatural because it directs the 
child's  attention away from the        
situation1 action1 and people which     
interest  him4 ,it does not parallel    
life in which morals are tied up with   

conduct4 ,one must ask1 ,according to   
this method what will the child  recall 
if his mind reverts to the              
story--courage1 or the variety of       
images from the number of short-stories 
told to impress the abstract  moral idea
 of courage8 ,dramatization like life   
represents character  in the making and 
therefore helps to make character4      
,illustrations of creative return4 ,let 
us look now at a few tales  illustrating
 the creative return possible to the    
child4 ,the ,country  ,mouse and the    
,city ,mouse is an animal tale that     
offers to the  kindergarten child a     
chance to prove how intensely he enters 
into the  situation by the number of    
details he will improvise and put into  
his  dramatization in representing life 
in the country and life in the  city4   
,the good feast atmosphere in this tale 
pleases little children  and suits it to
 their powers4 ,it is a fine tale to    
unite the language  expression and      
dramatization4 ,it is especially suited 

to call forth  reaction from the child  
also in the form of drawing or crayon   
sketching4 ,here it is best for the     
child to attempt typical bits4          
,complete representation tires him and  
it is not the method of art1  which is  
selective4 ,the field of corn and two   
mice may be shown in the  country scene2
 and a table with cheese1 some plates   
filled with  dainties1 and two mice in  
the city scene4 ,here again this return 
relates itself to the presentation of   
the tale as literature4 ,for if  the    
story has been presented so as to make  
the characters1 the plot1  and the      
setting stand out1 the child naturally  
will select these to  portray in a      
sketch4 ,in his expression the child    
will represent what  he chooses1 but the
 teacher by selecting from among the    
results the  one which is of most value1
 leads him to a better result in a      
following attempt4 ,it is the teacher's 
selection among the results of  activity
 that brings about development4 ,freedom

 with guidance is no  less free1 but it 
is freedom under that stimulation which 
helps the  child to make more of himself
 than he knew was possible4--,the       
kindergarten would proclaim to the      
,montessori ,system the place of        
guidance of freedom in the child's      
growth4    ,the ,elves and the          
,shoemaker offers to a first grade a    
pleasing  opportunity for the fairy tale
 to unite with the dramatic game4 ,one  
child may act as narrator1 standing to  
tell the story from the  beginning to   
the end of the evening's conversation1  
,i should like to  sit up tonight and   
see who it is that makes the shoes4 ,at 
this point1  noiselessly a dozen or more
 ,elves may troop in1 and seating       
themselves  sing and act the first part 
of the ,dramatic ,game of ,little       
,elves1  one form of which is given by  
,miss ,crawford4 ,after they have       
stitched1  rapped1 and tapped quickly1  
and the shoes are made1 they depart     
hurriedly4 ,the narrator now continues  

the story1 telling how the  ,shoemaker  
and his wife made little clothes for the
 ,elves1 ending with  what happened on  
,christmas ,eve1 when they put the gay  
jackets and caps  on the table and hid  
in the corner to watch4 ,at this point  
the ,elves  come in a second time1      
donning their new clothes2 and sing and 
dance  the second part of the dramatic  
game4 ,as they dance out of sight the   
narrator concludes the story4 ,if the   
primary children made these  clothes or 
if the kindergarten children bought them
 at ,christmas time  to give to the     
poor1 the play#c would take on a real   
human value4    ,sleeping ,beauty1      
another tale suited to the first grade1 
is  admirably adapted for               
dramatization4--,in all this work the   
children do  the planning but the       
teacher directs their impulses1         
criticizes their  plans1 and shows them 
what they have done4 ,she leads them to 
see the  tale in the correct acts and   
scenes1 to put together what belongs    

together4 ,sleeping ,beauty naturally   
outlines itself into the ten  main      
incidents we have noted before4 ,if the 
story has been presented  according to  
the standards given here1 the children  
will see the story  in those main       
incidents4 ,in the dramatization they   
might work together  narration of the   
story and the dramatic game1            
,dornrschen4 ,a wide  circle of children
 might be the chorus while the players  
take their  places in the center of the 
circle4 ,the narrator1 one of the       
circle1  stands apart from it as he     
narrates4 ,the version here used is the 
,mc,loughlin one1 illustrated by ,johann
 and ,leinweber4    ,sleeping ,beauty   
,place3 ,castle4 ,king1 ,queen1 and     
courtiers take their places       within
 the circle4 ,the circle moves to waltz 
step1 singing       stanza ,i1 of the   
dramatic game3--         ,the ,princess 
was so beautiful1 beautiful1 beautiful1 
etc4         ,at the conclusion of      
stanza ,i1 the circle stops1 the        

narrator steps forth and tells the story
 to the end of the       words1 one had 
to stay at home4         ,scene i4 ,the 
,feast4 ,twelve fairies enter1 each     
presenting       her gift and making a  
speech4 ,the wicked thirteenth comes in 
and pronounces her curse1 and the       
twelfth fairy softens it       to sleep4
 ,the ,king proclaims his decree1 that  
all spindles       in the land be       
destroyed4         ,scene ii4 ,the      
,attic4 ,princess goes to the attic4    
,old lady       sits spinning4 ,princess
 pricks herself and falls asleep4       
,narration begins with ,the ,king and   
,queen who had just come       in fell  
asleep1 and ends with not a leaf rustled
 on the       trees around the castle4  
,at the close of the narration1 the     
circle moves1 singing stanza #e of the  
dramatic game3--              ,a great  
hedge grew up giant high1 giant high1   
giant high1            etc4             
,scene ii4 ,the ,castle ,grounds4 ,the  
,prince talks to an old       ,man      

outside the castle4 ,the ,prince comes  
to the hedge1 which       parts1 and he 
enters4 ,the ,prince wakens the         
,princess and the       rest of the     
castle4 ,the narrator then closes with  
,by and by       the wedding of the     
,prince 444 to the end of their lives   
they       lived happy and contented4   
,the courtiers then form into           
couples1 and the circle1 in couples1    
follow the courtiers4       ,the ,prince
 and ,princess lead in a slow waltz     
while all sing       stanza #aj of the  
dramatic game3              ,and all the
 people made merry then1 merry then1    
merry then1            etc4    ,here we 
do not have complete dramatization1     
narration1 or dramatic  game4 ,only     
three short parts are narrated1 only    
three leading scenes  are represented1  
and only three high points of narrative 
are depicted  in the dramatic game4 ,the
 music1 which the specialist in physical
  education can furnish1 might be3--    
,galloping4444444444444444444444 ,wild  

,horseman4       ,fairy                 
,run4444444444444444444444 ,chalef      
,book1 p4 #ah4       ,climbing to       
,tower44444444444444 ,chaly1 p4 #aj4    
,guy ,walk ,music4                      
,phyllis444444444444444444444444        
,seymour ,smith4                        
,bleking444444444444444444444444        
,folk-,dance ,book4      ,in connection 
with the dramatic game1 there is only   
one tale in  ,grimm which contains a    
folk-game4 ,this tale is somewhat       
incomplete as  it stands in ,grimm4 ,it 
could become a tale suited for          
dramatization in  the first grade1      
beginning the play with the folk-game4  
,an original1  amplified version of this
 tale1 ,the ,little ,lamb and the       
,little ,fish  is given in the          
,appendix4    ,an original little play  
similar to one which the kindergarten   
children  could work out is given below4
 ,this play is based on the pourquois   
tale1 ,why the ,evergreen ,trees ,never 
,lose ,their ,leaves4#d ,it affords     

much play of originality because        
familiar trees may be used2 and the     
talk of the ,trees to the ,bird may have
 some relation to the  characteristics  
of the ,trees4 ,it could be used by     
children of six1  seven1 or eight years 
of age4 ,it could serve as a ,christmas 
play  because of its spirit of kindness4
 ,north ,wind might wear a wig and the  
,frost ,king wear a crown and carry a   
wand4 ,little ,bird could have  wings1  
one of which is broken1 or simply carry 
one arm sleeveless4    ,the play might  
open with a rhythmic flight of the birds
 to the music  of ,the ,swallow's       
,plight1 in ,kindergarten ,review1 ,may1
 #aiae4 ,the  rhythm play of the birds  
would be especially pleasing because    
different birds would be represented by 
different children4 ,the play  would    
furnish a fine opportunity also for a   
rhythmic dance of the  wind1 which could
 form a distinct interlude later on in  
the play4 ,in  connection with the wind 
the beautiful picture-book1 ,windschen1 

by  ,elsa ,beskow1 might be referred to4
 ,here the wind is personified as the   
playmate of ,hans ,georg4 ,its refined  
art1 lovely color1 and imaginative      
illustration1 would stimulate the       
child's artistic representation of  the 
wind4    ,the ,bird and the ,trees3 ,a  
,play         ,time 4 4 4 4 ,daytime1 in
 late autumn4       ,place  4 4 4 ,the  
,forest4       ,characters3  ,poplar1   
,oak1 ,maple1 ,willow1 ,spruce1 ,pine1  
,juniper1 the ,bird1 ,north ,wind1 and  
the ,frost ,king4         ,trees of the 
forest4 ,see that great crowd of birds  
flying       away6 ,they must be going  
,south where the air is warm1 and       
where they can find berries to eat4     
,there is one left       behind4 ,why1  
he is coming this way4 ,what can he     
want8         ,the ,bird4 ,oh1 ,i can   
fly no farther6 ,my wing hurts and ,i   
cannot hold it up4 ,i am tired and cold 
and hungry4 ,i must       rest in this  
forest4 ,maybe some good kind tree will 
help me4       ,dear friend ,poplar1 my 

wing is broken and my friends have      
all gone ,south4 ,will you let me live  
in your branches until       they come  
back again8         ,poplar4 ,i am sorry
 but do you not see how my leaves are   
all a-tremble at the thought of taking  
in a strange bird8       ,ask some other
 tree6         ,the ,bird4 ,it might not
 be very warm there at any rate4        
,and the wind might blow me off the     
branches4 ,i will try the       ,oak1 he
 is so big and mighty4 ,dear old        
,oak-tree1 you are so       big and     
strong1 will you let me rest in your    
branches       to-night among your thick
 warm leaves8 ,i am a poor little       
,bird with a broken wing and ,i cannot  
fly6         ,oak4 ,oh1 you must not ask
 me1 little ,bird1 for all day          
long my little friends1 the squirrels1  
have been jumping       across my       
branches1 gathering nuts and seeking    
holes to       store their acorns in4 ,i
 have no room for a stranger4           
,the ,bird4 ,ah6 ,i did not think the   

,oak could be so cruel4       ,perhaps  
,maple will help me1 she always seemed  
kind like a       ,mother4 ,dear1       
beautiful ,maple1 ,i am tired4 ,may ,i  
rest among       your lovely red leaves 
until my broken wing is mended and my   
friends come back to me8         ,maple4
 ,oh1 no1 ,i could not think of it6 ,i  
have just       dressed my leaves all in
 red and you might spoil their          
lovely clothes4 ,do go away4 ,there are 
other trees in the       forest not so  
gay as ,i4         ,the ,bird4 ,what    
should ,i do8 ,no one wants to help me4 
,can       ,i not find one kind tree8   
,dear kind ,willow1 your branches       
bend almost to the ground4 ,could ,i    
live in them until the                  
spring-time8         ,willow4 ,really1  
little ,bird with the broken wing1 you  
are       a stranger4 ,you should have  
gone with the other birds4 ,maybe       
some other tree can help you but we     
willows are particular4         ,the    
,bird4 ,i do not know where to go and   

,i'm so cold6 ,i       wonder if the    
other birds have reached the beautiful  
warm       ,south4         ,spruce4     
,little ,bird1 little ,bird1 where are  
you going8         ,the ,bird4 ,i do not
 know4 ,i am very cold4         ,spruce4
 ,come1 make a big hop and rest in this 
snug corner       of my branches4 ,you  
can stay with me all winter if you      
like4         ,the ,bird4 ,you are so   
good1 dear ,spruce-tree4 ,will you      
really let me8         ,spruce4 ,if your
 friends the birds have left you1 your  
other friends1 the trees1 will surely   
help you4 ,ho1       ,pine-tree1 you    
would help a little ,bird with a broken 
wing1       wouldn't you8         ,pine4
 ,oh1 yes1 dear ,bird6 ,my branches are 
not wide but ,i       am tall and thick1
 and ,i will keep the cold ,north ,wind 
from       you4         ,juniper4 ,and  
maybe ,i can help4 ,are you hungry1     
little       ,bird8 ,you can eat my nice
 little berries whenever you like4      
,the ,bird4 ,thank you1 kind friends6 ,i

 will go to sleep now       on this nice
 branch of the ,spruce-tree1            
,good-night1 dear       ,trees4         
,spruce1 ,pine1 and ,juniper4           
,good-night1 little ,bird4              
,north ,wind4 ,oo1--,oo6--,now ,i must  
run in and out among       all the trees
 of the forest4--,but who comes here8   
,frost ,king4 ,stop1 ,north ,wind6 ,i   
have just gone before       you1 as     
,king ,winter said1 and touched the     
trees of the       forest4 ,but the     
trees that have been kind to the ,bird  
with       the broken wing1 those ,i did
 not touch4 ,they shall keep       their
 leaves4 ,do not you harm them6         
,north ,wind4 ,very well1 ,king ,frost4 
,good-bye6       ,oo6--,oo6-- 7,the     
,wind frolics among the ,trees1 bending 
branches1 careering wildly1 shaking     
leaves47 ,little       ,spruce-tree1 you
 have been kind to the ,bird1 ,i will   
not blow       on you6 ,dear ,pine-tree1
 you are tall and keep the ,bird warm1  
,i will not blow on you6 ,little        

,juniper1 you gave the ,bird       your 
berries1 ,i will not blow on you6       
7,the following morning47         ,the  
,bird4 ,good-morning1 dear ,spruce-tree1
 your branch was       warm and         
safe4--,why1 what has happened to the   
other ,trees8       ,look at the big    
,oak and the lovely ,maple and all the  
rest6       ,see how bare their branches
 are2 and on the ground their           
shining leaves lie in red and yellow and
 brown heaps6 ,o1 how       glad ,i am  
that your leaves have not fallen2 they  
are bright       and green6 ,and so are 
,pine-tree's and ,juniper's4 ,i will    
call       you my ,evergreen ,trees1 and
 ,i will stay with you until the        
,spring6    ,the ,english fairy tale1   
,the ,magpie's ,nest1 told by ,joseph   
,jacobs1  might be dramatized by        
first-grade children4 ,this tale might  
offer the  problem of observing how     
different birds make their nests and how
 they  vary their calls4 ,it also might 
offer the language problem of making    

suitable rhymes4 ,an original           
dramatization of the pourquois tale is  
given in the ,appendix4    ,andersen's  
,fir ,tree would offer a fine           
opportunity for a first grade  at       
,christmas time4 ,the fir tree has      
become vitally interesting through      
nature study at this time of the year4  
,the children love to make  things to   
decorate a tree4 ,they have a short list
 of stories they can  tell by this time4
 ,all this can be utilized in a         
,christmas tree  play4--,for the play   
use the original story1 not a weakened  
version4--,a  pleasant ,christmas play  
could end most happily with the         
story-telling  under the tree4 ,for the 
play an actual small fir tree may be in 
the  room placed so that it may be moved
 easily4 ,a child standing closely      
behind it may represent it and speak for
 it through its branches4 ,the  air and 
the sun1 ordinarily not to be           
represented1 in this case may  be1 as   
they come up to the ,tree and talk to   

it4 ,much freedom of  originality may be
 displayed through the children's       
entering into the  character of the ,fir
 ,tree and improvising speeches4    ,the
 ,fir ,tree         ,time4444444,spring4
       ,place4444444,forest4            
,characters3 ,sun1 ,air1 ,hare1         
,woodmen1 ,swallow1 ,stork1 ,sparrows1  
,children1 ,servants1 and ,fir ,tree4   
,act ,i1 ,scene i4            ,a ,fir   
,tree in the forest4            ,sun and
 ,air talk to it4            ,children  
sit under its branches4            ,a   
,hare comes and jumps over it4          
,woodcutters come4            ,a        
,swallow comes and talks to it4         
,a ,stork comes and talks to it4        
,sparrows talk to it4                   
7,have the ,tree removed4 ,apparently   
from a cart            outside the door1
 a larger ,christmas ,tree may be       
brought in and planted in a sand-box by 
two            servants1 students from  
grammar grades4 ,the same               
child now grown older1 represents the   

,tree47           ,act ,,ii1 ,scene i4  
,the ,fir ,tree brought into the room4  
,the decorating of the ,tree by the     
,children and ,teacher4            ,talk
 of the ,children about the ,tree when  
decorating it4                 ,singing 
of ,christmas carols2 dancing of        
folk-dances2 or recitation of ,christmas
                 poems1 after the       
decoration of the ,tree4                
,the distribution of gifts by the       
,children4 ,an            audience to   
whom the ,children wanted to give       
presents1 could be invited4             
,the ,story-telling under the ,tree4    
,the presence of visiting children would
 create an audience for the             
story-telling4 ,the selection of the    
story-teller and the story or  stories  
might be the result of a previous story 
contest4 ,the contest  and the          
story-telling under the ,tree would be  
ideal drill situations4  ,the entire    
play would serve as a fine unification  
of the child's work  in nature1 in      

construction1 in physical education1 in 
music1 in  composition1 and in          
literature4 ,everything he does in the  
play will be  full of vital interest to 
him2 and his daily tasks will seem of   
more  worth to him when he sees how he  
can use them with so much pleasure to   
himself and to others4 ,this play is an 
example of the organizing of  ideas     
which a good tale may exercise in the   
mind of the child and the  part the tale
 as an organized experience may play in 
his development4    ,the creative return
 desired by the teacher1 as well as the 
choice of  tales for particular         
purposes1 will depend largely on the    
controlling  ideas in the program4 ,it  
must be remembered that the child of    
to-day  is not bookish nor especially   
literary2 and he has increasing life    
interests4 ,in the ordinary school year1
 work naturally divides itself  into the
 main season festivals4 ,while story    
work is here presented in  its separate 
elements1 any teacher realizes the      

possibility of making  the story work   
lead up to and culminate in the         
,thanksgiving1  ,christmas1 ,easter1 or 
,may ,festival4 ,because the good story 
bears a  close relation to nature and to
 human life1 any good course of stories 
will offer to the teacher ample freedom 
of choice for any natural  school       
purpose4 ,the good tale always gains by 
being placed in a  situation where it   
assists in carrying out a larger idea4  
,when the  tale is one unit of a        
festival program it appeals to the child
 as a  unit in his everyday life1 it    
becomes socially organized for him4     
,,references3      ,english3            
,baker1 ,f4,t42 ,carpenter1 ,g42 and    
,scott1 ,f4,n43 ,the ,teaching of       
,english4 ,longmans4         ,chubb1    
,percival3 ,the ,teaching of ,english4  
,macmillan4    ,story-,telling3         
,bailey1 ,carolyn3 ,for the ,story      
,teller4 ,bradley4         ,bryant1     
,sara ,c43 ,how to ,tell ,stories to    
,children4 ,houghton4         ,ibid43   

,stories to ,tell4 ,houghton4           
,buckland1 ,anna3 ,use of ,stories in   
the ,kindergarten4 ,steiger4            
,coe1 ,f4,e43 ,first ,book of ,stories  
for the ,story-teller4                  
,houghton4         ,hotchkiss1 ,mary    
,t43 ,story-telling in the              
,kindergarten4 ,n4,e4,a4                
,report1 #ahic4         ,keyes1 ,angela3
 ,stories and ,story-,telling4          
,appleton4         ,lyman1 ,edna3       
,story-,telling4 ,mc,clurg4             
,mc,murry1 ,charles3 ,special ,method in
 ,primary ,reading4 ,macmillan4         
,o',grady1 ,alice 7,moulton71 and       
,throop1 ,frances3 ,the                 
,story-,teller's ,book4 ,rand4          
,olcott1 ,f4,j43 ,story-,telling as a   
,means of ,teaching ,literature4        
,n4,y4 ,libraries2 vol4 #d1 pp4 #ch-dc4 
,feb41 #aiad4         ,olcott1 ,frances1
 and ,pendleton1 ,amena3 ,the ,jolly    
,book for ,boys         and ,girls4     
,houghton4         ,partridge1 ,e4,n41  
and ,partridge1 ,g4,e43 ,story-,telling 

in ,school         and ,home4 ,sturgis4 
,st4 ,john1 ,edward3 ,stories and       
,story-,telling4 ,westminster ,press1   
,phila4         ,shedlock1 ,marie3 ,art 
of the ,story ,teller4 ,appleton4       
,speare1 ,georgina3 ,story-,telling as  
an ,art4 ,kindergarten         ,review1 
,dec41 #aiac1 to ,may1 #aiad4           
,the ,storyteller's ,company3 ,the      
,storyteller's ,magazine4 ,new          
,york4      ,the ,voice3                
,corson1 ,hiram3 ,voice and ,spiritual  
,education4 ,macmillan4         ,curry1 
,samuel ,s43 ,foundations of            
,expression4 ,expression ,co4           
,ibid43 ,province of ,expression3       
,expression ,co4         ,rush1 ,james3 
,the ,philosophy of the ,human ,voice4  
,lippincott4         ,quintilian1       
,marcus ,f43 ,institutes of ,oratory4   
,macmillan4      ,gesture and           
,phonetics3         ,chamberlain1       
,w4,b41 and ,clark1 ,s4,h43 ,principles 
of ,vocal         ,expression4 ,scott4  
,jespersen1 ,otto3 ,growth and          

,structure of the ,english ,language4   
,stechert4         ,jones1 ,daniel3     
,pronunciation of ,english2 ,phonetics  
and ,phonetic         ,transcriptions4  
,putnam4         ,ibid43 ,chart of      
,english ,speech ,sounds4 ,oxford4      
,rippman1 ,walter3 ,elements of         
,phonetics1 ,english1 ,french1 and      
,german4 ,dent4         ,ibid43 ,the    
,sounds of ,spoken ,english4 ,dent4     
,sweet1 ,henry3 ,primer of ,phonetics4  
,oxford4      ,the ,kindergarten3       
,blow1 ,susan2 ,hill1 ,patty2 and       
,harrison1 ,elizabeth3 ,the             
,kindergarten4 ,houghton4         ,blow1
 ,susan3 ,the ,kindergarten and the     
,primary ,grade4         ,kindergarten  
,review1 ,june1 #aiae4                  
,crawford1 ,caroline3 ,the ,teaching of 
,dramatic ,arts in the                  
,kindergarten and the ,elementary       
,school4 ,teachers ,college             
,record1 ,sept41 #aiae4                 
,mc,murry1 ,frank ,m43 ,principles      
,underlying the ,making of ,school      

,curricula4 ,teachers ,college ,record1 
,sept41 #aiae4         ,palmer1 ,luella3
 ,montessori ,suggestions for           
,kindergartners4         ,kindergarten  
,review1 ,feb4 #aiae4         ,ibid43   
,problems vs4 ,subject ,matter as a     
,basis for         ,kindergarten        
,curriculum4 ,kindergarten ,review1     
,nov41 #aiad4         ,teachers ,college
 ,record3 ,experimental ,studies in     
,kindergarten         ,education4       
,teachers ,college ,record1 ,jan41      
#aiad4         ,thorndike1 ,edward ,l43 
,foundations of ,educational            
,achievement4         ,n4,e4,a4 ,report1
 #aiad4      ,the ,return3              
,archer1 ,william3 ,play-,making4       
,small4         ,bailey1 ,carolyn3 ,toy 
,stories4 ,the ,story of the ,woolly    
,dog4         ,kindergarten ,review1    
,feb41 #aiae4         ,baker1 ,franklin 
,t41 and ,thorndike1 ,ashley ,h43       
,everyday ,english4         ,book ,one4 
,macmillan4         ,barnes1 ,earl3     
,studies in ,education4 ,drawing4       

,barnes4         ,buffum1 ,katherine3   
,silhouettes to ,cut in ,school4        
,bradley4         ,crawford1 ,caroline3 
,dramatic ,games and ,dances4 ,barnes4  
,folk ,dances and ,games4 ,barnes4      
,the ,rhythms of ,childhood4 ,barnes4   
,curry1 ,s4,s43 ,imagination and the    
,dramatic ,instinct4 ,expression        
,co4         ,dewey1 ,john3 ,the ,child 
and the ,curriculum4 ,university of     
,chicago4         ,ibid43 ,imagination  
and ,expression4 ,kindergarten          
,magazine1 ,sept41 #ahif4         ,dow1 
,arthur3 ,color in the ,kindergarten4   
,kindergarten ,review1         ,june1   
#aiad4         ,ibid43 ,composition4    
,doubleday4         ,harvey1 ,nellie3   
,japanese ,art in the ,kindergarten4    
,kindergarten         ,review1 ,dec41   
#aiad4         ,hervey1 ,walter3        
,picture ,work4 ,revell4                
,laurie1 ,s4,s43 ,lectures on ,language 
and ,linguistic ,method in the          
,school4 ,macmillan4         ,macintosh1
 ,c43 ,toys ,made by ,little ,children4 

,kindergarten         ,review1 ,jan41   
and ,feb41 #aiad4         ,maxwell1     
,w4,h42 ,johnston1 ,e4,l42 and ,barnum1 
,m43 ,speaking and         ,writing4    
,american ,book ,co4                    
,oppenheimer1 ,carol3 ,drawing4         
,kindergarten ,review1 ,march1 #aiad4   
,ibid43 ,scissors and ,paper4           
,kindergarten ,review1 ,jan41           
#aiad4         ,ibid43 ,suggestions     
,concerning ,rhythm ,plays4             
,kindergarten         ,review1 ,april   
and ,may1 #aiae4         ,ibid43 ,the   
,use of the ,song ,exercise4            
,kindergarten ,review1         ,may1    
#aiad4         ,parker ,school3 ,francis
 ,w4 ,parker ,year-,book1 vol4 ,,iii1   
,june1         #aiad4 7,expression as a 
,means of ,developing ,motives47        
,francis         ,parker ,school1       
,chicago4         ,psychological        
,review3 ,monograph--,development of    
,imagination in         ,school         
,children4 ,suppl4 ,psych4 ,review1 vol4
 ,,xi1 no4 #a1 #aiji4         ,wagner1  

,carrie3 ,furniture for the ,doll       
,house4 ,kindergarten         ,review1  
,dec41 #aiad4         ,worst1 ,e4,f42   
,barber1 ,h42 and ,seymour1 ,m43        
,constructive ,work4         ,mumford4  
,zook1 ,mabel2 and ,maloy1 ,regina3     
,illustrated ,stories4                  
,kindergarten ,review1 ,may1 #aiae4     
,,chapter ,,iv        ,,the ,,history   
,,of ,,fairy ,,tales         ,the gods  
of ancient mythology were changed into  
the       demi-gods and heroes of       
ancient poetry1 and these demi-gods     
again became1 at a later age1 the       
principal characters of       our       
nursery tales4--,,max ,m,,ller          
,stories originally told about the      
characters of savage       tales1 were  
finally attracted into the legends of   
the gods       of ancient mythology1 or 
were attributed to demi-gods and        
heroes4--,,andrew ,,lang4      ,i4 ,,the
 ,,origin ,,of ,,fairy ,,tales    ,now  
that we have indicated the worth of     
fairy tales1 have observed  those       

principles which should guide the       
teacher in choosing and in  interpreting
 a tale1 and have stated those rules    
which should govern  the story-teller in
 the telling of the tale1 we may well   
ask a few  further questions concerning 
the nature of these fairy tales4 ,what  
is  a fairy tale and whence did it come1
 and how are we to find its  beginning8 
,having found it1 how are we to follow  
it down through the  ages8 ,how shall it
 be classed1 what are the available     
types which seek  to include it and show
 its nature8 ,and lastly1 what are the  
books  which are to be the main         
practical sources of fairy tales for the
  teacher of little children8 ,the      
remaining pages attempt to give some    
help to the teacher who wishes to       
increase her resources with an          
intelligent knowledge of the material   
she is handling4    ,many times the     
question1 ,what is a fairy tale8 has    
been asked4 ,one  has said3 ,the fairy  
tale is a poetic presentation of a      

spiritual  truth4 ,george ,mac,donald   
has answered3 ,undine is a fairy tale4  
,mr4  ,g4,k4 ,chesterton has said3 ,a   
fairy tale is a tale told in a morbid   
age  to the only remaining sane person1 
a child4 ,a legend is a fairy tale  told
 to men when men were sane4 ,some1      
scorning to reply1 have treated  the    
question as one similar to1 ,what poem  
do you consider best in the  ,english   
language8 ,as there are many tales      
included here which do not  contain a   
fairy1 fairy tales here are taken to    
include tales which  contain something  
fairy or extraordinary1 the magic or the
  marvelous--fairies1 elves1 or trolls1 
speaking animals1 trees1 or a  talkative
 ,tin ,soldier4 ,the ,myth proper and   
the ,fable are both excluded  here1     
while the pourquois tale1 a myth        
development1 and the ,beast  tale1 a    
short-story fable development1 are both 
included4    ,the origin of the word    
fairy1 as given by ,thomas ,keightley in
 his  ,fairy ,mythology1 and later in   

the ,appendix of his ,tales and ,popular
  ,fictions1 is the ,latin fatum1 to    
enchant4 ,the word was derived  directly
 from the ,french form of the root4 ,the
 various forms of the  root were3--     
,latin fatum1 to enchant4       ,french 
fee1 feerie1 illusion4       ,italian   
fata4       ,provenal fada4    ,in old  
,french romance1 fee was a woman skilled
 in magic4 ,all  those women were called
 ,fays who had to do with enchantment   
and charms  and knew the power and      
virtue of words1 of stones1 and of      
herbs1 by  which they were kept in youth
 and in great beauty and in great       
riches4 ,this was true also of the      
,italian fata4    ,the word fairy was   
used in four senses4 ,fairy             
represented3--         7#a7 ,illusion1  
or enchantment4         7#b7 ,abode of  
the ,faes1 the country of the ,fays4    
7#c7 ,inhabitants collectively1 the     
people of ,fairyland4         7#d7 ,the 
individual in ,fairyland1 the fairy     
,knight1 or ,elf4    ,the word was used 

in the fourth sense before the time of  
,chaucer4  ,after the appearance of     
,spenser's ,faerie ,queene distinctions 
became  confused1 and the name of the   
real fairies was transferred to the     
little beings who made the green1 sour  
ringlets whereof the ewe not  bites4    
,the change adopted by the poets gained 
currency among the  people4 ,fairies    
were identified with nymphs and elves4  
,shakespeare was  the principal means of
 effecting this revolution1 and in his  
,midsummer ,night's ,dream he has       
incorporated most of the fairy lore     
known in ,england at his time4 ,but the 
tales are older than their name4    ,the
 origin of fairy tales is a question    
which has kept many very able  scholars 
busy and which has not yet been settled 
to the satisfaction  of many4 ,what has 
been discovered resolves itself mainly  
into four  different origins of fairy   
tales3--    ,i4 ,fairy tales are        
detritus of myth1 surviving echoes of   
gods and  heroes4 ,against this theory  

it may be said that1 when popular tales 
have incidents similar to ,greek heroic 
myths1 the tales are not  detritus of   
myth1 but both have a more ancient tale 
as their original  source4 ,there was3--
         7#a7 ,a popular tale which     
reflected the condition of a rude       
people1 a tale full of the monstrous and
 the miraculous4         7#b7 ,the same 
tale1 a series of incidents and plot1   
with the       monstrous element        
modified1 which survived in the oral    
traditions of illiterate peasantry4     
7#c7 ,the same plot and incidents1 as   
they existed in heroic       epics of   
cultivated people4 ,a local and         
historical character       was given by 
the introduction of known places and    
native       heroes4 ,tone and manners  
were refined by literary                
workmanship1 in the ,rig ,veda1 the     
,persian ,king-book1 the       ,homeric 
,epics1 etc4    ,the ,grimms noted that 
the evolution of the tale was from a    
strongly  marked1 even ugly1 but highly 

expressive form of its earlier stages1  
to that which possessed external beauty 
of mold4 ,the origin is in the  fancy of
 a primitive people1 the survival is    
through ,mrchen of  peasantry1 and the  
transfiguration into epics is by        
literary artists4  ,therefore1 one and  
the same tale may be the source of      
,perrault's  ,sleeping ,beauty1 also of 
a ,greek myth1 and also of an old tale  
of  illiterate peasantry4 ,this was the 
opinion held by ,lang1 who said1  ,for  
the roots of stories1 we must look1 not 
in the clouds but upon  the earth1 not  
in the various aspects of nature but in 
the daily  occurrences and surroundings1
 in the current opinions and ideas of   
savage life4    ,in the savage ,mrchen  
of to-day1 the ideas and incidents are  
the  inevitable result of the mental    
habits and beliefs of savages4 ,we gain 
an idea of the savage mind through      
,leviticus1 in the ,bible1 through      
,herodotus1 ,greek and ,roman           
geographers1 ,aristotle1 ,plutarch1     

,pliny1  etc41 through voyagers1        
missionaries1 and travelers1 and through
  present savage peoples4 ,savage       
existence is based on two great         
institutions3--    7a7 ,the division of 
society into clans4--,marriage laws     
depend on the  conception that these    
clans descend from certain plants1      
animals1 or  inorganic objects4 ,there  
was the belief in human descent from    
animals  and kinship and personal       
intercourse with them4    7b7 ,belief in
 magic and medicine-men1 which resulted 
in powers of  metamorphosis1 the effect 
of incantation1 and communion with the  
dead4--,to the savage all nature was    
animated1 all things were persons4  ,the
 leading ideas of savage peoples have   
already been referred to in  the list of
 motifs which appear in the different   
fairy tales1 as given  by ,lang1        
mentioned under the ,preparation of the 
,teacher1 in ,the  ,telling of the      
,tale4        ,,ii4 ,fairy tales are    
myths of ,sun1 ,dawn1 ,thunder1 ,rain1  

etc4      ,this is sometimes called the 
,sun-,myth ,theory or the ,aryan        
,theory1 and  it is the one advocated by
 ,max ,mller and by ,grimm4    ,the     
fairy tales were primitive man's        
experience with nature in days  when he 
could not distinguish between nature and
 his own personality1  when there was no
 supernatural because everything was    
endowed with a  personal life4 ,they    
were the poetic fancies of light and    
dark1 cloud  and rain1 day and night2   
and underneath them were the same       
fanciful  meanings4 ,these became       
changed by time1 circumstances in       
different  countries1 and the fancy of  
the tellers1 so that they became sunny  
and  many-colored in the ,south1 sterner
 and wilder in the ,north1 and more     
home-like in the ,middle and ,west4 ,to 
the ,bushmen the wind was a bird1  and  
to the ,egyptian fire was a living      
beast4 ,even ,the ,song of  ,six-,pence 
has been explained as a nature-myth1 the
 pie being the  earth and sky1 the birds

 the twenty-four hours1 the king the    
sun1 the  queen the moon1 and the       
opening of the pie1 day-break4    ,every
 word or phrase became a new story as   
soon as the first meaning  of the       
original name was lost4 ,andrew ,lang   
tells how ,kephalos the sun  loved      
,prokris the dew1 and slew her by his   
arrows4 ,then when the first  meaning of
 the names for sun1 dew1 and rays was   
lost1 ,kephalos1 a  shepherd1 loved     
,prokris1 a nymph1 and we have a second 
tale which1 by  a folk-etymology1 became
 the ,story of ,apollo1 the ,wolf4      
,tales were  told of the sun under his  
frog name2 later people forgot that frog
  meant sun1 and the result was the     
popular tale1 ,a ,frog1 ,he ,would      
,a-,wooing ,go4    ,in regard to this   
theory1 ,it is well to remember1 says   
,tylor in his  ,primitive ,culture1 that
 rash inferences which1 on the strength 
of  mere resemblances1 derive episodes  
of myth from episodes of nature1  must  
be regarded with utter distrust2 for the

 student who has no more  stringent     
criterion than this for his myths of sun
 and sky and dawn  will find them       
wherever it pleases him to seek them4   
,there is a  danger of being carried    
away by false analogies4 ,but all       
scholars  agree that some tales are     
evidently myths of sun and dawn4 ,if we 
examine the natural history of savages1 
we do find summer feasts1  winter       
feasts1 rituals of sorrow for the going 
of summer and of  rejoicing for its     
return1 anxious interest in the sun1    
interest in the  motion of the heavenly 
bodies1 the custom of naming men and    
women from  the phenomena of nature1 and
 interest in making love1 making war1   
making fun1 and making dinner4          
,,iii4 ,fairy tales all arose in ,india1
 they are part of the common ,aryan     
heritage and are to be traced by the    
remains of their language4      ,they   
were first written in the ,vedas1 the   
sacred ,sanskrit books of  ,buddhism4   
,this theory is somewhat allied to the  

,sun-,myth ,theory4 ,this  theory was   
followed by ,max ,mller and by ,sir     
,george ,cox4    ,the theory of a common
 source in ,india will not answer       
entirely for  the origin of tales       
because many similar tales have existed 
in  non-,aryan countries4 ,old tales    
were current in ,egypt1 #bjjj ,b4,c41   
and  were brought from there by         
,crusaders1 ,mongol missionaries1 the   
,hebrews1 and ,gypsies4    ,the idea of 
connecting a number of disconnected     
stories1 as we find in  ,arabian        
,nights1 ,the ,canterbury ,tales1 and   
the ,decameron1 is  traced to the idea  
of making ,buddha the central figure in 
the  folk-literature of ,india4 ,and    
,jacobs says that at least one-third of 
all the stories common to the children  
of ,europe are derived from  ,india1 and
 by far the majority of the drolls4 ,he 
also says that  generally1 so far as    
incidents are marvelous and of true     
fairy-like  character1 ,india is the    
probable source1 because of the vitality

 of  animism and transformation in      
,india in all time4 ,moreover1 as a     
people1 the ,hindus had spread among    
their numbers enough literary  training 
and mental grip to invent plots4    ,and
 again1 there is an accepted connection 
in myth and language  between all ,aryan
 languages and ,sanskrit4 ,according to 
,sir ,george  ,dasent1 ,the whole human 
race has sprung from one stock planted  
in the  ,east1 which has stretched its  
boughs and branches laden with the fruit
  of language and bright with the bloom 
of song and story1 by successive        
offshoots to the utmost parts of the    
earth4 ,dasent tells how the  ,aryans   
who went west1 who went out to do1 were 
distinguished from  the nations of the  
world by their common sense1 by their   
power of  adapting themselves to        
circumstances1 by making the best of    
their  position1 by being ready to      
receive impressions1 and by being able  
to  develop impressions4 ,they became   
the ,greeks1 the ,latins1 the ,teutons1 

the ,celts1 and the ,slavonians4 ,the   
,aryans who stayed at home1 remained  to
 reflect1 and were distinguished by     
their power of thought4 ,they  became a 
nation of philosophers and gave to the  
world the ,sanskrit  language as the    
basis of comparative philology4 ,dasent 
shows how  legends1 such as the ,story  
of ,william ,tell and ,dog ,gellert1    
which  have appeared in many ,aryan     
peoples were common in germ to the      
,aryan  tribes before migration4 ,joseph
 ,jacobs has more recently settled the  
travels of ,gellert1 tracing its        
literary route from the ,indian  ,vinaya
 ,pitaka1 through the ,fables of        
,bidpai1 ,sindibad1 ,seven ,sages  of   
,rome1 ,gesta ,romanorum1 and the ,welsh
 ,fables of ,cottwg1 until the  legend  
became localized in ,wales4        ,,iv4
 ,fairy tales owe their origin to the   
identity of early fancy4      ,just as  
an individual1 after thinking along     
certain lines1 is  surprised to come    
upon the exact sequence of his thought  

in a book he  had never seen1 so        
primitive peoples in remote parts of the
 world1 up  against similar situations1 
would express experience in tales       
containing similar motifs4 ,a limited   
set of experiences was presented  to the
 inventive faculty1 and the limited     
combinations possible would  result in  
similar combinations4 ,the ,aryan       
,jackal1 the ,mediaeval  ,reynard1 the  
,southern ,brer ,rabbit1 and the ,weasel
 of ,africa1 are near  relations4       
,dasent said1 ,in all mythology and     
tradition there are  natural            
resemblances1 parallelisms1 suggested to
 the senses of each  race by natural    
objects and everyday events2 and these  
might spring up  spontaneously all over 
the earth as home-growths1 neither      
derived by  imitation from other tribes1
 nor from the tradition of a common     
stock4    ,it is probable that all four 
theories of the origin of fairy tales   
are  correct and that fairy tales owe   
their origin not to any one cause but   

to all four4        ,,ii4 ,,the         
,,transmission ,,of ,,fairy ,,tales     
,oral transmission4 ,the tale1 having   
originated1 may have been  transmitted  
in many ways3 by women compelled to     
marry into alien  tribes2 by slaves from
 ,africa to ,america2 by soldiers       
returning from  the ,crusades2 by       
pilgrims returning from the ,holy ,land 
or from ,mecca2  by knights gathering at
 tournaments2 by sailors and travelers2 
and by  commercial exchange between     
southern ,europe and the ,east--,venice 
trading with ,egypt and ,spain with     
,syria4 ,ancient tales of ,persia       
spread along the ,mediterranean shores4 
,in this way the ,moors of ,spain       
learned many a tale which they          
transmitted to the ,french4 ,jack the   
,giant-,killer and ,thomas ,thumb1      
according to ,sir ,walter ,scott1       
landed in ,england from the very same   
keels and warships which conveyed       
,hengist and ,horsa and ,ebba the       
,saxon4 ,a recent report of the ,bureau 

of  ,ethnology of the ,smithsonian      
,institution of the ,united ,states     
expressed the opinion that the ,uncle   
,remus ,tales have an ,indian  origin4  
,slaves had associated with ,indian     
tribes such as the  ,cherokees1 and had 
heard the story of the ,rabbit who was  
so clever  that no one could fool him4  
,gradually the ,southern negroes had    
adopted  the ,indian tales and changed  
them4 ,joseph ,jacobs claims to have    
found  the original of the ,tar ,baby in
 the ,jataka ,tales4 ,a tale1 once      
having originated1 could travel as      
easily as the wind4 ,certainly a  good  
type when once hit upon was diffused    
widely4 ,sir ,walter ,scott has  said3  
,a work of great interest might be      
compiled from the origin of  popular    
fiction and the transmission of similar 
tales from age to age  and from country 
to country4 ,the mythology of one period
 would then  appear to pass into the    
romance of the next century1 and that   
into the  nursery tales of subsequent   

ages4 ,such an investigation would show 
that these fictions1 however wild and   
childish1 possess such charms  for the  
populace as to enable them to penetrate 
into countries  unconnected by manners  
and language1 and having no apparent    
intercourse to afford the means of      
transmission4    ,thomas ,keightley1 in 
,tales and ,popular ,fictions1 has given
  interesting examples of the           
transmission of tales4 ,selecting ,jack 
the  ,giant-,killer1 he has shown that  
it is the same tale as ,grimm's ,the    
,brave ,tailor1 and ,thor's ,journey to 
,utgard in the ,scandinavian  ,edda4    
,similar motifs occur also in a ,persian
 tale1 ,ameen of ,isfahan  and the      
,ghool1 and in the ,goat and the ,lion1 
a tale from the  ,panchatantra4         
,selecting the ,story of ,dick          
,whittington he has shown  that in      
,england it was current in the reign of 
,elizabeth2 that two  similar tales1    
,danish legends1 were told by ,thiele2  
that a similar  ,italian tale existed at

 the time of ,amerigo ,vespucci1 which  
was a  legend told by ,arlotto in       
#acif-adhc2 that another similar        
,italian tale  was connected with the   
origin of ,venice1 in #aage2 and that a 
similar  tale existed in ,persia in     
#acjj1 before #acfj1 when ,whittington  
of  ,england was born4 ,he also pointed 
out that the ,odyssey must have         
traveled east as well as west1 from     
,greece1 for ,sindbad's adventure  with 
the ,black ,giant is similar to that of 
,ulysses with the ,cyclops4    ,another 
interesting set of parallels shown by   
him is connected with  the ,pentamerone 
tale1 ,peruonto4 ,this is the           
,straparola ,peter the  ,fool1 the      
,russian ,emelyan the ,fool1 the        
,esthonian tale by  ,laboulaye1 ,the    
,fairy ,craw-,fish1 and the ,grimm ,the 
,fisherman and his  ,wife4 ,the theme of
 a peasant being rewarded by the fish he
 had thrown  back into the water takes  
on a delightful varied form in the tale 
of  different countries4 ,the magic     

words of ,emelyan1 ,up and away6 ,at the
  pike's command1 and at my request1 go 
home1 sledge6 in each variant  take an  
interesting new form4    ,literary      
transmission4 ,the travels of a tale    
through oral tradition  are to be       
attempted with great difficulty and by  
only the most careful  scholarship4 ,one
 may follow the transmission of tales   
through literary  collections with      
somewhat greater ease and exactness4    
,popular tales  have a literature of    
their own4 ,the following list seeks to 
mention  the most noteworthy            
collections3--         ,no date4 ,vedas4
 ,sanskrit4         ,no date4 ,zend     
,avesta4 ,persian4         ,fifth       
century1 ,b4,c4 ,jatakas4 ,probably the 
oldest       literature4 ,it was written
 at ,ceylon and has been translated     
into #ch languages1 in #aab editions4   
,recently the ,cambridge       edition  
has been translated from the ,pali1     
edited by ,e4,b4       ,cowell1         
published by ,putnam1 ,new ,york1       

#ahie-aijg4         #djjj ,b4,c4 ,tales 
of ,ancient ,egypt4 ,these were the     
tales of       magicians1 recorded on   
papyrus4         #fjj ,b4,c4 7about74   
,homeric ,legends4         #bjj ,b4,c4  
7about74 ,book of ,esther4              
,second century1 ,a4,d4 ,the ,golden    
,ass1 ,metamorphoses of ,apuleius4      
#eej ,a4,d4 ,panchatantra1 the ,five    
,books4 ,this was a       ,sanskrit     
collection of fables1 the probable      
source of the       ,fables of ,bidpai4 
,second century1 ,a4,d4 ,the            
,hitopadesa1 or ,wholesome              
,instruction4 ,a selection from the     
,panchatantra1 first       edited by    
,carey1 in #ahjd2 by ,max ,mller1 in    
#ahdd4         #eej ,a4,d4              
,panchatantra4 ,pehlevi version4        
,tenth century1 ,a4,d4 ,panchatantra4   
,arabic version4         ,eleventh      
century1 ,a4,d4 ,panchatantra4 ,greek   
version4         ,twelfth century1      
,a4,d4 ,panchatantra4 ,persian version4 
#abjj ,a4,d4 ,sanskrit ,tales4 ,these   

tales were collected by       ,somadeva 
,bhatta1 of ,cashmere1 and were         
published to amuse       the ,queen of  
,cashmere4 ,they have been translated by
       ,brockhaus1 #ahdd4 ,somadeva's   
,ocean of the ,streams of ,story        
has been translated by ,mr4 ,tawney1 of 
,calcutta1 #ahhj4    ,tales of the ,west
 came from the ,east in two sources3--  
#abfb-gh4 7#a7 ,directorium ,human ,vit1
 of ,john of ,capua4       ,this was    
translated from the ,hebrew1 from the   
,arabic of       the eighth century1    
from the ,pehlevi of ,persia of the     
sixth century1 from the ,panchatantra1  
from the ,sanskrit       original4 ,this
 is the same as the famous ,persian     
version1       ,the ,book of ,calila and
 ,dimna1 attributed to ,bidpai1 of      
,india4 ,there was a late ,persian      
version1 in #adid1 and one in           
,paris in #afdd1 which was the source of
 ,la ,fontaine4         ,thirteenth     
century4 7#b7 ,the ,story of the ,seven 
,sages of       ,rome1 or ,the ,book of 

,sindibad4 ,this appeared in ,europe as 
the ,latin ,history of the ,seven ,sages
 of ,rome1 by ,dame       ,jehans1 a    
monk in the ,abbey of ,haute ,selve4    
,there is a       ,hebrew1 an ,arabic1  
and a ,persian version4 ,it is believed 
the       ,persian version came from    
,sanskrit but the ,sanskrit original    
has not yet been found4         ,tenth  
century4 ,reynard the ,fox4 ,this was   
first found as a       ,latin product of
 the monks1 in a cloister by the banks  
of       the ,mosel and ,mass4 ,reynard 
the ,fox shares with sop's       ,fables
 the distinction of being folk-lore     
raised into       literature4 ,it is a  
series of short stories of adventure    
forming a romance4 ,these versions are  
known3--              #aahj4            
,german-,reinhart1 an epic of twelve    
adventures by ,heinrich ,glichesre4     
#abcj4 ,french-,roman de ,renard1 with  
its            twenty-seven branches4   
#abej4 ,flemish-,reinaert1 part of which
 was            composed by ,willem1    

near ,ghent4              #aadh4        
,ysengrimus1 a ,latin poem written at   
,ghent4              ,thirteenth        
century4 ,of the ,vox and of the ,wolf1 
an ,english poem4              ,later   
date4 ,rainardo1 ,italian4              
,later date4 ,greek mediaeval version4  
,reynard the ,fox#e was first printed in
 ,england            by ,caxton in      
#adha1 translated from a ,dutch copy4 ,a
            copy of ,caxton's book is in
 the ,british ,museum4                  
,caxton's edition was adapted by ,felix 
,summerley2            and ,felix       
,summerley's edition1 with slight       
changes1 was used by ,joseph ,jacobs in 
his ,cranford            edition4       
,a ,dutch prose romance1 ,historie von  
,reynaert de            ,vos was        
published in #adhe4 ,a ,german copy1    
written            in ,lower ,saxony was
 published in #adih4 ,a                 
chap-book1 somewhat condensed1 but      
giving a very            good account of
 the romance1 was published in          

,london in #aghj1 printed and sold in   
,aldermary            ,churchyard1 ,bow 
,lane4 ,this chap-book is very much     
finer in language than many of the      
others in            ,ashton's          
collection4 ,its structure is good1     
arranged in nine chapters4 ,it shows    
itself a real            classic and    
would be read with pleasure to-day4     
,goethe's poem1 ,reineke ,fuchs1 was    
published in            #agid4 ,this    
version was more refined than previous  
ones but it lost in simplicity4         
,monographs have            been written
 on ,reynard by ,grimm1 ,voigt1 ,martin1
            and ,sudre4                 
,raginhard was a man's name1 meaning    
strong in            counsel1 and was   
common in ,germany which bordered       
on ,france4 ,this name naturally was    
given to the            beast who lived 
by his wits4 ,grimm considered          
,reynard the result of a ,teutonic      
,beast ,epic of            primitive    
origin4 ,later research has exploded    

this            theory and has decided  
that all versions are                   
descended from an original ,french one  
existing            between #aaej and   
#aagj4 ,modern editions have come       
from the ,flemish version4 ,the literary
 artist who            compiled ,reynard
 took a nucleus of fables and           
added to it folk-tales which are known  
to have            existed in the       
eleventh and twelfth centuries and      
which exist to-day as tradition among   
some folk4            ,the folk-tales   
included in ,reynard are3 ,reynard      
and ,dame ,wolf2 ,the ,iced ,wolf's     
,tail2 ,the            ,fishes in the   
,car2 ,the ,bear in the ,cleft2 ,the    
,wolf as ,bell-,ringer2 and ,the ,dyed  
,fox4 ,the            method of giving  
individual names to the animals         
such as ,reynard1 ,bruin1 and ,tibert1  
was current            among the ,folk  
before a literary form was given to     
,reynard4 ,as this was the custom in the
 province            of ,lorraine it is 

supposed that the origin of             
these names was in ,lorraine4 ,other    
names1 such as            ,chanticleer1 
the ,cock1 and ,noble1 the ,lion1 were  
given because of a quality1 and indicate
 a            tendency to allegory4     
,these names increase in the            
later development of the romance4 ,in   
the beginning            when the beasts
 had only personal adventures1          
these were told by the ,folk to raise a 
laugh4            ,later there was a    
meaning underneath the laugh and        
the ,beast ,epic ,comedy of the ,folk   
grew into the            world ,beast   
,satire of the literary artist4         
,reynard exhibits the bare struggle for 
existence            which was generally
 characteristic of ,feudal life4        
,cunning opposes force and triumphs over
 it4 ,the            adventurous hero   
appeals because of his faculty of       
adjustment1 his power to adapt himself  
to            circumstances and to      
master them4 ,he also appeals           

because of his small size when compared 
with the            other animals4 ,in  
the ,middle ,ages ,reynard              
appealed because it was a satire upon   
the monks4            ,of ,reynard      
,carlyle has said1 ,it comes before us  
with a character such as can belong only
 to very            few2 that of being a
 true ,world's ,book which              
through centuries was everywhere at     
home1 the            spirit of which    
diffused itself into all languages      
and all minds4           99       99    
99       99       99         ,about one 
tenth of ,european folk-lore is traced  
to       collections used in the ,middle
 ,ages3 ,fables of ,bidpai1       ,seven
 ,wise ,masters1 ,gesta ,romanorum1 and 
,barlaam and       ,josophat4 ,these    
tales became diffused through the       
,exempla       of the monks1 used in    
their sermons1 through the ,novelle     
of ,italy1 the ,decameron of ,boccaccio1
 the ,tales of       ,chaucer1          
,painter's ,palace of ,pleasure1 and the

       ,elizabethan ,drama of ,england4 
,one half of ,la ,fontaine's            
,fables are of ,indian sources4         
#acbf4 ,the ,gesta ,romanorum1 written  
in ,latin4 ,this was a                  
compilation1 by the monks1 of stories   
with a moral appended       to each4 ,it
 was the most popular story-book before 
the       invention of printing4 ,in    
,england it was printed by ,wynkyn      
de ,worde1 of which edition the only    
known copy is at ,st4       ,john's     
,college1 ,cambridge4 ,the earliest     
manuscript of the       collection is   
dated #acbf4 ,between #afjj and #agjc   
fifteen       editions of the book prove
 its popularity4 ,one ,english          
version is by ,sir ,frederick ,madden1  
who lived #ahja-gc4 ,the       author of
 the ,gesta ,romanorum is unknown1 but  
was likely a       ,german4 ,the stories
 included are miscellaneous and vary in 
different editions4 ,among its stories  
are ,oriental tales1       tales of the 
deeds of ,roman ,emperors1 an early form

 of ,guy       of ,warwick1 the casket  
episode of ,the ,merchant of ,venice1   
a story of the ,jew's bond1 a tale of   
the ,emperor ,theodosius1       being a 
version of ,king ,lear1 the story of the
 ,hermit1 and       a tale of ,aglas1   
the daughter of the ,roman ,emperor     
,pompey1       being a version of       
,atalanta and her ,race4         #ajjj  
,a4,d4 7about74 ,shah-,nameh1 or        
,king-book of ,persia1       by         
,ferdousee1 born about #idj ,a4,d4 ,this
 book is the pride and       glory of   
,persian literature4 ,it was written by 
the ,persian       poet at the command  
of the king1 who wished to have         
preserved the old traditions and heroic 
glories of ,persians       before the   
,arabian conquest4 ,ferdousee declared  
that he       invented none of his      
material1 but took it from the          
,bostan-,nameh or ,old-,book4           
,the ,king-,book is very ancient1 it is 
the ,persian ,homer4 ,it       was the  
labor of thirty years4 ,it consisted of 

#ef1jjj       distichs or couplets1 for 
every thousand of which the ,sultan     
had promised the poet one thousand      
pieces of gold4 ,instead       of the   
elephant-load of gold promised1 the     
,sultan sent in       payment #fj1jjj   
small silver coins4 ,this so enraged the
 poet       that he gave away one third 
to the man who brought them1 one        
third to a seller of refreshments1 and  
one third to the       keeper of the    
bath where the messenger found him4     
,after the       poet's death the insult
 was retrieved by proper payment4       
,this was refused by his one daughter1  
but accepted by the       other and used
 to erect a public dike the poet had    
always       desired to build to protect
 his native town from the river4        
,the fine character of the tales of the 
,king-,book is shown       in the tale  
of ,roostem and ,soohrab1 taken from    
this book1       which ,keightley has   
translated in ,tales and ,popular       
,fictions4 ,keightley considered it     

superior to any ,greek or       ,latin  
tale4 ,modern literature knows this tale
 through       ,matthew ,arnold's poem4 
#aedh 7not later than74 ,the ,thousand  
and ,one ,nights1       ,arabian4 #ab   
volumes4 ,galland's ,french translation 
appeared       in #agjd4 ,this was      
supplemented by ,chavis and ,cazotte1   
and by       ,caussin de ,percival4     
,monsieur ,galland was ,professor of    
,arabic in the ,royal ,college of       
,paris4 ,he was a master of             
,french and a fairly good scholar of    
,arabic4 ,he brought his                
manuscript1 dated #aedh1 to ,paris from 
,constantinople4 ,he       severely     
abbreviated the original1 cutting out   
poetical       extracts and improving   
the somewhat slovenly style4 ,in his    
translation he gave to ,english the new 
words1 genie1 ogre1       and vizier4   
,his work was very popular4             
,boulak and ,calcutta texts are better  
than the ,galland4 ,they       contain  
about two hundred and fifty stories4    

,the ,cairo       edition has been      
admirably translated by ,edward ,w4     
,lane1 in       #c volumes 7#ahci-da7   
published in ,london4 ,this is probably 
the best edition4 ,it also omits many   
poetical quotations4 ,a       recent    
edition using ,lane's translation is by 
,frances       ,olcott1 published by    
,holt in #aiac4 ,editions which attempt 
to       be complete versions are by    
,john ,payne 7#ac volumes1              
#ahhb-hd71 and by ,sir ,richard ,burton 
7#af volumes1 #ahhe-hh74       ,lane and
 ,burton give copious notes of value4   
,the recent       edition by ,wiggin and
 ,smith used the editions of ,scott and 
,lane4         ,the stories in ,arabian 
,nights are ,indian1 ,egyptian1         
,arabian1 and ,persian4 ,scenes are laid
 principally in ,bagdad       and       
,cairo4 ,lane considered that the one   
hundred and fifteen       stories1 which
 are common to all manuscripts1 are     
based on       the ,pehlevi original4   
,the idea of the frame of the story     

came from ,india4 ,this was the birth of
 the serial story4       ,there is      
authority for considering the final     
collection to       have been made in   
,egypt4 ,cairo is described most        
minutely       and the customs are of   
,egypt of the thirteenth century and    
later4 ,the stories must have been      
popular in ,egypt as they       were    
mentioned by an historian1 #adjj-gj4    
,lane considered       that the final   
,arabic collection bears to ,persian    
tales the       same relation that the  
neid does to the ,odyssey4 ,life        
depicted is ,arabic1 and there is an    
absence of the great       ,persian     
heroes4 ,internal evidence assists in   
dating the       work4 ,coffee is       
mentioned only three times4 ,as its use 
became popular in the ,east in the      
fourteenth century this       indicates 
the date of the work to be earlier than 
the very       common use of coffee4    
,cannon1 which are mentioned1 were      
known in ,egypt in #achc4 ,additions to 

the original were       probably made as
 late as the sixteenth century4 ,the    
,arabian       ,nights has been the     
model for many literary attempts to     
produce the ,oriental tale1 of which the
 tales of ,george       ,meredith are   
notable examples4         ,thomas       
,keightley1 in ,tales and ,popular      
,fictions1       considered ,persia the 
original country of ,the ,thousand and  
,one ,nights1 and ,the ,voyages of      
,sinbad1 originally a       separate    
work4 ,he showed how some of these tales
 bear marks       of ,persian extraction
 and how some had made their way to     
,europe through oral transmission before
 the time of       ,galland's           
translation4 ,he selected the tale1     
,cleomedes and       ,claremond1 and    
proved that it must have been learned by
 a       certain ,princess ,blanche1 of 
,castile1 and transmitted by her        
to ,france about #abge4 ,this romance   
must have traveled to       ,spain from 
the ,east4 ,it is the same as ,the      

,enchanted ,horse       in ,the         
,thousand and ,one ,nights1 and through 
,keightley's       proof1 is originally 
,persian4 ,keightley also selected the  
,straparola tale1 ,the ,dancing ,water1 
the ,singing ,apple1 and       the      
,beautiful ,green ,bird1 and proved it  
to be the same as       ,grimm's ,three 
,little ,birds1 as a ,persian ,arabian  
,night's       tale1 and also as ,la    
,princesse ,belle ,etoile1 of           
,d',aulnoy4       ,but as ,galland's    
translation appeared only the year after
       ,madame ,d',aulnoy's death1      
,madame ,d',aulnoy must have obtained   
the tale elsewhere than from the first  
printed version of       ,arabian       
,nights4         ,no date4 ,the         
,thousand and ,one ,days4 ,this is a    
,persian       collection containing the
 ,history of ,calaf4         #aeej4     
,straparola's ,nights1 by ,straparola4  
,this collection       of jests1        
riddles1 and twenty-one stories was     
published in       ,venice4 ,the stories

 were taken from oral tradition1 from   
the       lips of ten young women4 ,some
 were agreeable1 some unfit1 so         
that the book was forbidden in ,rome1 in
 #afje1 and an       abridged edition   
prepared4 ,there was a complete         
,venetian       edition in #aegc1 a     
,german translation in #afgi1 a ,french 
one       in #afaa1 and a good ,german  
one with valuable notes1 by             
,schmidt1 in #ahag4 ,straparola's       
,nights contained stories       similar 
to the ,german ,the ,master ,thief1 ,the
 ,little ,peasant1       ,hans and the  
,hedge-,hog1 ,iron ,hans1 ,the ,four    
,brothers1 ,the       ,two ,brothers1   
and ,dr4 ,know-all4         #afcg4 ,the 
,pentamerone1 by ,basile4 ,basile spent 
his early       youth in ,candia or     
,crete1 which was owned by ,venice4 ,he 
traveled much in ,italy1 following his  
sister1 who was a       noted singer1 to
 ,mantua4 ,he probably died in #afcg4   
,there may       have been an earlier   
edition of ,the ,pentamerone1 which     

sold out4 ,it was republished in ,naples
 in #afde1 #afgd1 #agad1       #agbb1   
#agbh1 #agdi1 #aghh1 and in ,rome in    
#afgi4 ,this was the       best         
collection of tales formed by a nation  
for a long time4       ,the traditions  
were complete1 and the author had a     
special       talent for collecting     
them1 and an intimate knowledge of      
dialect4 ,this collection of fifty      
stories may be looked upon       as the 
basis of many others4 ,basile wrote     
independently of       ,straparola1     
though a few tales are common to both4  
,he was       very careful not to alter 
the tale as he took it down from        
the people4 ,he told his stories with   
allusions to manners       and customs1 
to old stories and mythology4 ,he       
abounds in       picturesque1 proverbial
 expressions1 with turns and many       
similes1 and displays a delightful      
exuberance of fancy4 ,a       valuable  
translation1 with notes1 was written by 
,felix       ,liebrecht1 in #ahdb1 and  

an ,english one by ,john ,edward        
,taylor1 in #ahdh4 ,keightley1 in ,fairy
 ,mythology1 has       translated three 
of these tales and in ,tales and        
,popular       ,fictions1 two tales4    
,keightley's were the first             
translations of these tales into any    
language other than       ,italian4     
,among the stories of ,basile are the   
,german       ,cinderella1 ,how ,six got
 on in the ,world1 ,rapunzel1 ,snow     
,white1 ,dame ,holle1 ,briar ,rose1 and 
,hansel and ,grethel4         #afig4    
,the ,tales of ,mother ,goose1 by       
,charles ,perrault4 ,in       ,france   
the collecting of fairy tales began in  
the       seventeenth century4 ,french1 
,german1 and ,italian tales were        
all derived independently by oral       
tradition4 ,in #afif1 in       ,recueil1
 a magazine published by ,moetjens1 at  
,the ,hague1       appeared ,the ,story 
of ,sleeping ,beauty1 by ,perrault4 ,in 
#afig appeared seven other tales by     
,perrault4 ,eight stories       were    

published in #abmo1 under a title       
borrowed from a       fabliau1 ,contes  
de ma ,mere l',oye4 ,in a later edition 
three stories were added1 ,the ,ass's   
,skin1 ,the ,clever       ,princess1 and
 ,the ,foolish ,wishes4 ,the tales of   
,perrault       were3--              #a4
 ,the ,fairies4            #b4 ,the     
,sleeping ,beauty in the ,wood4         
#c4 ,bluebeard4            #d4 ,little  
,red ,riding ,hood4            #e4      
,puss-in-,boots4            #f4         
,cinderella4            #g4 ,rique with 
the ,tuft4            #h4 ,little       
,thumb4            #i4 ,the ,ass's      
,skin4           #aj4 ,the ,clever      
,princess4           #aa4 ,the ,foolish 
,wishes4         ,immediately afterwards
 the tales appeared published at ,paris 
in a volume entitled1 ,histoires ou     
,contes du ,temps ,passe1       avec des
 ,moralites--,contes de ma ,mre l',oye4 
,the earliest       translation into    
,english was in a book containing       
,french and       ,english1 ,tales of   

,passed ,times1 by ,mother ,goose1 with 
,morals4 ,written in ,french by ,m4     
,charles ,perrault and       ,englished 
by ,r4,s41 ,gent4 ,an ,english          
translation by ,mr4       ,samber was   
advertised in the ,english ,monthly     
,chronicle1       ,march1 #agbi4 ,andrew
 ,lang1 with an introduction1 has edited
       these tales from the original    
edition1 published by the               
,clarendon ,press1 ,oxford1 #ahhh4      
,these tales made their way       slowly
 in ,england1 but gradually eclipsed the
 native ,english       tales and legends
 which had been discouraged by ,puritan 
influence4 ,in ,perrault's time1 when   
this influence was       beginning to   
decline1 they superseded the ,english   
tales1       crowding out all but ,jack 
the ,giant-,killer1 ,tom                
,hickathrift1 ,jack and the ,beanstalk1 
,tom ,thumb1 and ,childe       ,rowland4
         #afej-agje4 ,fairy ,tales1 by  
,madame ,d',aulnoy4 ,in ,france         
there were many followers of ,perrault4 

,the most important of       these was  
,madame ,d',aulnoy4 ,she did not copy   
,perrault4 ,she       was a brilliant1  
witty countess1 and brought into her    
tales1       entitled ,contes de ,fes1  
the graces of the court4 ,she           
adhered less strictly to tradition than 
,perrault1 and       handled her        
material freely1 making additions1      
amplifications1 and moral reflections1  
to the original tale4       ,her weaving
 together of incidents is artistic and  
her style       graceful and not        
unpleasing4 ,it is marked by            
ornamentation1       sumptuousness1 and 
,french sentimentality4 ,it shows a lack
 of       navet resulting from the      
palace setting given to her       tales1
 making them adapted only to children of
 high rank4       ,often her tale is    
founded on a beautiful tradition4 ,the  
,blue-,bird1 one of the finest of her   
tales1 was found in the       poems of  
,marie de ,france1 in the thirteenth    
century4 ,three       of her tales were 

borrowed from ,straparola4 ,among her   
tales       the most important are3--   
,graciosa and ,percinet4 7,basile47     
,the ,blue-,bird4 7,contains a motif    
similar to one             in ,the      
,singing1 ,soaring ,lark47              
,the ,white ,cat4 7,similar to ,three   
,feathers and              ,the         
,miller's ,boy and the ,cat47           
,the ,hind in the ,wood4 7,similar to   
,rumpelstiltskin47              ,the    
,good ,little ,mouse4 7,basile47        
,the ,fair ,one with the ,golden ,locks4
 7,ferdinand             the ,faithful47
              ,the ,yellow ,dwarf4      
,princess ,belle ,etoile4 7,straparola47
         ,the careful translation of    
,madame ,d',aulnoy's tales by ,mr4      
,planch faithfully preserves the spirit 
of the original4         ,there were    
many imitators of ,countess ,d',aulnoy1 
in ,france1       in the eighteenth     
century4 ,their work was on a much lower
       level and became published in the
 ,cabinet des ,fes1 a       collection  

of stories including in its forty       
volumes the       work of many authors1 
of which the greater part is of little  
value4 ,of those following ,d',aulnoy   
three deserve mention3--                
#agaa-aghj4 ,moral ,tales1 by ,madame de
 ,beaumont4            ,these were      
collected while the author was in       
,england4 ,of these we use ,prince      
,cherry4 ,madame            de ,beaumont
 wrote a children's book in which is    
found a tale similar to ,the ,singing1  
,soaring            ,lark1 entitled ,the
 ,maiden and the ,beast4 ,she           
also wrote #fi volumes of romance4      
#agfe4 ,tales1 by ,madame ,villeneuve4  
,of these we            use ,beauty and 
the ,beast4              #afib-agfe4    
,tales1 by ,comte de ,caylus4 ,the      
author            was an antiquarian and
 scholar4 ,of his tales we              
use ,sylvain and ,yocosa4         ,very 
little attempt has been made in modern  
times to include       in our children's
 literature the best of foreign         

literature       for children1 for there
 has been very little study of          
foreign books for children4 ,certainly  
the field of       children's literature
 would be enriched to receive           
translations of any books worthy of the 
name classic4 ,a       partial list of  
,french fairy tales is here given1      
indicating       to children's          
librarians how little has been done to  
open up       this field1 and inviting  
their labor3--              ,bibliothque
 ,rose1 a collection4 7,what should be  
included87              ,bibliothque des
 ,petits ,enfants1 a collection4        
7,what should be included87             
#agii-ahgd4 ,fairy ,tales from the      
,french1 by            ,madame de ,sgur4
 ,these tales are published by          
,winston4 ,we also use her ,story of a  
,donkey1            written in #ahfj and
 published by ,heath in #aija4          
#ahff4 ,fairy ,tales of all ,nations1 by
 ,edouard            ,laboulaye4        
#aijb4 ,last ,fairy ,tales1 also by     

,laboulaye4              ,tales1 by     
,zenaide ,fleuriot4 7,what should be    
included87              #aiaj4          
,chantecler1 by ,edmund ,rostand4       
,translated            by ,gertrude     
,hall1 published by ,duffield4          
#aiaa4 ,the ,honey ,bee1 by ,anatole    
,france2            translated by ,mrs4 
,lane2 published by ,lane4              
#aiaa4 ,the ,blue-,bird1 by ,maurice    
,maeterlinck2            published by   
,dodd4    ,in ,great ,britain many old  
tales taken from tradition were included
 in  the ,welsh ,mabinogion1 ,irish     
sagas1 and ,cornish ,mabinogion4        
,legends of  ,brittany were made known  
by the poems of ,marie de ,france1 who  
lived in  the thirteenth century4 ,these
 were published in ,paris1 in #ahbj4 ,in
  fact1 most of the early publications  
of fairy tales were taken from  the     
,french4    ,celtic tales have been     
collected in modern times in a greater  
number  than those of any nation4 ,this 
has been due largely to the work of     

,j4,f4 ,campbell4 ,celtic tales are     
unusual in that they have been          
collected while the custom of           
story-telling is yet flourishing among  
the ,folk4 ,they are therefore of great 
literary and imaginative  interest4     
,they are especially valuable as the    
oldest of the ,european  tales4 ,the    
,irish tale of ,connla and the ,fairy   
,maiden has been traced  to a date      
earlier than the fifth century and      
therefore ranks as the  oldest tale of  
modern ,europe4 ,the principal ,celtic  
collections are3--         ,iolo ,m4    
,s41 published by the ,welsh ,m4 ,s4    
,society4         ,mabinogion1          
translated by ,lady ,guest4 7,contains  
tales         that trace back to the    
twelfth century47         ,y ,cymrodor1 
by ,professor ,rhys4         #ahbe4     
,fairy ,legends and ,traditions of the  
,south of       ,ireland1 by ,t4        
,crofton ,croker4         #ahdb4        
,popular ,rhymes of ,scotland4          
,chambers4         #ahfj-fb4 ,popular   

,tales of the ,west ,highlands1 by      
,j4,f4       ,campbell4         ,tales1 
collected and published with notes1 by  
,mr4 ,alfred        ,nutt4              
#ahff4 ,by ,patrick ,kennedy1 the ,irish
 ,grimm4 ,legendary       ,fictions of  
the ,irish ,celts2 ,fireside ,stories of
 ,ireland       7#ahgj72 and ,bardic    
,stories of ,ireland 7#ahga74    ,in    
,england the publication of fairy tales 
may be followed more readily  because   
the language proves no hindrance and the
 literature gives  assistance4 ,in      
,england the principal publications of  
fairy tales  were3--         #afjd4     
,pasquil's ,jests4 ,contained a tale    
similar to one of       ,grimm's4       
#afce4 ,a ,tract1 ,a ,descryption of the
 ,kynge and ,quene of       ,fairies1   
their habit1 fare1 abode1 pomp1 and     
state4         ,eighteenth century      
7early74 ,madame ,d',aulnoy's ,tales1 a 
translation4         #affg-agde4        
,gulliver's ,travels1 by ,dean ,swift4  
7,one modern       edition1 with        

introduction by ,w4,d4 ,howells1 and    
more than       one hundred             
illustrations by ,louis ,rhead1 is      
published by       ,harpers4 ,another   
edition1 illustrated by ,arthur         
,rackham1 is       published by         
,dutton47         #agjj-ahjj4           
,chap-,books4 ,very many of these books1
       especially the best ones1 were   
published by ,william and       ,cluer  
,dicey1 in ,aldermary ,church ,yard1    
,bow ,lane1 ,london4       ,rival       
publishers1 whose editions were rougher 
in engraving1       type1 and paper1    
labored in ,newcastle4         ,the     
chap-books were little paper books      
hawked by chap-men1       or traveling  
peddlers1 who went from village to      
village with       ,almanacks1 ,bookes  
of ,newes1 or other trifling wares4     
,these       little books were usually  
from sixteen to twenty-four pages       
in bulk and in size from two and one    
half inches by three       and one half 
inches to five and one half inches by   

four and       one quarter inches4 ,they
 sold for a penny or six-pence and      
became the very popular literature of   
the middle and lower       classes of   
their time4 ,after the nineteenth       
century they       became widely        
published1 deteriorated1 and gradually  
were       crowded out by the ,penny    
,magazine and ,chambers's ,penny        
,tracts and ,miscellanies4 ,for many    
years before the       ,victorian       
period1 folk-lore was left to the       
peasants and       kept out of reach of 
the children of the higher classes4     
,this was the reign of the moral tale1  
of ,thomas ,bewick's       ,looking     
,glass of the ,mind and ,mrs4           
,sherwood's ,henry and       ,his       
,bearer4 ,among the chap-books published
 by ,william and       ,cluer ,dicey1   
may be mentioned3 ,the ,pleasant and    
,delightful       ,history of ,jack and 
the ,giants 7part second was printed and
       sold by ,j4 ,white72 ,guy1 ,earl 
of ,warwick2 ,bevis of ,hampton2        

,the ,history of ,reynard the ,fox1     
dated #aghj2 ,the ,history of           
,fortunatus1 condensed from an edition  
of #afhb2 ,the ,fryer       and the     
,boy2 ,a ,true ,tale of ,robin ,hood    
7,robin ,hood ,garland       ,blocks1   
from #afhj1 were used in the ,london    
,bridge ,chap-,book       edition72 ,the
 ,famous ,history of ,thomas ,thumb2    
,the ,history       of ,sir ,richard    
,whittington2 and ,the ,life and ,death 
of ,st4       ,george4 ,tom ,hickathrift
 was printed by and for ,m4 ,angus and  
,son1 at ,newcastle-in-the-,side3       
,valentine and ,orson was       printed 
at ,lyons1 ,france1 in #adhi2 and in    
,england by ,wynkyn       de ,worde4    
,among the chap-books many tales not    
fairy tales       were included4 ,with  
the popularity of ,goody ,two ,shoes and
       the fifty little books issued by 
,newbery1 the realistic tale       of   
modern times made a sturdy beginning4   
,of these realistic       chap-books one
 of the most popular was ,the ,history  

of       ,little ,tom ,trip1 probably by
 ,goldsmith1 engraved by the            
famous ,thomas ,bewick1 published by ,t4
 ,saint1 of ,newcastle4       ,this was 
reprinted by ,ed4 ,pearson in #ahfg4    
,of ,jack the ,giant-,killer1 in        
,skinner's ,folk-,lore1 ,david          
,masson has said3 ,our ,jack the        
,giant-,killer is clearly the       last
 modern transmutation of the old        
,british legend1 told in       ,geoffrey
 of ,monmouth1 of ,corines the ,trojan1 
the companion       of the ,trojan      
,brutus when he first settled in        
,britain2 which       ,corines1 being a 
very strong man1 and particularly       
good-humored1 is satisfied with being   
,king of ,cornwall1 and       killing   
out all the aboriginal giants there1    
leaving to       ,brutus all the rest of
 the island1 and only stipulating       
that1 whenever there is a peculiarly    
difficult giant in any       part of    
,brutus' dominions1 he shall be sent for
 to finish       the fellow4            

,tom ,hickathrift1 whose history is     
given in an old number       of         
,fraser's ,magazine1 is described by    
,thackeray as one of       the publisher
 ,cundall's books1 bound in blue and    
gold1       illustrated by ,frederick   
,taylor in #ahdg4 ,according to         
,thackeray this chap-book tale was      
written by ,fielding4       ,speaking of
 the passage1 ,the giant roared         
hideously but ,tom       had no more    
mercy on him than a bear upon a dog1 he 
said3       ,no one but ,fielding could 
have described battle so4 ,of the       
passage1 ,having increased his strength 
by good living and       improved his   
courage by drinking strong ale1 he      
remarked3       ,no one but ,fielding   
could have given such an expression4    
,the quality of the ,english of this    
chap-book is apparent in       the      
following sentence1 taken from ,ashton's
 version3 ,so ,tom       stepped to a   
gate and took a rail for a staff4       
,in regard to their literary merit the  

chap-books vary       greatly4 ,some    
evidently are works of scholars who     
omitted to       sign their names4 ,in  
the collection by ,ashton those         
deserving mention for their literary    
merit are3 ,patient       ,grissel1 by  
,boccaccio2 ,fortunatus2 ,valentine and 
,orson2       ,joseph and ,his          
,brethren2 ,the ,friar and the ,boy2    
,reynard       the ,fox1 from ,caxton's 
translation2 ,tom ,hickathrift1         
probably by ,fielding2 and ,the ,foreign
 ,travels of ,sir ,john                 
,mandeville4         #agjh-ij4          
,chap-,books4 ,printed by ,j4 ,white1 of
 ,york1       established at ,newcastle1
 #agjh4 ,these included3 ,tom           
,hickathrift2 ,jack the ,giant-,killer2 
and ,cock ,robin4         #agej4 ,a ,new
 ,collection of ,fairy ,tales4 #b vols4 
#agfj4 ,mother ,goose's ,melodies4 ,a   
collection of many       nursery rhymes1
 songs1 and a few old ballads and tales1
       published by ,john ,newbery4 ,the
 editor is unknown1 but most            

likely was ,oliver ,goldsmith4 ,the     
title of the collection may       have  
been borrowed from ,perrault's ,contes  
de ma ,mre       l',oye1 of which an    
,english version appeared in #agbi4 ,the
       title itself has an interesting  
history dating hundreds of       years  
before ,perrault's time4 ,by #aggg      
,mother ,goose's       ,melodies had    
passed the seventh edition4 ,in #aghj   
they were       published by ,carnan1   
,newbery's stepson1 under the title     
,sonnets for the ,cradle4 ,in #ahaj     
,gammer ,gurton's ,garland1       a     
collection1 was edited by ,joseph       
,ritson1 an ,english       scholar4 ,in 
#ahdb ,j4,o4 ,halliwell issued1 for the 
,percy       ,society1 ,the ,nursery    
,rhymes of ,england4 ,the standard      
modern text should consist of ,newbery's
 book with such       additions from    
,ritson and ,halliwell as bear internal 
evidence of antiquity and are true      
nursery rhymes4         #aggj4 ,queen   
,mab1 ,a ,collection of ,entertaining   

,tales of       ,fairies4         #aghc4
 ,the ,lilliputian ,magazine4           
,illustrated by ,thomas       ,bewick1  
published by ,carnan4         #aghh4    
,the ,pleasing ,companion1 ,a           
,collection of ,fairy ,tales4           
#aghh4 ,fairy ,tales ,selected from the 
,best ,authors1 #b vols4                
#aggj-ia4 ,books published by ,john     
,evans1 of ,long ,lane4       ,printed  
on coarse sugar paper4 ,they included3  
,cock ,robin1       #agia2 ,mother      
,hubbard2 ,cinderella2 and ,the         
,tragical ,death       of an ,apple     
,pye4         #ahji4 ,a ,collection of  
,popular ,stories for the ,nursery1     
translated from ,french1 ,italian1 and  
,old ,english1 by       ,benjamin       
,tabart1 in #d volumes4         #ahaj   
7about74 ,lilliputian ,library1 by      
,j4,g4 ,rusher1 of       ,bridge ,st41  
,banbury4 ,the ,halfpenny ,series       
included3              ,mother ,hubbard 
and ,her ,dog2 ,jack ,the               
,giant-,killer2 ,dick ,whittington and  

,his ,cat2 ,the            ,history of  
,tom ,thumb 7,middlesex72 ,death and    
,burial of ,cock ,robin2 and ,cinderella
 and ,her ,glass            ,slipper4   
,the ,penny ,series included3--         
,history of a ,banbury ,cake1 and ,jack 
the            ,giant-,killer1 designed 
by ,craig1 engraved by ,lee4         ,of
 ,rusher's books those engraved by the  
,bewick ,school were3              ,cock
 ,robin2 ,the ,history of ,tom ,thumb2  
and            ,children in the ,wood4  
,rusher's books also included3          
,mother ,hubbard and ,her ,dog1         
,cinderella and ,her            ,glass  
,slipper1 and ,dick ,whittington and    
,his            ,cat1 all designed by   
,cruikshank1 engraved by                
,branstone4         #ahah4 ,fairy       
,tales1 or the ,lilliputian ,cabinet1   
collected       by ,benj4 ,tabart1      
,london4 ,this was a new edition of the 
collection of #ahji1 and contained      
twenty-four stories4 ,a       full      
review of it may be seen in the         

,quarterly ,review1       #ahai1 ,no4   
#da1 pp4 #ia-aab4 ,the tales included   
translations       from ,perrault1      
,madame ,d',aulnoy1 ,madame de          
,beaumont1 tales       from ,the        
,thousand and ,one ,nights1 and from    
,robin ,hood2       and the single tales
 of ,jack the ,giant-,killer1 ,tom      
,thumb1       and ,jack and the         
,bean-,stalk4         #ahbd1 #ahbf4     
,german ,popular ,stories1 translated by
 ,edgar       ,taylor1 with             
illustrations by ,cruikshank1 published 
by       ,charles ,tilt1 ,london4 ,a new
 edition1 introduction by ,ruskin1      
was published by ,chatto  ,windus1      
#ahhj4    ,the above are the main       
collections of fairy tales in ,england4 
,many  individual publications show the 
gradual development of fairy tale       
illustration in ,england3#f--           
#agac-agfg4 ,john ,newbery's ,books for 
,children4 ,among these       were      
,beauty and the ,beast1 by ,charles     
,lamb1 #agfe1 and       ,sinbad the     

,sailor1 #agih4         #aggh4 ,fabulous
 ,histories of the ,robins4 ,mrs4 ,sarah
       ,trimmer4 ,cuts designed by      
,thomas ,bewick1 engraved by ,john      
,thompson1 ,whittingham's ,chiswick     
,press4         #agee-ahhf4 ,life and   
,perambulations of a ,mouse2 and        
,adventures of a ,pin-,cushion4 ,dorothy
 ,kilner4         #aghe4 ,baron         
,munchausen's ,narratives of ,his       
,famous ,travels       and ,campaigns in
 ,russia4 ,rudolf ,raspe4         #aghh4
 ,little ,thumb and the ,ogre4          
,illustrated by ,william       ,blake2  
published by ,dutton4         #agij4    
,the ,death and ,burial of ,cock ,robin4
 ,illustrated by ,thomas       ,bewick4 
,catnach4         #ahjg4 ,tales from    
,shakespeare4 ,charles and ,mary ,lamb4 
,w4,j4       ,godwin and ,co4 ,william  
,blake illustrated an edition of these  
tales1 probably the original edition4   
#ahac4 ,reprints of forgotten books1 by 
,andrew ,tuer3 ,dame       ,wiggins of  
,lee2 ,the ,gaping ,wide-,mouthed       

,waddling ,frog3 ,the       ,house that 
,jack ,built4 ,dame ,wiggins of ,lee was
 first       printed by ,a4,k4 ,newman  
and ,co41 ,minerva ,press4 ,original    
cuts       by ,stennet or ,sinnet4      
,reprinted by ,allen1 #ahhe1 with       
illustrations added by ,kate ,greenaway4
         #ahda4 ,king of the ,golden    
,river4 ,john ,ruskin4 ,illustrated     
by ,richard ,doyle1 #ahhd4              
#ahdd4 ,home ,treasury1 by ,felix       
,summerley 7,sir ,henry       ,cole74   
,felix ,summerley was a reformer in     
children's books4       ,he secured the 
assistance of many of the first artists 
of       his time3 ,mulready1 ,cope1    
,horsley1 ,redgrave1 ,webster1 all of   
the ,royal ,academy1 ,linnell and his   
three sons1 ,townsend1 and       others4
 ,these little books were published by  
,joseph ,cundall       and have become  
celebrated through ,thackeray's mention 
of       them4 ,they aimed to cultivate 
the affections1 fancy1                  
imagination1 and taste of children1 they

 were a distinct       contrast to the  
,peter ,parley books4       ,they were  
new books1 new combinations of old      
materials1 and       reprints1 purified 
but not weakened4 ,their literature     
possessed brightness4 ,the books were   
printed in the best       style of the  
,chiswick ,press1 with bindings and end 
papers       especially designed4 ,they 
included these tales3 ,puck's           
,reports to ,oberon2 ,four ,new ,fairy  
,tales2 ,the ,sisters2 ,golden          
,locks2 ,grumble and ,cherry2 ,little   
,red ,riding ,hood1 with       four     
colored illustrations by ,webster2      
,beauty and the       ,beast1 with four 
colored illustrations by ,horsley2 ,jack
       and the ,bean-,stalk1 with four  
colored illustrations by       ,cope2   
,jack the ,giant-,killer1 also          
illustrated by ,cope2 and       ,the    
,pleasant ,history of ,reynard1 the     
,fox1 with forty of       the           
fifty-seven etchings made by            
,everdingen1 in #ageb4                  

#ahbd-ahhc4 ,publications by ,richard   
,doyle4 ,these included       ,the      
,fairy ,ring1 #ahde2 ,snow ,white and   
,rosy ,red1 #ahga2       ,jack the      
,giant-,killer1 #ahhh1 etc4             
#ahdf4 ,undine1 by ,de ,la ,mott        
,fouque1 illustrated by ,john           
,tenniel1 published by ,james ,burns4   
#ahdf4 ,the ,good-,natured ,bear1 by    
,richard ,hengist ,home1 the            
,english critic4 ,this was illustrated  
by ,frederick ,taylor1       published  
probably by ,cundall4 ,the book is now  
out of print1       but deserves to be  
reprinted4         #ahdg-ahfd4          
,cruikshank ,fairy ,library4 ,a series  
of small       books in paper wrappers4 
,not equal to the ,german popular       
stories in illustration4 ,it included   
,tom ,thumb1 #ahcj2       ,john ,gilpin1
 #ahbh 7realistic72 and ,the ,brownies1 
#ahgj4         #ahdg4 ,bob and ,dog     
,quiz4 ,author unknown4 ,revived by     
,e4,v4       ,lucas in ,old-fashioned   
,tales4 ,illustrated by ,f4,d4 ,bedford2

       published by ,stokes1 #aije4     
#ahej4 ,the ,child's ,own ,book4        
,published in ,london4 ,there was       
an earlier edition1 not before #ahcj4   
,the introduction1 which       in the   
#ahej edition was copied from the       
original1 indicates       by its style  
that the book was written early in the  
nineteenth century4 ,the book was the   
delight of generations       of         
children4 ,it was a collection          
containing tales from       ,arabian    
,nights1 ,perrault's tales of           
,cinderella1       ,puss-in-,boots1     
,hop-o'-my-,thumb1 ,bluebeard1 etc41    
,d',aulnoy's       ,valentine and       
,orson1 chap-book stories of ,dick      
,whittinqton1 ,fortunatus1 ,griselda1   
,robinson ,crusoe1 ,the       ,children 
in the ,wood1 ,little ,jack1 and others4
 ,a recent       edition of this book is
 in the ,young ,folks' library1 vol4    
#a1 published by ,hall  ,locke1 ,boston1
 #aija4         #ahej 7about74 ,the     
,three ,bears4 ,illustrated by ,absalon 

and       ,harrison ,weir4 ,addy and    
,co4         #ahbd-ahhi4 ,work by ,mrs4 
,mary ,whateley4 ,she had a ,moslem     
school in ,cairo and exerted a fairy    
tale influence4         #ahbf-ahhg4 ,the
 ,little ,lame ,prince2 ,adventures of a
       ,brownie2 and ,the ,fairy ,book4 
,produced by ,mrs4 ,dinah       ,muloch 
,craik4         #ahed4 ,the ,rose and   
the ,ring1 by ,william ,m4 ,thackeray4  
,a       modern edition contains the    
original illustrations with             
additions by ,monsell4 ,crowell4        
#ahee4 ,granny's ,story ,box4 ,a        
collection4 ,illustrated by ,j4         
,knight2 published by ,piper1           
,stephenson1 and ,spence4         #ahef4
 ,granny's ,wonderful ,chair1 containing
 ,prince       ,fairy-foot4 ,written by 
,frances ,browne1 a blind ,irish        
poetess4         #ahfc4 ,water ,babies4 
,charles ,kingsley4 ,sir ,noel ,patton4 
,the       ,macmillan ,company4         
#ahfe4 ,stories ,told to a ,child1      
including ,fairy ,tales2 ,mopsa         

the ,fairy1 #ahfi4 ,by ,jean ,ingelow4  
#ahfe4 ,alice's ,adventures in          
,wonderland1 by ,lewis ,carroll         
7,charles ,dodgson71 with #db           
illustrations by ,john ,tenniel1        
published by ,macmillan ,company1       
,oxford4 ,first edition       recalled4 
,later editions were published by       
,richard ,clay1       ,london4          
#ahfi4 ,at the ,back of the ,north      
,wind2 ,the ,princess and the           
,goblin1 #ahga4 ,by ,george ,mac,donald4
 ,arthur ,hughes4 ,strahan4             
,reprinted by ,blackie4         #ahgj4  
,the ,brownies2 #ahhb1 ,old-fashioned   
,fairy ,tales4 ,by       ,juliana       
,ewing4         #ahgc4 ,a ,series of    
,toy-,books for ,children1 by ,walter   
,crane       7#ahde-aiad74 ,published by
 ,routledge and printed in colors by    
,edmund ,evans4 ,twenty-seven of these  
stories in nine volumes       are       
published by ,john ,lane1 ,bodley ,head4
 ,princess       ,fioromonde1 #ahhj1    
,grimm's ,household ,stories1 #ahhb1 and

       ,the ,cuckoo ,clock1 #ahhg1 all  
by ,mrs4 ,molesworth1 were also         
illustrated by ,crane4         #ahgh-4  
,picture-,books1 by ,randolph ,caldecott
 7#ahdf-ahhf74       ,these were sixteen
 in number4 ,they are published by ,f4  
,warne4         #ahge-4 ,stories from   
the ,eddas2 ,dame ,wiggins of ,lee      
7,allen72 and ,the ,pied ,piper of      
,hamelin4 ,these delightful       books 
by ,kate ,greenaway 7#ahdf-aija7 were   
published by       ,routledge and       
engraved by ,edmund ,evans4 ,they are   
now       published by ,f4 ,warne4      
,this brings the ,english side of the   
subject down to  the present time4      
,present editions of fairy tales are    
given in ,chapter ,,vi4    ,in ,germany 
there were also many translations from  
the ,french of  ,perrault and           
,d',aulnoy4 ,there were editions in     
#agfd1 #aggj1 etc4 ,most of  those      
before the ,grimms' ,tales were not     
important4 ,one might  mention3--       
#aghb4 ,popular ,german ,stories1 by    

,musus4         #ahah4 ,fables1         
,stories1 and ,tales for ,children1 by  
,caroline       ,stahl4         #ahai4  
,bohemian ,folk-,tales1 by ,wolfgang    
,gerle4         #ahab-ahad4 ,kinder und 
,haus-,mrchen1 by ,jacob and ,william   
,grimm4 ,the second edition was         
published in #c volumes in              
,berlin1 by ,reiner1 in #ahbb4 ,this    
latter work formed an era       in      
popular literature and has been adopted 
as a model by all       true collectors 
since4    ,concerning the modern ,german
 fairy tale1 the ,germans have paid such
  special attention to the selection and
 grading of children's  literature that 
their library lists are to be           
recommended4 ,wolgast1  the author of   
,vom ,kinderbuch1 is an authority on the
 child's book4  ,the fairy tale received
 a high estimate in ,germany and no     
nation has  attained a higher           
achievement in the art of the fairy tale
 book4 ,the  partial list simply        
indicates the slight knowledge of       

available  material and would suggest an
 inviting field to librarians4 ,a great 
stimulus to children's literature would 
be given by a knowledge of  what the    
,germans have already accomplished in   
this particular4 ,in  ,germany a child's
 book1 before it enters the market1 must
 first be  accepted by a committee who  
test the book according to a standard of
  excellence4 ,any book not coming up to
 the standard is rejected4 ,a few  of   
the ,german editions in use are given3--
         ,bilderbcher1 by ,lwensohn4    
,bilderbcher1 by ,scholz4         ,liebe
 ,mrchen4 ,one form of the above1 giving
 three tales       in one volume4       
,mrchen1 by ,w4 ,hauff1 published by    
,lowe4 ,one edition1       illustrated  
by ,arthur ,rackham1 is published by    
,dutton4 ,the       ,caravan ,tales is  
an edition published by ,stokes4        
,mrchen1 by ,musaus1 published by ,von  
,k4,a4 ,mller4         #aggg-ahdc4      
,undine1 by ,la ,motte ,fouqu4 ,a recent
 edition1       illustrated by ,rackham1

 is published by ,doubleday4            
#ahag-gg4 ,books by ,otillie            
,wildermuth4 7,what of hers should      
be translated and included87            
,hanschen im ,blaubeerenwald2 ,hanschens
 ,skifart ,mrchen1       both by ,elsa  
,beskow1 published by ,carl4            
,windchen2 and ,wurzelkindern1 both by  
,sybille von ,olfers1       published by
 ,schreiber4         ,das ,mrchen von   
den ,sandmannlein1 by ,riemann1         
published by       ,schreiber4          
,der ,froschknig1 by ,liebermann1       
published by ,scholz4         ,weisst du
 weviel ,sternlein stehen1 by ,lewinski1
 published       by ,schreiber4    ,in  
,sweden there appeared translations of  
,perrault and ,d',aulnoy4 ,the          
,blue-,bird was oftenest printed as a   
chap-book4 ,folk-tales were  collected  
in3--         ,swedish ,tales1 a        
collection4 ,h4 ,von ,schroter4         
#ahdd4 ,folk-,tales4 ,george ,stevens   
and ,hylten ,cavallius4    ,sweden has  
given us the modern fairy tale1 ,the    

,wonderful ,adventures  of ,nils 7#b    
volumes74 ,this delightful tale by      
,selma ,lagerlf1 born  #aheh1 and a     
winner of the ,nobel prize1 has         
established itself as a  child's        
classic4 ,it has been translated by     
,v4,s4 ,howard1 published by            
,doubleday1 #aijg4    ,in ,norway we    
have3--         #ahea4 ,norske          
,folkeeventyr1 collected by ,asbjrnsen  
and ,moe4         #ahfb4 ,norse ,tales4 
,the above tales translated by ,sir     
,george ,w4 ,dasent4    ,in ,denmark we 
have3--         ,sagas of ,bodvar       
,biarke4         ,danske ,folkeeventyr1 
by ,m4 ,winther1 ,copenhagen1 #ahbc4    
#ahdc-fj4 ,danmarks ,folkesagn1 #c      
vols41 by ,j4,m4 ,thiele4               
#ahje-ahge4 ,fairy ,tales1 by ,hans     
,christian ,andersen4 ,these       tales
 are important as marking the beginning 
of the modern       fairy tale4 ,they   
are important also as literary fairy    
tales       and have not been equaled in
 modern times4    ,in ,slavonia we      

have3--         ,wochentliche           
,nachrichten1 by ,busching1 published by
 ,schottky4    ,in ,hungary we have3--  
#ahbb4 ,marchen der ,magyaren1 by       
,george von ,gaal4    ,in ,greece and   
,russia no popular tales were collected 
before the time  of the ,grimms4    ,in 
,italy the two great collections of the 
world of fairy tales have  been         
mentioned4 ,italy has also given the    
modern fairy tale which has  been       
accepted as a classic3 ,pinocchio1 by   
,c4 ,collodi 7,carlo  ,lorenzini74 ,this
 has been illustrated by ,copeland1     
published by ,ginn2  and illustrated by 
,folkhard1 published by ,dutton4    ,in 
,america the publication of fairy tales 
was at first a reprinting of  ,english  
editions4 ,in colonial times1 previous  
to the revolution1  booksellers imported
 largely from ,england4 ,after the      
revolution a new  home-growth in        
literature gradually developed4 ,at     
first this was  largely in imitation of 
literature in ,england4 ,after the time 

of  ,washington ,irving a distinct      
,american adult literature established  
itself4 ,the little child's toy-book    
followed in the wake of the  grown-up's 
fiction4 ,the following list#g shows the
 growth of the  ,american fairy tale1   
previous to #ahgj4 ,recent editions are 
given in  ,chapter ,,vi4                
#agdg-ahdj4 ,forgotten ,books of the    
,american ,nursery1 ,a       ,history of
 the ,development of the ,american      
,story-,book4       ,halsey1 ,rosalie   
,v4 ,boston1 ,c4,e4 ,goodspeed  ,co41   
#aiaa4 #bdd       pp4                   
#aghe-aghh4 ,isaiah ,thomas1 ,printer1  
,writer1 and ,collector4       ,nichols1
 ,charles ,l4 ,a paper read ,april #ab1 
#aiaa1 before the       ,club of ,odd   
,volumes4444 ,boston4 ,printed for the  
,club of ,odd       ,volumes1 #aiab4    
#add pp4 ,list of juveniles #aghg-hh3   
pp4       #acb-cc4         #aghe4       
,mother ,goose4 ,the original ,mother   
,goose's melody1 as       first issued  
by ,john ,newbery1 of ,london1 about    

,a4,d4 #agfj4       ,reproduced in      
facsimile from the edition as reprinted 
by       ,isaiah ,thomas1 of ,worcester1
 ,mass41 ,a4,d4 #aghe 7about7 444       
,albany1 ,j4 ,munsell's ,sons1 #ahhi4   
#bh pp4         #aghg4 ,banbury         
,chap-,books and ,nursery ,toy-,book    
,literature       7of the eighteenth and
 early nineteenth centuries7 444        
,pearson1 ,edwin4 ,with very much that  
is interesting and       valuable       
appertaining to the early typography of 
children's       books relating to      
,great ,britain and ,america4444        
,london1 ,a4       ,reader1 #ahij3 #aaf 
pp4 ,impressions from wood-cut blocks by
 ,t4       and ,j4 ,bewick1 ,cruikshank1
 ,craig1 ,lee1 ,austin1 and others4     
#aghi4 ,the ,olden ,time ,series4       
,gleanings chiefly from old             
newspapers of ,boston and ,salem1 ,mass4
 ,brooks1 ,henry ,m41       comp4       
,boston1 ,ticknor  ,co41 #ahhf4 #f vols4
 ,the ,books that       ,children ,read 
in #agih 444 by ,t4,c4 ,cushing3 vol4   

#f1 pp4       #fb-fc4                   
#ahjj-ahbe4 ,goodrich1 ,s4,g4           
,recollections of a ,lifetime4          
,new ,york1 ,miller1 ,orton1 and        
,mulligan1 #ahef4 #b vols4 ,children's  
books 7#ahjj-ahbe73 vol4 #a1 pp4        
#afd-gd4         #afhf4 ,the ,history of
 ,tom ,thumb4 ,john ,dunton1 ,boston4   
#agbh4 ,chap-,books4 ,benjamin          
,franklin1 ,philadelphia4         #agcj4
 ,small ,histories4 ,andrew ,bradford1  
,philadelphia4       ,these included    
,tom ,thumb1 ,tom ,hickathrift1 and     
,dick       ,whittington4         #agdd4
 ,the ,child's ,new ,plaything4 ,draper 
,edwards1 ,boston4       ,reprint4      
,contained alphabet in rhyme1 proverbs1 
fables1 and       stories3 ,st4 ,george 
and the ,dragon2 ,fortunatus2 ,guy of   
,warwick2 ,brother and ,sister2 ,reynard
 the ,fox2 and ,the       ,wolf and the 
,kids4         #agej4 ,john ,newbery's  
books4 ,advertised in ,philadelphia     
,gazette4 ,the ,pretty ,book for        
,children probably included             

,cinderella1 ,tom ,thumb1 etc4          
#agfj4 ,all juvenile publications for   
sale in ,england4       ,imported and   
sold by ,hugh ,gaine1 ,new ,york4       
#agff4 ,children's books4 ,imported and 
sold by ,john ,mein1 a       ,london    
bookseller who had a shop in ,boston4   
,included ,the       ,famous ,tommy     
,thumb's ,story ,book2 ,leo the ,great  
,giant2       ,urax1 or the ,fair       
,wanderer2 and ,the ,cruel ,giant1      
,barbarico4         #aghg4 ,all         
,newbery's publications4 ,reprinted by  
,isaiah       ,thomas1 ,worcester1      
,mass4         #agid4 ,arabian ,nights4 
,the ,arabian ,nights ,entertainments   
4444 ,the first ,american edition4444   
,philadelphia1 ,h4  ,p4       ,rice2    
,baltimore1 ,j4 ,rice  ,co41 #agid4 #b  
vols4         #ahjd4 ,blue ,beard4 ,a   
,new ,history of ,blue ,beard1 written  
by       ,gaffer ,black ,beard1 for the 
,amusement of ,little ,jack ,black      
and his ,pretty ,sisters4 ,philadelphia1
 ,j4 ,adams1 #ahjd4 #ca       pp4       

#ahai4 ,rip ,van ,winkle4 ,a legend     
included in the works of                
,washington ,irving1 published in       
,london1 #ahai4         #ahbc4 ,a ,visit
 from ,st4 ,nicholas4 ,clement ,clark   
,moore1 in       ,troy ,sentinel1 ,dec4 
#bc1 #ahbc4 ,written the year before for
       his own family4 ,the first really
 good ,american juvenile       story1   
though in verse4         #ahbe4 ,babes  
in the ,wood4 ,the history of the       
children of       the wood4444 ,to which
 is added an interesting account of the 
,captive ,boy4 ,new ,york1 ,n4,b4       
,holmes4 #cf pp4 ,plates4         #ahcc4
 ,mother ,goose4 ,the only true ,mother 
,goose ,melodies2       an exact        
reproduction of the text and            
illustrations of the       original     
edition1 published and copyrighted in   
,boston in       #ahcc by ,munroe       
,francis4444 ,boston1 ,lee  ,shepard1   
#aije4       #ajc pp4         #ahcf4    
,the ,fairy ,book4 ,with eighty-one     
engravings on wood1       by ,joseph ,a4

 ,adams4 ,new ,york1 ,harper  ,bros4    
#ahcf4 #cja pp4       ,introduction by  
,john ,smith4 ,edited by ,c4,g4         
,verplanck1       probably4             
#ahdd4 ,fairy ,land1 and ,other         
,sketches for ,youths1 by the           
author of ,peter ,parley's ,tales       
7,samuel ,g4 ,goodrich74       ,boston1 
,j4 ,munroe  ,co4 #afg pp4 ,plates1     
,cromo4 ,lith4 of       ,bouv  ,sharp1  
,boston4         #ahdh4 ,rainbows for   
,children1 by ,l4 ,maria ,child1 ed4    
,new       ,york1 ,c4,s4 ,francis  ,co4 
#agj pp4 #bh original sketches 444 by   
,s4 ,wallin4444 ,b4,f4 ,childs1 wood    
engraver3 p4 #h4 ,advertising           
pages3 ,new books published by ,c4,s4   
,francis  ,co41 ,n4,y4444       ,the    
,fairy ,gift and the ,fairy ,gem4 ,four 
volumes of choice       fairy tales4    
,each illustrated with #bjj fine        
engravings by       ,french artists3 p4 
#b4         #ahea4 ,wonder ,book1 by    
,nathaniel ,hawthorne4 ,illustrated by  
,w4 ,crane1 #fj designs1 published by   

,houghton1 #aiaj4         #aheb4        
,legends of the ,flowers1 by ,susan     
,pindar4 ,new ,york1       ,d4 ,appleton
  ,co41 #agh pp4         #ahec4 ,fairy  
,tales and ,legends of ,many ,nations1  
by ,charles       ,b4 ,burkhardt4 ,new  
,york1 ,chas4 ,scribner4 #bgg pp4       
,illustrated       by ,w4 ,walcutt and  
,j4,h4 ,cafferty4         #ahed4 ,the   
,little ,glass ,shoe1 and ,other        
,stories for       ,children4           
,philadelphia1 ,charles ,h4 ,davis4 #abh
 pp4       ,advertising pages3 ,a       
description of illustrated juvenile     
books1 published by ,charles ,h4 ,davis3
 #af pp4 ,a ,book of       ,fairy       
,stories3 p4 #i4         #ahed4 ,the    
,history of ,whittington and ,his ,cat4 
,miss ,corner       and ,alfred         
,crowquill4 ,dick ,whittington is said  
to have       been the best seller among
 juvenile publications for five         
hundred years4         #ahee4 ,flower   
,fables1 by ,louisa ,may ,alcott4       
,boston1 ,g4,w4       ,briggs  ,co4 #ahb

 pp4         #ahee4 ,the ,song of       
,hiawatha1 by ,henry ,wadsworth         
,longfellow4       ,published now by    
,houghton1 illustrated by ,frederick    
,remington4         #ahfd4 ,seaside and 
,fireside ,fairies1 by ,george ,blum4   
,translated from the ,german of ,georg  
,blum and ,louis ,wahl4 ,by       ,a4,l4
 ,wister4 ,philadelphia1 ,ashmead       
,evans1 #bib pp4         #ahfg4 ,grimm's
 ,goblins1 selected from the ,household 
,stories of the ,brothers ,grimm4 ,jacob
 ,l4,k4 ,grimm4 ,boston1       ,ticknor 
,fields4 #aaa pp4         #ahfg4 ,fairy 
,book4 ,fairy ,tales of ,all ,nations1  
by ,edouard       ,laboulaye4           
,translated by ,mary ,booth4 ,new ,york1
 ,harper        ,bros41 #cfc pp4        
,engravings4         #ahfg4 ,the        
,wonderful ,stories of ,fuz-buz the ,fly
 and ,mother       ,grabem the ,spider4 
,by ,s4 ,weir ,mitchell4 ,philadelphia1 
,j4,b4       ,lippincott  ,co4 #gi pp4  
#ahfh4 ,folks and ,fairies4 ,stories for
 little children4 ,lucy       ,comfort4 

,new ,york1 ,harpers1 #bei pp4          
,engravings4 ,advertising       pages3  
,six fairy tales published by ,harper   
,bros4         #ahgj4 ,cinderella1 or   
,the ,little ,glass ,slipper4 ,boston1  
,fields1 ,osgood  ,co4 #ahga4 #h pp4    
,colored plates by ,alfred              
,fredericks4         #ahgc4 ,mother     
,goose4 ,illustrations of ,mother       
,goose's       ,melodies4 ,by ,alexander
 ,anderson4 ,new ,york4 ,privately      
printed       by ,c4,l4 ,moreau         
7,analectic ,press71 #ahgc1 #cf #a4 #aj 
numb4 #a4       7,designed and engraved 
on wood47         #ahgj4 ,beauty and the
 ,beast1 by ,albert ,smith4 ,new ,york1 
,manhattan ,pub4 ,co41 #ahgj4 #fd pp4   
,with illustrations by       ,alfred    
,crowquill4    ,this brings the         
,american child's fairy tale up to      
recent publications  of the present day 
which are given in the chapter1 ,sources
 of  ,material4 ,an attempt has been    
made here to give a glimpse of folk and 
fairy tales up to the time of the       

,grimms1 and a view of modern           
publications in ,france1 ,germany1      
,england1 and ,america4 ,the ,grimms    
started a revolution in folk-lore and in
 their lifetime took part in  the       
collection of many tales of tradition   
and influenced many others  in the same 
line of work4 ,an enumeration of what   
was accomplished in  their lifetime     
appears in the notes of ,grimm's        
,household ,tales1  edited by ,margaret 
,hunt1 published by ,bonn's ,libraries1 
vol4 ,,ii1 pp4  #eca4 etc4    ,in modern
 times the ,folk-,lore ,society of      
,england and ,america has been          
established4 ,now almost every nation   
has its folk-lore society and           
folk-tales are being collected all over 
the world4 ,altogether probably  ,russia
 has collected fifteen hundred such     
tales1 ,germany twelve  hundred1 ,italy 
and ,france each one thousand1 and      
,india seven hundred4  ,the work of the 
,grimms1 ended in #ahei1 was continued  
by ,emanuel  ,cosquin1 who1 in his      

,popular ,tales of ,lorraine1 has made  
the most  important recent contribution 
to folklore1--important for the         
,european  tale and important as showing
 the relation of the ,european tale to  
that of ,india4    ,the principal recent
 collections of folk-lore are3--        
,legends and ,fairy ,tales of ,ireland4 
,croker4 #ahbe4       ,welsh and ,manx  
,tales4 ,sir ,john ,rhys4 #ahdj-4       
,popular ,rhymes of ,scotland4          
,chambers4 #ahdg4       ,tales of the   
,west ,highlands4 ,campbell4 #ahfj4     
,popular ,tales from the ,norse4        
,dasent4 #ahfb4       ,zulu ,nursery    
,tales4 ,callaway4 #ahff4       ,old    
,deccan ,days4 ,frere4 #ahfh4           
,fireside ,tales of ,ireland4 ,kennedy4 
#ahgj4       ,indian ,fairy ,tales4     
,miss ,stokes4 #ahhj4       ,buddhist   
,birth ,stories4 ,rhys ,davids4 #ahhj4  
,kaffir ,folk-,lore4 ,theal4 #ahhb4     
,folk-,tales of ,bengal4 ,day4 #ahhc4   
,wide ,awake ,stories4 ,steel and       
,temple4 #ahhd4       ,italian ,popular 

,tales4 ,crane4 #ahhe4       ,popular   
,tales of ,lorraine4 ,cosquin4 #ahhf4   
,popular ,tales and ,fictions4          
,clouston4 #ahhg4       ,folk-,tales of 
,kashmir4 ,knowles4 #ahhg4       ,tales 
of ,ancient ,egypt4 ,maspero4 #ahhi4    
,tales of the ,sun4 ,mrs4 ,kingscote4   
#ahij4       ,tales of the ,punjab4     
,steel4 #ahid4       ,jataka ,tales4    
,cowell4 #ahie4       ,russian          
,folk-,tales4 ,bain4 #ahie4             
,cossack ,fairy ,tales4 ,bain4 #ahii4   
,new ,world ,fairy ,book4 ,kennedy4     
#aijf4       ,fairy ,tales1 ,english1   
,celtic1 and ,indian4 ,joseph ,jacobs4  
#aiaj-aa4    ,this brings the subject   
down to the present time4 ,the          
present-day  contributions to folk-lore 
are found best in the records of the    
,folk-lore ,society1 published since its
 founding in ,london1 in #ahgh2  and    
daily additions1 in the folk-lore       
journals of the various  countries4     
,,references           ,adams1 ,oscar   
,fay3 ,the ,dear ,old ,story-,tellers4  

,lothrop4         ,ashton1 ,john3       
,chap-,books of the #ahth ,century4     
,chatto          ,windus4 ,london1      
#ahhb4         ,bunce1 ,john ,t43 ,fairy
 ,tales1 ,origin and ,meaning4          
,macmillan1         #ahgh4              
,chamberlain1 ,a4,f43 ,the ,child and   
,childhood in ,folk-,thought4           
,macmillan4         ,clouston1 ,w4,a43  
,popular ,tales and ,fictions4          
,edinburgh1         ,blackwoods1 #ahhg4 
,cyclopdia3 ,mythology4 ,encyclopdia    
,britannica4         ,cox1 ,miss        
,roalfe3 ,cinderella4 ,introduction by  
,lang4 ,nutt1 #ahib4         ,dasent1   
,george ,w43 ,popular ,tales from the   
,norse4 ,introduction4                  
,routledge4         ,fiske1 ,john3 ,myth
 and ,myth-,makers4 ,houghton4          
,field1 ,mrs4 ,e4,m43 ,the ,child and   
,his ,book4 ,gardner1 ,darton  ,co4     
,frazer1 ,j4,g43 ,the ,golden ,bough4   
7,spring ceremonies and                 
primitive view of the soul47 ,macmillan4
         ,frere1 ,miss3 ,old ,deccan    

,days4 ,introduction4 ,mc,donough4      
,godfrey1 ,elizabeth3 ,english ,children
 in the ,olden ,time4 ,dutton1          
#aijg4         ,grimm1 ,william and     
,jacob3 ,household ,tales4 ,edited with 
valuable notes1 by ,margaret ,hunt4     
,introduction by ,lang4 ,bell           
,sons1 ,bohn's ,libraries4              
,guerber1 ,hlne ,a43 ,legends of the    
,middle ,ages4 7,reynard the            
,fox7 ,american ,book ,co4              
,halliwell1 ,j4,o43 ,nursery ,rhymes of 
,england4         ,ibid43 ,popular      
,rhymes and ,nursery ,tales4 ,smith1    
#ahdi4         ,halsey1 ,rosalie3       
,forgotten ,books of the ,american      
,nursery4         ,goodspeed1 ,boston1  
#aiaa4         ,hartland1 ,e4,s43       
,science of ,fairy ,tales4 ,preface4    
,scribner1         #ahia4               
,ibid43 ,english ,folk and ,fairy       
,tales4 ,camelot series1 ,scott1        
,london4         ,hartland1 ,sidney3    
,legend of ,perseus 7origin of a tale74 
,hewins1 ,caroline ,m43 ,the ,history of

 ,children's ,books4         ,atlantic1 
#fa3 #aab 7,jan41 #ahhh74               
,jacobs1 ,joseph3 ,reynard the ,fox4    
,cranford ,series4 ,macmillan4          
,ibid43 ,fairy ,tales4 ,introduction1   
,notes and ,appendix4 ,putnam4          
,keightley1 ,thomas3 ,fairy ,mythology4 
,macmillan4         ,ibid43 ,tales and  
,popular ,fictions4 ,whittaker  ,co41   
,london1         #ahcd4         ,lang1  
,andrew3 ,custom and ,myth4 ,longmans1  
,london1 #ahic4         ,mabie1         
,hamilton3 ,fairy ,tales ,every ,child  
,should ,know4         ,introduction4   
,doubleday4         ,mac,donald1        
,george3 ,the ,light ,princess4         
,introduction4 ,putnam4                 
,magazine3 ,myths and ,fairy ,tales4    
,fortnightly ,review1 ,may1             
#ahgb4         ,mitchell1 ,donald ,g43  
,about ,old ,story-,tellers4 ,scribners4
 #ahgg4         ,moses1 ,montrose3      
,children's ,books and ,reading4        
,kennerley4         ,mulock1 ,miss3     
,fairy ,book4 ,preface4 ,crowell4       

,pearson1 ,edwin4 ,banbury ,chap-,books 
and ,nursery ,toy-,book                 
,literature 7#ahth and early #aith      
centuries74 ,london4 ,a4                
,reader1 #ahij4         ,perrault1      
,charles3 ,popular ,tales4 ,edited by   
,a4 ,lang4         ,introduction4       
,oxford1 #ahhh4         ,ritson1 ,j43   
,fairy ,tales4 ,pearson1 ,london1 #ahca4
         ,scott1 ,sir ,walter3          
,minstrelsy of ,scottish ,border4       
,preface to         ,tamlane1           
,dissertation on ,fairies1 p4 #ajh4     
,skinner1 ,h4,m43 ,readings in          
,folk-,lore4 ,american ,book ,co4       
,steel1 ,flora ,a43 ,tales of the       
,punjab4 ,introduction and              
,appendix4 ,macmillan4         ,tabart1 
,benj43 ,fairy ,tales1 or the           
,lilliputian ,cabinet4 ,london1         
#ahah4 ,review3 ,the ,quarterly ,review1
 #ahai1 ,no4 #da1 pp4 #ia-aab4          
,tappan1 ,eva ,m43 ,the ,children's     
,hour4 ,introduction to                 
,folk-,stories and ,fables4 ,houghton4  

,taylor1 ,edgar3 ,german ,popular       
,stories4 ,introduction by ,ruskin4     
,chatto  ,windus4         ,tylor1       
,e4,b43 ,primitive ,culture4 ,holt1     
#ahhi4         ,warner3 ,fairy ,tales4  
,library of the ,world's ,best          
,literature1         vol4 #cj4          
,welsh1 ,charles3 ,fairy ,tales         
,children ,love4 ,introduction4 ,dodge4 
,ibid43 ,the ,early ,history of         
,children's ,books in ,new              
,england4 ,new ,england ,magazine1 n4s4 
#bj3 #adg-fj 7,april1         #ahii74   
,ibid43 ,a ,chap-,book4 ,facsimile      
,edition4 #aiae4 ,world ,book ,co4      
,ibid43 ,mother ,goose4 ,facsimile      
,edition4 #aiae4 ,world ,book ,co4      
,white1 ,gleeson3 ,children's ,books and
 ,their ,illustrators4                  
,international ,studio1 ,special ,winter
 ,number1 #ahig-ih4            ,,chapter
 ,v        ,,classes ,,of ,,fairy       
,,tales           ,but the fact that    
after having been repeated for two      
thousand years1 a story still possesses 

a perfectly fresh       attraction for a
 child of to-day1 does indeed prove that
       there is in it something of      
imperishable worth4--,felix             
,adler4         ,whatever has1 at any   
time1 appealed to the best emotions and 
moved the heart of a people1 must have  
for their children's       children1    
political1 historical1 and cultural     
value4 ,this is       especially true of
 folk-tales and folk-songs4--,p4,p4     
,claxton1       ,united ,states         
,commissioner of ,education4      ,i4   
,,available ,,types ,,of ,,tales        
,from all this wealth of accumulated    
folk-material which has come down  to us
 through the ages1 we must select1 for  
we cannot crowd the child  with all the 
folk-stuff that folk-lore scientists are
 striving to  preserve for scientific   
purposes4 ,moreover1 naturally much of  
it  contains the crudities1 the         
coarseness1 and the cruelties of        
primitive  civilization2 and it is not  
necessary that the child be burdened    

with  this natural history of a past    
society4 ,we must select from the past4 
,in this selection of what shall be     
presented to the child we must be       
guided by two standards3 ,first1 we owe 
it to the child to hand on to  him his  
literary heritage2 and secondly1 we must
 help him to make of  himself the ideal 
man of the future4 ,therefore the tales 
we offer must  contribute to these two  
standards4 ,the tales selected will be  
those  which the ages have found        
interesting2 for the fact that they have
  lived proves their fitness1 they have 
lived because there was  something in   
them that appealed to the universal     
heart4 ,and because of  this fact they  
will be those which in the frequent     
re-tellings of ages  have acquired a    
classic form and therefore have within  
themselves the  possibility of taking   
upon them a perfect literary form4 ,the 
tales  selected will be those tales     
which1 as we have pointed out1 contain  
the interests of children2 for only     

through his interests does the  child   
rise to higher interests and finally    
develop to the ideal man4  ,they will be
 those tales which stand also the test  
of a classic1 the  test of literature1  
the test of the short-story1 and the    
test of  narration and of description4  
,the child would be handicapped in life 
to be ignorant of these tales4    ,tales
 suitable for the little child may be   
viewed under these seven  classes of    
available types3 7#a7 the accumulative1 
or clock story2 7#b7  the animal tale2  
7#c7 the humorous tale2 7#d7 the        
realistic tale2 7#e7  the romantic tale2
 7#f7 the old tale2 and 7#g7 the modern 
tale4      ,i4 ,the ,accumulative ,tale4
    ,the accumulative tale is the       
simplest form of the tale4 ,it may be3--
         7#a7 ,a tale of simple         
repetition4         7#b7 ,a tale of     
repetition with an addition1 incremental
 iteration4         7#c7 ,a tale of     
repetition1 with variation4             
,repetition and rhythm have grown out of

 communal conditions4 ,the old  stories 
are measured utterances4 ,at first there
 was the spontaneous  expression of a   
little community1 with its gesture1     
action1 sound1 and  dance1 and the word1
 the shout1 to help out4 ,there was the 
group which  repeated1 which acted as a 
chorus1 and the leader who added his    
individual variation4 ,from these       
developed the folk-tale with the        
dialogue in place of the chorus4    ,of 
the accumulative tales1 ,the ,house that
 ,jack ,built illustrates the  first    
class of tales of simple repetition4    
,this tale takes on a new  interest as a
 remarkable study of phonics4 ,if any   
one were so happy as  to discover the   
phonic law which governs the euphony    
produced by the  succession of vowels in
 the lines of ,milton's poetry1 he would
 enjoy  the same law worked out in ,the 
,house that ,jack ,built4 ,the original1
  as given by ,halliwell in his ,nursery
 ,rhymes of ,england1 is said to  be a  
,hebrew hymn1 at first written in       

,chaldaic4 ,to the ,hebrews of the      
,middle ,ages it was called the         
,haggadah1 and was sung to a rude chant 
as part of the ,passover service4 ,it   
first appeared in print in #aeij1  at   
,prague4 ,later1 in ,leipzig1 it was    
published by the ,german scholar1       
,liebrecht4 ,it begins3--         ,a    
kid1 a kid1 my father bought       ,for 
two pieces of money3       ,a kid1 a    
kid1       ,then came the cat and ate   
the kid1 etc4    ,then follow the       
various repetitive stanzas1 the last one
 turning back  and reacting on all the  
others3--         ,then came the ,holy  
,one1 blessed be ,he1       ,and killed 
the angel of death1       ,that killed  
the butcher1       ,that slew the ox1   
,that drank the water1       ,that      
quenched the fire1       ,that burned   
the staff1       ,that beat the dog1    
,that bit the cat1       ,that ate the  
kid1       ,that my father bought       
,for two pieces of money3       ,a kid1 
a kid4    ,the remarkable similarity to 

,the ,old ,woman1 and ,her ,pig#h at    
once  proclaims the origin of that tale 
also4 ,the interpretation of this  tale 
is as follows3 ,the kid is the ,hebrews2
 the father by whom it was  purchased1  
is ,jehovah2 the two pieces of money are
 ,aaron and ,moses2  the cat is the     
,assyrians2 the dog is the ,babylonians2
 the staff is the  ,persians2 the fire  
is the ,greek ,empire and ,alexander2   
the water is the  ,romans2 the ox is the
 ,saracens2 the butcher is the          
,crusaders2 and the  angel of death is  
the ,turkish ,power4 ,the message of    
this tale is that  ,god will take       
vengeance over the ,turks and the       
,hebrews will be  restored to their own 
land4    ,another tale of simple        
repetition1 whose fairy element is the  
magic  key1 is ,the ,key of the         
,kingdom1 also found in ,halliwell's    
,nursery  ,rhymes of ,england3--        
,this is the key of the kingdom4        
,in that kingdom there is a city1       
,in that city there is a town1       ,in

 that town there is a street1       ,in 
that street there is a lane1       ,in  
that lane there is a yard1       ,in    
that yard there is a house1       ,in   
that house there is a room1       ,in   
that room there is a bed1       ,on that
 bed there is a basket1       ,in that  
basket there are some flowers4          
,flowers in the basket1 basket on the   
bed1         bed in the room1 etc4      
,the ,old ,woman and ,her ,pig          
illustrates the second class of         
accumulative tale1 where there is an    
addition1 and like ,titty ,mouse  and   
,tatty ,mouse1 where the end turns back 
on the beginning and  changes all that  
precedes4 ,here there is a more marked  
plot4 ,this same  tale occurs in        
,shropshire ,folk-,lore1 in the ,scotch 
,wife and ,her ,bush  of ,berries1 in   
,club-,fist1 an ,american folk-game     
described by  ,newell1 in ,cossack fairy
 tales1 and in the ,danish1 ,spanish1   
and  ,italian4 ,in the ,scandinavian1 it
 is ,nanny1 ,who ,wouldn't ,go ,home to 

,supper1 and in the ,punjab1 ,the ,grain
 of ,corn1 also given in ,tales  of     
,laughter4 ,i have never seen a child   
who did not like it or who was  not     
pleased with himself for accomplishing  
its telling4 ,it lends  itself most     
happily to illustration4 ,titty ,mouse  
and ,tatty ,mouse  pleases because of   
the liveliness of its images1 and       
because of the  catastrophe at the end1 
which affects the child just as the     
tumble of  his huge pile of blocks--the 
crash and general upheaval delight him4 
,this tale has so many variants that it 
illustrates well the diffusion  of fairy
 tales4 ,it is ,grimm's ,the ,spider and
 the ,flea1 which as we  have seen1 is  
appealing in its simplicity2 the ,norse 
,the ,cock ,who  ,fell into the ,brewing
 ,vat2 and the ,indian ,the ,death and  
,burial of  ,poor ,hen4 ,the curious    
succession of incidents may have been   
invented  once for all at some definite 
time1 and from thence spread to all the 
world4    ,johnny ,cake and ,the        

,gingerbread ,man also represent the    
second  class of accumulative tale1 but 
show a more definite plot2 there is     
more story-stuff and a more decided     
introduction and conclusion4 ,how  ,jack
 ,went to ,seek ,his ,fortune also shows
 more plot4 ,it contains a  theme       
similar to that of ,the ,bremen ,town   
,musicians1 which is  distinctly a beast
 tale where the element of repetition   
remains to  sustain the interest and to 
preserve unity1 but where a full-fledged
  short-story which is structurally     
complete1 has developed4 ,a fine        
accumulative tale belonging to this     
second class is the ,cossack ,straw     
,ox1 which has been described under ,the
 ,short-,story4 ,here we have a  single 
line of sequence which gets wound up to 
a climax and then  unwinds itself to the
 conclusion1 giving the child1 in the   
plot1  something of that pleasure which 
he feels in winding up his toy  animals 
to watch them perform in the unwinding4 
,the ,three ,bears illustrates the third

 class of repetitive story1  where there
 is repetition and variation4 ,here the 
iteration and  parallelism have interest
 like the refrain of a song1 and the    
technique of the story is like that of  
,the ,merchant of ,venice4 ,this  is the
 ideal fairy story for the little child4
 ,it is unique in that it  is the only  
instance in which a tale written by an  
author has become a  folk-tale4 ,it was 
written by ,southey1 and appeared in    
,the ,doctor1 in  ,london1 in #ahcg4    
,southey may have used as his source1   
,scrapefoot1  which ,joseph ,jacobs has 
discovered for us1 or he may have used  
,snow  ,white1 which contains the       
episode of the chairs4 ,southey has     
given to  the world a nursery classic   
which should be retained in its purity  
of  form4 ,the manner of the ,folk1 in  
substituting for the little old woman   
of ,southey's tale1 ,goldilocks1 and the
 difference that it effects in  the     
tale1 proves the greater interest       
children naturally feel in the  tale    

with a child4 ,similarly1 in telling    
,the ,story of ,midas to an  audience of
 eager little people1 one naturally     
takes the fine old myth  from ,ovid as  
,bulfinch gives it1 and puts into it the
 ,marigold of  ,hawthorne's creation4   
,and after knowing ,marigold1 no child  
likes the  story without her4 ,silver   
hair is another substitute for the      
little  ,old ,woman in ,the ,three      
,bears4 ,the very little child's        
reception to  ,three ,bears will depend 
largely on the previous experience with 
bears and on the attitude of the person 
telling the story4 ,a little  girl who  
was listening to ,the ,three ,bears for 
the first time1 as she  heard how the   
,three ,bears stood looking out of their
 upstairs window  after ,goldilocks     
running across the wood1 said1 ,why     
didn't ,goldilocks  lie down beside the 
,baby ,bear8 ,to her the ,bear was      
associated with  the friendly ,teddy    
,bear she took with her to bed at night1
 and the  story had absolutely no thrill

 of fear because it had been told with  
an emphasis on the comical rather than  
on the fearful4 ,similar in  structure  
to ,the ,three ,bears is the ,norse     
,three ,billy-,goats1 which  belongs to 
the same class of delightful repetitive 
tales and in which  the sequence of the 
tale is in the same three distinct      
steps4      ,,ii4 ,the ,animal ,tale    
,the animal tale includes many of the   
most pleasing children's tales4  ,indeed
 some authorities would go so far as to 
trace all fairy tales  back to some     
ancestor of an animal tale2 and in many 
cases this  certainly can be done just  
as we trace ,three ,bears back to       
,scrapefoot4 ,the animal tale is either 
an old beast tale1 such as  ,scrapefoot 
or ,old ,sultan2 or a fairy tale which  
is an elaborated  development of a      
fable1 such as ,the ,country ,mouse and 
the ,city ,mouse  or the tales of       
,reynard the ,fox or ,grimm's ,the ,king
 of the ,birds1  and ,the ,sparrow and  
,his ,four ,children2 or it is a purely 

imaginary  creation1 such as ,kipling's 
,the ,elephant's ,child or ,andersen's  
,the  ,bronze ,pig4    ,the beast tale  
is a very old form which was a story of 
some successful  primitive hunt or of   
some primitive man's experience with    
animals in  which he looked up to the   
beast as a brother superior to himself  
in  strength1 courage1 endurance1       
swiftness1 keen scent1 vision1 or       
cunning4 ,later1 in more civilized      
society1 when men became interested  in 
problems of conduct1 animals were       
introduced to point the moral of  the   
tale1 and we have the fable4 ,the fable 
resulted when a truth was  stated in    
concrete story form4 ,when this truth   
was in gnomic form1  stated in general  
terms1 it became compressed into the    
proverb4 ,the  fable was brief1 intense1
 and concerned with the distinguishing  
characteristics of the animal           
characters1 who were endowed with human 
traits4 ,such were the ,fables of sop4  
,then followed the beast epic1  such as 

,reynard the ,fox1 in which the         
personality of the animals  became less 
prominent and the animal characters     
became types of  humanity4 ,later1 the  
beast tale took the form of narratives  
of  hunters1 where the interest centered
 in the excitement of the hunt and  in  
the victory of the hunter4 ,with the    
thirst for universal knowledge  in the  
days following ,bacon there gradually   
grew a desire to learn  also about      
animals4 ,then followed animal          
anecdotes1 the result of  observation   
and imagination1 often regarding the    
mental processes of  animals4 ,with the 
growth of the scientific spirit the     
interest in  natural history developed4 
,the modern animal story since #ahej has
 a  basis of natural science1 but it    
also seeks to search the motive back  of
 the action1 it is a psychological      
romance4 ,the early modern animal  tales
 such as ,black ,beauty show sympathy   
with animals1 but their  psychology is  
human4 ,in ,seton ,thompson's ,krag1    

which is a  masterpiece1 the interest   
centers about the personality and the   
mentality of the animal and his purely  
physical characteristics4  ,perhaps it  
is true that these physical             
characteristics are somewhat  imaginary 
and over-drawn and that overmuch freedom
 has been used in  interpreting these   
physical signs4 ,in ,kipling's tales we 
have a later  evolution of the animal   
tale4 ,his animals possess personality  
in  emotion and thought4 ,in the        
forest-friends of ,mowgli we have       
humanized  animals possessing human     
power of thinking and of expressing4 ,in
 real  life animal motives seem simple1 
one dominant motive crowds out all      
others4 ,but ,kipling's animals show    
very complex motives1 they reason  and  
judge more than our knowledge of animal 
life justifies4 ,in the  ,just-,so      
,stories ,kipling has given us the      
animal pourquois tale  with a basis of  
scientific truth4 ,of these delightful  
fairy tales1  ,the ,elephant's ,child   

and ,how the ,camel ,got ,his ,hump may 
be used in  the kindergarten4 ,perhaps  
the latest evolution of the animal tale 
is  by ,charles ,g4,d4 ,roberts4 ,the   
animal characters in his ,kindred of the
  ,wild are given animal                
characteristics4 ,they have become      
interesting  as exhibiting these traits 
and not as typifying human motives2 they
  show an animal psychology4 ,the tales 
have a scientific basis1 and the        
interest is centered in this and not in 
an exaggeration of it4    ,having viewed
 the animal tale as a growth let us look
 now at a few  individual tales3--      
,one of the most pleasing animal tales  
is ,henny ,penny1 or ,chicken  ,lichen1 
as it is sometimes called1 told by      
,jacobs in ,english ,fairy  ,tales4     
,here the enterprising little hen1 new  
to the ways of the  world1 ventures to  
take a walk4 ,because a grain of corn   
falls on her  top-knot1 she believes the
 sky is falling1 her walk takes         
direction1  and thereafter she proceeds 

to tell the king4 ,she takes with her   
all  she meets1 who1 like her1 are      
credulous1--,cocky ,locky1 ,ducky       
,daddies1  ,goosey ,poosey1 and ,turky  
,lurky1--until they meet ,foxy ,woxy1   
who leads  them into his cave1 never to 
come out again4 ,this is similar to the 
delightful ,jataka tale of ,the ,foolish
 ,timid ,rabbit1 which before has  been 
outlined for telling1 which has been    
re-told by ,ellen ,c4 ,babbit4  ,in this
 tale a ,rabbit1 asleep under a palm    
tree1 heard a noise1 and  thought the   
earth was all breaking up4 ,so he ran   
until he met  another ,rabbit1 and then 
a hundred other ,rabbits1 a ,deer1 a    
,fox1 an  ,elephant1 and at last a      
,lion4 ,all the animals except the ,lion
 accepted  the ,rabbit's news and       
followed4 ,but the ,lion made a stand   
and asked  for facts4 ,he ran to the    
hill in front of the animals and roared 
three  times4 ,he traced the tale back  
to the first ,rabbit1 and taking him on 
his back1 ran with him to the foot of   

the hill where the palm tree  grew4     
,there1 under the tree1 lay a cocoanut4 
,the ,lion explained the  sound the     
,rabbit had heard1 then ran back and    
told the other animals1  and they all   
stopped running4 ,brother ,rabbit ,takes
 ,some ,exercise1 a  tale from ,nights  
with ,uncle ,remus is very similar to   
,henny ,penny  and could be used at the 
same time4 ,it is also similar to       
,grimm's  ,wolf and ,seven ,kids1 the   
,english ,story of ,three ,pigs1 the    
,irish  ,the ,end of the ,world1 and an 
,italian popular tale4    ,the ,sheep   
and the ,pig1 adapted from the          
,scandinavian by ,miss ,bailey  in ,for 
the ,children's ,hour1 given also in    
,dasent's ,tales from the  ,field1 is a 
delightfully vivacious and humorous tale
 which reminds  one of ,henny ,penny4 ,a
 ,sheep and ,pig started out to find a  
home1 to  live together4 ,they traveled 
until they met a ,rabbit and then       
followed  this dialogue3         ,r4    
,where are you going8         ,s4 and   

,p4 ,we are going to build us a house4  
,r4 ,may ,i live with you8         ,s4  
and ,p4 ,what can you do to help8       
,the ,rabbit scratched his leg with his 
left hind foot for a minute and  said1  
,i can gnaw pegs with my sharp teeth and
 ,i can put them in with  my paws4      
,good1 said the ,sheep and the ,pig1 you
 may come with us6  ,then they met a    
gray ,goose who could pull moss and     
stuff it in cracks1  and a ,cock who    
could crow early and waken all4 ,so they
 all found a  house and lived in it     
happily4    ,the ,spanish ,media        
,pollito1 or ,little ,half-,chick1 is   
another  accumulative animal tale       
similar to ,henny ,penny1 and one which 
is  worthy of university study4 ,the    
disobedient but energetic hero who  went
 off to ,madrid is very appealing and   
constantly amusing1 and the  tale       
possesses unusual beauty4 ,the interest 
centers in the character4  ,the beauty  
lies in the setting of the adventures1  
as ,medio ,pollito  came to a stream1 to

 a large chestnut tree1 to the wind1 to 
the  soldiers outside the city gates1 to
 the ,king's ,palace at ,madrid1 and  to
 the ,king's cook1 until in the end he  
reached the high point of               
immortalization as the weather-vane of a
 church steeple4    ,the ,story of      
,three ,pigs could contend with ,the    
,three ,bears for the  position of ideal
 story for little people4 ,it suits them
 even better  than ,the ,three ,bears1  
perhaps because they can identify       
themselves  more easily with the hero1  
who is a most winning1 clever           
individual1  though a ,pig4 ,the        
children know nothing of the standards  
of the ,greek  drama1 but they recognize
 a good thing2 and when the actors in   
their  story are great in interest and  
in liveliness1 they respond with a      
corresponding appreciation4 ,the        
dramatic element in ,the ,three ,pigs   
is strong and all children love to      
dramatize it4 ,the story is the         
,italian ,three ,goslings1 the ,negro   

,tiny ,pig1 the ,indian ,lambikin1  and 
the ,german ,the ,wolf and ,seven ,kids4
 ,this tale is given by ,andrew  ,lang  
in his ,green ,fairy ,book4 ,the most   
satisfactory presentation of  the story 
is given by ,leslie ,brooke in his      
,golden ,goose ,book4 ,the  ,german     
version occurred in an old poem1        
,reinhart ,fuchs1 in which the  ,kid    
sees the ,wolf through a chink4         
,originally the characters must have    
been ,kids1 for little pigs do not have 
hair on their chinny chin  chins4       
,one of the earliest modern animal tales
 is ,the ,good-,natured ,bear1#i  by    
,richard ,hengist ,horne1 the ,english  
critic4 ,this tale was written in       
#ahdf1 just when men were beginning to  
gain a greater knowledge of  animal     
life4 ,it is both psychological and     
imaginative4 ,it was brought  to the    
attention of the ,english public in a   
criticism1 ,on ,some  ,illustrated      
,christmas ,books1#aj by ,thackeray1 who
 considered it one  of the wittiest1    

pleasantest1 and kindest of books1 and  
an admirable  story4 ,it is now out of  
print1 but it seems to be worthy of     
being  preserved and reprinted4 ,the    
story is the autobiography of a ,bear1  
who  first tells about his interesting  
experiences as a ,baby ,bear4 ,he first 
gives to ,gretchen and the children     
gathered about him an account of  his   
experience when his ,mother first taught
 him to walk alone4      ,,iii4 ,the    
,humorous ,tale    ,the humorous tale is
 one of the most pleasing to the little 
child4 ,it  pleases everybody1 but it   
suits him especially because the essence
 of  humor is a mixture of love and     
surprise1 and both appeal to the child  
completely4 ,humor brings joy into the  
world1 so does the little child1  their 
very existence is a harmony4 ,humor sees
 contrasts1 shows good  sense1 and feels
 compassion4 ,it stimulates curiosity4  
,its laughter is  impersonal and has a  
social and spiritual effect4 ,it acts   
like fresh  air1 it clarifies the       

atmosphere of the mind and it enables   
one to see  things in a sharply defined 
light4 ,it reveals character2 it breaks 
up  a situation1 reconstructs it1 and so
 views life1 interprets it4 ,it  plays  
with life1 it frees the spirit1 and it  
invigorates the soul4    ,speaking of   
humor1 ,thackeray1 in ,a ,grumble ,about
 ,christmas ,books1  #ahdg1 considered  
that the motto for humor should be the  
same as the  talisman worn by the       
,prioress in ,chaucer3--         ,about 
hire arm a broche of gold ful shene1    
,on which was first ywritten a crowned  
,a1       ,and after1 ,amor vincit      
omnia4    ,he continued3 ,the works of  
the real humorist always have this      
sacred  press-mark1 ,i think4 ,try      
,shakespeare1 first of all1 ,cervantes1 
,addison1 poor ,dick ,steele1 and dear  
,harry ,fielding1 the tender and        
delightful ,jean ,paul1 ,sterne1 and    
,scott1--and ,love is the humorist's    
best characteristic and gives that      
charming ring to their laughter in      

which all the good-natured world joins  
in chorus4    ,the humorous element for 
children appears in the repetition of   
phrases  such as we find in ,three      
,bears1 ,three ,pigs1 and ,three        
,billy-,goats2 in the contrast in the   
change of voice so noticeable  also in  
these three tales2 in the contrast of   
ideas so conspicuous in  ,kipling's     
,elephant's ,child2 and in the element  
of surprise so  evident when ,johnny    
,cake is eaten by the ,fox1 or when     
,little ,hen eats  the bread1 or when   
,little ,pig outwits the ,wolf4 ,the    
humorous element  for children also lies
 in the incongruous1 the exaggerated1 or
 in the  grotesque1 so well displayed in
 ,lear's ,nonsense ,rhymes1 and much of 
the charm of ,alice in ,wonderland4 ,the
 humorous element must change           
accordingly for older children1 who     
become surprised less easily1 and  whose
 tales therefore1 in order to surprise1 
must have more clever  ideas and more   
subtle fancy4    ,the ,musicians of     

,bremen is a good type of humorous tale4
 ,it shows  all the elements of true    
humor4 ,its philosophy is healthy2 it   
views  life as a whole and escapes      
tragedy by seeing the comic situation in
  the midst of trouble4 ,it is full of  
the social good-comradeship which  is a 
condition of humor4 ,it possesses a     
suspense that is unusual1 and  is a     
series of surprises with one grand      
surprise to the robbers at  their feast 
as its climax4 ,the ,donkey is a noble  
hero who breathes a  spirit of courage  
like that of the fine ,homeric heroes4  
,his  achievement of a home is a mastery
 that pleases children4 ,and the        
message of the tale1 which after all1 is
 its chief worth--that there  ought to  
be room in the world for the aged and   
the worn out1 and that  ,the guilty flee
 when no man pursueth--appeals to their 
compassion  and their good sense4 ,the  
variety of noises furnished by the      
different  characters is a pleasing     
repetition with variation that is a     

special  element of humor2 and the grand
 chorus of music leaves no doubt as to  
the climax4 ,we must view life with     
these four who are up against the  facts
 of life1 and whose lot presents a      
variety of contrast4 ,the  ,donkey1     
incapacitated because of old age1 had   
the courage to set out  on a quest4 ,he 
met the ,dog who could hunt no longer1  
stopping in the  middle of the road1    
panting for breath2 the ,cat who had    
only stumps  for teeth1 sitting in the  
middle of the road1 wearing an unhappy  
heart  behind a face dismal as three    
rainy ,sundays2 and the ,rooster who    
just  overheard the cook say he was to  
be made into soup next ,sunday1  sitting
 on the top of the gate crowing his last
 as loud as he could  crow4 ,the        
,donkey1 to these musicians he          
collected1 spoke as a leader  and as a  
true humorist4    ,in a simple tale like
 ,the ,bremen ,town ,musicians it is    
surprising how  much of interest can    
develop3 the adventure in the wood2 the 

motif of  some one going to a tree-top  
and seeing from there a light afar off1 
which appears in ,hop-o'-my-,thumb and  
in many other tales2 the  example of    
coperation1 where all had a unity of    
purpose2 an example  of a good complete 
short-story form which illustrates      
introduction1  setting1 characters and  
dialogue--all these proclaim this one of
 the  fine old stories4 ,in its most    
dramatic form1 and to ,jacobs its most  
impressive one1 it appears in the       
,celtic tales as ,jack and ,his         
,comrades4 ,it may have been derived    
from ,old ,sultan1 a ,grimm tale  which 
is somewhat similar to ,the ,wolf and   
the ,hungry ,dog1 in  ,steinhowel1      
#adhg4 ,how ,jack ,sought ,his ,fortune 
is an ,english tale of  coperation which
 is similar but not nearly so pleasing4 
,a ,danish tale  of cooperation1        
,pleiades1 is found in ,lansing's ,fairy
 ,tales4 ,how  ,six ,traveled ,through  
the ,world is a ,grimm tale which1      
though suited  to older children1       

contains the same general theme4        
,very many of the tales suited to       
kindergarten children which have been   
mentioned in various chapters1 contain a
 large element of humor4 ,the  nonsense 
drolls are a type distinct from the     
humorous tale proper1 yet  distinctly   
humorous4 ,such are the realistic ,lazy 
,jack1 ,henny  ,penny1 and ,billy       
,bobtail4 ,then since repetition is an  
element of  humor1 many accumulative    
tales rank as humorous3 such as         
,lambikin1  ,the ,old ,woman and ,her   
,pig1 ,medio ,pollito1 ,the ,straw ,ox1 
,johnny  ,cake1 and ,three              
,billy-,goats4 ,among the humorous tales
 proper are  ,andersen's ,snow ,man2    
,the ,cat and the ,mouse in             
,partnership2 ,the  ,rabbit ,who ,wanted
 ,red ,wings2 ,the ,elephant's ,child2  
and very many of  the ,uncle ,remus     
,tales1 such as ,why the ,hawk ,catches 
,chickens1  ,brother ,rabbit and        
,brother ,tiger1 and ,heyo1 ,house6 all 
in ,uncle  ,remus and the ,little ,boy4 

,the ,story of ,little ,black ,mingo in 
,tales  of ,laughter1 is a very         
attractive humorous tale1 but it is more
  suited to the child of the second     
grade4    ,drakesbill is a ,french      
humorous accumulative tale with a plot  
constructed similarly to that of the    
,cossack ,straw ,ox4 ,drakesbill1  who  
was so tiny they called him ,bill       
,drake1 was a great worker and  soon    
saved a hundred dollars in gold which he
 lent to the ,king4 ,but as  the ,king  
never offered to pay1 one morning       
,drakesbill set out1 singing  as he     
went1 ,quack1 quack1 quack1 when shall  
,i get my money back8 ,to  all the      
objects he met and to their questions he
 replied1 ,i am going  to the ,king to  
ask him to pay me what he owes me4 ,when
 they begged1  ,take me with you6 he was
 willing1 but he said1 ,you must make   
yourself small1 get into my mouth1 and  
creep under my tongue6 ,he  arrived at  
the palace with his companions concealed
 in his mouth3 a  ,fox1 a ,ladder1      

,laughing ,river1 and ,wasp-,nest4 ,on  
asking to see the  ,king1 he was not    
escorted with dignity but sent to the   
poultry-yard1  to the turkeys and       
chickens who fought him4 ,then he       
surprised them by  calling forth the    
,fox who killed the fowls4 ,when he was 
thrown into a  well1 he called out the  
,ladder to help him4 ,when about to be  
thrown  into the fire1 he called out the
 ,river who overwhelmed the rest and    
left him serenely swimming4 ,when       
surrounded by the ,king's men and  their
 swords he called out the ,wasp-,nest   
who drove away all but  ,drakesbill1    
leaving him free to look for his money4 
,but he found none  as the ,king had    
spent all4 ,so he seated himself upon   
the throne and  became ,king4 ,the      
element of humor here1 as has been      
mentioned  previously1 is that          
,drakesbill1 after every rebuff of      
fortune  maintained his happy1 fresh    
vivacity1 and triumphantly repeated his 
one cry1 ,quack1 quack1 quack1 when     

shall ,i get my money back8 ,there  is  
humor1 too1 in the repetition of        
dialogue1 as on his way to the  ,king he
 met the various characters and talked  
to them4 ,humor lies also  in the real  
lively surprises which ,drakesbill so   
effectively gave  during his visit to   
the ,king4 ,one can see how this tale   
might have  been a satire reflecting    
upon a spendthrift ,king4      ,,iv4    
,the ,realistic ,tale    ,the realistic 
fairy tale has a great sympathy with    
humble life and  desires to reproduce   
faithfully all life worth while4 ,the   
spirit of it  has been expressed by     
,kipling--                              
each in his separate star1       ,shall 
draw the ,thing as he sees ,it1 for the 
,god of ,things as ,they         are4   
,sometimes the realistic story has a    
scientific spirit and interest4 ,a      
realistic tale that is good will present
 not only what is true but  what is     
possible1 probable1 or inevitable1      
making its truth  impressive4 ,very     

often it does not reach this ideal4 ,a  
transcript of  actual life may be       
selected1 but that is a photograph and  
not a  picture with a strong purpose to 
make one point1 and with artistic       
design4 ,the characters1 though true to 
life1 may be lifeless and  colorless1   
and their doings and what happens to    
them uninteresting4  ,for this reason1  
many modern writers of tales for        
children1 respecting  the worth of the  
realistic1 neglect to comply with what  
the realistic  demands1 and produce     
insipid1 unconvincing tales4 ,the       
realistic tale  should deal with the    
simple and the ordinary rather than with
 the  exceptional2 and the test is not  
how much1 but how little1 credulity  it 
arouses4    ,grimm's ,hans in ,luck is a
 perfect realistic tale1 as are ,grimm's
  ,clever ,elsa and the ,norse ,three   
,sillies1 although these tales are      
suited to slightly older children4 ,the 
drolls often appear among the  realistic
 tales1 as if genuine humor were more   

fresh when related to  the things of    
actual life4 ,the ,english ,lazy ,jack  
is a delightful  realistic droll which  
contains motifs that appear frequently  
among the  tales4 ,the ,touchstone motif
 of a humble individual causing nobility
 to  laugh appears in ,grimm's ,dummling
 and ,his ,golden ,goose4 ,it appears   
also in ,zerbino the ,savage1 a most    
elaborated ,neapolitan tale retold  by  
,laboulaye in his ,last ,fairy ,tales2 a
 tale full of humor1 wit1 and  satire   
that would delight the cultured man of  
the world4    ,in ,lazy ,jack the       
setting is in humble life4 ,a poor      
mother lived on  the common with her    
indolent son and managed to earn a      
livelihood by  spinning4 ,one day the   
mother lost patience and threatened to  
send from  home this idle son if he did 
not get work4 ,so he set out4 ,each day 
he  returned to his mother with his     
day's earnings4 ,the humor lies in what 
he brought1 in how he brought it1 and in
 what happened to it2 in the  admonition

 of his mother1 ,you should have done so
 and so1 and ,jack's  one reply1 ,i'll  
do so another time2 in ,jack's literal  
use of his  mother's admonition1 and the
 catastrophe it brought him on the      
following day1 and on each successive   
day1 as he brought home a piece  of     
money1 a jar of milk1 a cream cheese1 a 
tom-cat1 a shoulder of  mutton1 and at  
last a donkey4 ,the humor lies in the   
contrast between  what ,jack did and    
what anybody with sense knows he ought  
to have  done1 until when royalty beheld
 him carrying the donkey on his         
shoulders1 with legs sticking up in the 
air1 it could bear no more1  and burst  
into laughter4 ,this is a good realistic
 droll to use because  it impresses the 
truth1 that even a little child must    
reason and judge  and use his own common
 sense4    ,the ,story of the ,little   
,red ,hen is a realistic tale which     
presents a  simple picture of humble    
thrift4 ,andersen's ,tin ,soldier is a  
realistic tale which gives an adventure 

that might happen to a real  tin        
soldier4 ,the ,old ,woman and her ,pig1 
whose history has been given  under ,the
 ,accumulative ,tale1 is realistic4 ,its
 theme is the simple  experience of an  
aged peasant who swept her house1 who   
had the unusual  much-coveted pleasure  
of finding a dime1 who went to market   
and bought  a ,pig for so small a sum4  
,but on the way home1 as the ,pig became
  contrary when reaching a stile1 and   
refused to go1 the ,old ,woman had  to  
seek aid4 ,so she asked the ,dog1 the   
,stick1 the ,fire1 etc4 ,she asked  aid 
first from the nearest at hand2 and each
 object asked1 in its turn  sought help 
from the next higher power4 ,one great  
source of pleasure  in this tale is that
 each object whose aid is sought is     
asked to do  the thing its nature would 
compel it to do--the ,dog to bite1 the  
,stick  to beat1 etc42 and each         
successive object chosen is the one     
which1 by  the law of its nature1 is a  
master to the preceding one4 ,the ,dog1 

by  virtue of ability to bite1 has power
 over the ,pig2 the ,stick has  ability 
to master the ,dog2 and ,water in its   
power to quench is master  over ,fire4  
,because of this intimate connection of 
cause and effect1  this tale contributes
 in an unusual degree to the development
 of the  child's reason and memory4 ,he 
may remember the sequence of the plot or
  remake the tale if he forgets1 by     
reasoning out the association  between  
the successive objects from whom aid was
 asked4 ,it is through  this association
 that the memory is exercised4    ,how  
,two ,beetles ,took ,lodgings1 in ,tales
 of ,laughter1 is a  realistic story    
which has a scientific spirit and       
interest4 ,its basis  of truth belongs  
to the realm of nature study4 ,its      
narration of how  two ,beetles set up   
housekeeping by visiting an ant-hill and
 helping  themselves to the home and    
furnishings of the ,ants1 would be very 
well  suited either to precede or to    
follow the actual study of an ant-hill  

by the children4 ,the story gives a good
 glimpse of the home of the  ,ants1 of  
their manner of living1 and of the      
characteristics of the  ,ants and       
,beetles4 ,it is not science mollified1 
but a good story full  of life and      
humor1 with a basis of scientific truth4
    ,many tales not realistic contain a 
large realistic element4 ,the fine  old 
romantic tales1 such as ,cinderella1    
,sleeping ,beauty1 and  ,bremen ,town   
,musicians1 have a large realistic      
element4 ,in ,the  ,little ,elves we    
have the realistic picture of a simple  
,german home4  ,in ,beauty and the      
,beast we have a realistic glimpse of   
the three  various ways the wealthy     
merchant's daughters accommodated       
themselves  to their father's loss of   
fortune1 which reminds us of a parallel 
theme in ,shakespeare's ,king ,lear4 ,in
 ,red ,riding ,hood we have the         
realistic starting out of a little girl 
to visit her grandmother4 ,this         
realistic element appeals to the child  

because1 as we have noted1 it  accords  
with his experience1 and it therefore   
seems less strange4    ,in ,titty ,mouse
 and ,tatty ,mouse the setting is       
realistic but becomes  transformed into 
the romantic when natural doings of     
everyday life  take on meaning from the 
unusual happening in the tale4 ,it is   
realistic for ,titty ,mouse and ,tatty  
,mouse to live in a little house1  to   
get some corn1 to make a pudding1 and to
 put it on to boil4 ,but  when the pot  
tumbled over and scalded ,titty1 the    
romantic began4 ,the  stool which was   
real and common and stood by the door   
became  transformed with animation1 it  
talked3 ,titty's dead1 and so ,i weep2  
and it hopped6 ,then a broom caught the 
same animation from the same  theme1 and
 swept2 a door jarred2 a window creaked2
 an old form ran  round the house2 a    
walnut tree shed its leaves2 a little   
bird moulted  his pretty feathers2 a    
little girl spilled her milk2 a man     
tumbled off  his ladder2 and the walnut 

tree fell with a crash1 upsetting       
everything and burying ,titty in the    
ruins4 ,they all learned to convey  the 
same message4 ,the common and customary 
became uncommon and unusual  with       
extraordinary life1 feeling1 and lively 
movement4    ,other romantic tales with 
a large realistic element are ,the      
,three  ,bears1 ,the ,three ,pigs1 and  
,the ,three ,billy-,goats1 animal tales 
which of necessity must be largely      
realistic1 for their foundation is  in  
the facts of the nature1 habits1 and    
traits of the animal  characters they   
portray4      ,v4 ,the ,romantic ,tale  
,the romantic tale reflects emotion and 
it contains adventure and the           
picturesque2 it deals with dreams1      
distant places1 the sea1 the sky1  and  
objects of wonder touched with beauty   
and strangeness4 ,the purpose  of the   
romantic is to arouse emotion1 pity1 or 
the sense of the  heroic2 and it often  
exaggerates character and incidents     
beyond the  normal4 ,the test of the    

romantic tale as well as of the         
realistic tale  is in the reality it    
possesses4 ,this reality it will        
possess1 not only  because it is true1  
but because it is also true to life4    
,and it is to  be remembered that       
because of the unusual setting in a     
romantic tale  the truth it presents    
stands out very clearly with much       
impressiveness4 ,red ,riding ,hood is a 
more impressive tale than ,the  ,three  
,bears4    ,cinderella is a good type of
 the old romantic tale4 ,it has a       
never-ending attraction for children    
just as it has had for all  peoples of  
the world2 for this tale has as many as 
three hundred and  forty-five variants1 
which have been examined by ,miss ,cox4 
,in these  variants there are many      
common incidents1 such as the hearth    
abode1  the helpful animal1 the heroine 
disguise1 the ill-treated heroine1 the  
lost shoe1 the love-sick prince1 magic  
dresses1 the magic tree1 the  threefold 
flight1 the false bride1 and many       

others4 ,but the one  incident which    
claims the tale as a ,cinderella tale   
proper1 is the  recognition of the      
heroine by means of her shoe4 ,in the   
,greek  ,rhodope1 the slipper is carried
 off by an eagle and dropped into the   
lap of the ,king of ,egypt1 who seeks   
and marries the owner4 ,in the  ,hindu  
tale the ,rajah's daughter loses her    
slipper in the forest where  it is found
 by the ,prince4 ,the interpretation of 
,cinderella is that  the ,maiden1 the   
,dawn1 is dull and gray away from the   
brightness of the  sun4 ,the ,sisters   
are the ,clouds that shadow the ,dawn1  
and the  ,stepmother is ,night4 ,the    
,dawn hurries away from the pursuing    
,prince1  the ,sun1 who1 after a long   
search1 overtakes her in her glorious   
robes  of sunset4    ,this tale is the  
,hindu ,sodewa ,bai1 the ,zuni ,poor    
,turkey ,girl1 and  the ,english ,rushen
 ,coatie1 ,cap-o'-,rushes1 and ,catskin4
 ,catskin1  which ,mr4 ,burchell told to
 the children of the ,vicar of          

,wakefield1 is  considered by ,newell as
 the oldest of the ,cinderella types1   
appearing  in ,straparola in #aeej1     
while ,cinderella appeared first in     
,basile in  #afcg4 ,catskin1 in ballad  
form as given by ,halliwell1 was printed
 in  ,aldermary ,churchyard1 ,england1  
in #agbj2 and the form as given by      
,jacobs well illustrates how the prose  
tale developed from the old  ballad4    
,the two most common forms of           
,cinderella are ,perrault's and         
,grimm's1 either of which is suited to  
the very little child4  ,perrault's     
,cinderella shows about twenty distinct 
differences from  the ,grimm tale3--    
7#a7 ,it omits the ,mother's death-bed  
injunction to ,cinderella4         7#b7 
,it omits the wooden shoes and the      
cloak4         7#c7 ,the ,stepmother    
assigns more modern tasks4 ,it omits the
           pease-and-beans task4        
7#d7 ,it shows ,cinderella sleeping in a
 garret instead of on           the     
hearth4         7#e7 ,it omits the      

,father4         7#f7 ,it omits the     
hazel bough4         7#g7 ,it omits the 
three wishes4         7#h7 ,it          
substitutes the fairy ,godmother for the
 hazel tree           and the friendly  
doves4         7#i7 ,it substitutes     
transformation for tree-shaking4        
7#aj7 ,it omits the episode of the pear 
tree and of the           pigeon-house4 
7#aa7 ,it omits the use of pitch and    
axe-cutting4        7#ab7 ,it omits the 
false bride and the two doves4          
7#ac7 ,it substitutes two nights at the 
ball for three nights4        7#ad7 ,it 
makes ,c4 forgiving and generous at the 
end4 ,the ,sisters           are not    
punished4        7#ae7 ,it contains     
slippers of glass instead of slippers of
 gold4        7#af7 ,it simplifies the  
narrative1 improves the structure1 and  
puts           in the condition1 which  
is a keystone to the structure4         
7#ag7 ,it has no poetical refrain4      
7#ah7 ,it is more direct and dramatic4  
7#ai7 ,it draws the characters more     

clearly4        7#bj7 ,is it not more   
artificial and conventional8    ,this   
contrast shows the ,grimm tale to be the
 more poetical1 while it  is the more   
complex1 and contains more barbarous and
 gruesome elements  unsuited to the     
child of to-day4 ,of the two forms1 the 
,grimm tale  seems the superior tale1   
however1 and if rewritten in a literary 
form  suited to the child1 might become 
even preferable4    ,sleeping ,beauty1  
which is another romantic tale that     
might claim to  be the most popular     
fairy tale1 has for its theme the long  
sleep of  winter and the awakening of   
spring4 ,the ,earth goddess1 pricked by 
winter's dart1 falls into a deep sleep  
from which she is awakened by  the ,sun 
who searches far for her4 ,this tale is 
similar to the ,norse  ,balder and the  
,greek ,persephone4 ,some of its        
incidents appear also  in ,the ,two     
,brothers1 an ,egyptian tale of the     
,nineteenth ,dynasty of  ,seti ,,ii1 in 
which the ,hathors who pronounce the    

fate of the ,prince  correspond to the  
wicked old ,fairy4 ,the spindle whose   
prick caused  slumber is the arrow that 
wounded ,achilles1 the thorn which      
pricked  ,siegfried1 the mistle-toe     
which wounded ,balder1 and the poisoned 
nail  of the demon in ,surya ,bai4 ,in  
the northern form of the story we find  
the ivy1 which is the one plant that can
 endure winter's touch4 ,the  theme of  
the long sleep occurs in the medival    
legend of ,the ,seven  ,sleepers of     
,ephesus1 in the ,english ,the ,king of 
,england and ,his  ,three ,sons1        
poetically as ,tennyson has given it in 
his ,day-,dream1  and in the ,story of  
,brunhilde1 in ,siegfried4 ,here a hedge
 of  flames encircles ,brunhilde who is 
awakened at the touch of ,siegfried's   
magic sword1 just as ,sleeping ,beauty  
is awakened by the ,prince's kiss4  ,the
 kiss may be a survival of an ancient   
form of worship of some local  goddess4 
,in the ,hindu ,panch-,rhul ,ranee1     
seven ditches surmounted by  seven      

hedges of spears1 surround the heroine4 
,of the ,perrault and  ,grimm versions  
of ,sleeping ,beauty1 the ,perrault     
version is long and  complex because it 
contains the minor tale of the cruel    
stepmother  added to the main tale1     
while the ,grimm ,briar ,rose is a model
 of  structure easily separated into ten
 leading episodes4 ,sleeping  ,beauty   
appeared in ,basile's ,pentamerone where
 there is given the  beautiful incident 
of the baby sucking the spike of flax   
out of its  sleeping mother's fingers4  
,the ,perrault version agrees with that 
of  ,basile in naming the twins1 who are
 ,sun and ,moon in the ,pentamerone1    
,day and ,dawn4    ,red ,riding ,hood is
 another romantic tale#aa that could    
claim to be  the one most popular fairy 
tale of all fairy tales4 ,similar tales 
occur in the story of the ,greek ,kronos
 swallowing his children1 in the        
,algonquin legend repeated in ,hiawatha1
 and in an ,aryan story of a  ,dragon   
swallowing the sun and being killed by  

the sun-god1 ,indra4 ,red  ,riding ,hood
 appeals to a child's sense of fear1 it 
gives a thrill  which if not too        
intense1 is distinctly pleasing4 ,but it
 pleases less  noticeably perhaps       
because of its atmosphere of love and   
service1 and  because it presents a     
picture of a dear little maid4 ,the     
,grandmother's  gift of love to the     
child1 the bright red hood1 the mother's
 parting  injunction1 the ,wolf's change
 of aspect and voice to suit the        
child--all these directly and indirectly
 emphasize love1 tenderness1  and       
appreciation of simple childhood4 ,the  
child's errand of gratitude  and love1  
the play in the wood1 the faith in the  
woodcutter's  presence--all are         
characteristic of a typical little maid 
and one to  be loved4 ,there is in the  
tale too1 the beauty of the             
wood--flowers1  birds1 and the freshness
 of the open air4 ,the ending of the    
tale is  varied4 ,in ,perrault the ,wolf
 ate ,grandmother and then ate ,red     

,riding  ,hood4 ,in ,grimm one version  
gives it that the ,hunter1 hearing      
snoring1  went to see what the old lady 
needed4 ,he cut open the ,wolf1 and     
,grandmother and ,red ,riding ,hood     
became alive4 ,he filled the ,wolf with 
stones4 ,when the ,wolf awoke1 he tried 
to run1 and died4 ,all three were       
happy2 the ,hunter took the skin1       
,grandmother had her cake and wine1  and
 ,red ,riding ,hood was safe and had her
 little girl's lesson of  obedience4    
,another ,grimm ending is that ,little  
,red-,cap reached the  ,grandmother     
before the ,wolf1 and after telling her 
that she had met  him1 they both locked 
the door4 ,then they filled a trough    
with water  in which the sausages had   
been boiled4 ,when the ,wolf tried to   
get in  and got up on the roof1 he was  
enticed by the odor1 and fell into the  
trough4 ,a great deal of freedom has    
been used in re-telling the ending  of  
this tale1 usually with the purpose of  
preventing the ,wolf from  eating ,red  

,riding ,hood4 ,in regard to the        
conclusion of ,red ,riding  ,hood1      
,thackeray said3 ,i am reconciled to the
 ,wolf eating ,red ,riding  ,hood       
because ,i have given up believing this 
is a moral tale altogether  and am      
content to receive it as a wild1 odd1   
surprising1 and not  unkindly fairy     
story4    ,the interpretation of ,red   
,riding ,hood--which the children need  
not  know--is that the evening ,sun goes
 to see her ,grandmother1 the ,earth1   
who is the first to be swallowed up by  
the ,wolf of ,night and ,darkness4  ,the
 red cloak is the twilight glow4 ,the   
,hunter may be the rising ,sun  that    
rescues all from ,night4 ,red ,riding   
,hood has been charmingly  elaborated in
 ,tieck's ,romantic ,poems1 and a       
similar story appears in  a ,swedish    
popular song1 ,jungfrun i',blaskagen1 in
 ,folkviser #c2 #fh1  #fi4              
,,vi1 ,,vii4 ,the ,old ,tale and the    
,modern ,tale4      ,the old fairy tale 
is to be distinguished from the modern  

fairy tale4  ,most of the tales selected
 have been old tales because they       
possess  the characteristics suited to  
the little child4 ,the modern fairy tale
  may be said to begin with ,andersen's 
,fairy ,tales4--,since ,andersen  has   
been referred to frequently and as a    
study of ,the ,tin ,soldier  has already
 been given1 ,andersen's work can       
receive no more detailed  treatment     
here4--,the modern fairy tale1 since the
 time of ,andersen1  has yet to learn   
simplicity and sincerity4 ,it often is  
long and  involved and presents a       
multiplicity of images that is          
confusing4 ,it  lacks the great art     
qualities of the old tale1 the central  
unity and  harmony of character and     
plot4 ,the idea must be the soul of the 
narrative1 and the problem is to make   
happen to the characters things  that   
are expressive of the idea4 ,the story  
must hold by its interest1  and must be 
sincere and inevitable to be convincing4
 ,it must  understand that the method of

 expression must be the method of       
suggestion and not that of detail4 ,the 
old tale set no boundaries to  its      
suggestion4 ,it used concrete artistry2 
but because the symbol  expressed less  
it implied more4 ,the modern tale is    
more definitely  intentional and it     
often sets boundaries to its suggestion 
because the  symbol expresses so much4  
,frequently it emphasizes the satiric   
and  critical element1 and its humor    
often is heavy and clumsy4 ,to be       
literature1 as has been pointed out1    
besides characters1 plot1  setting1 and 
dialogue1 a classic must present truth2 
it must have  emotion and imagination   
molded with beauty into the form of     
language2  and it must have the power of
 a classic to bestow upon the mind a    
permanent enrichment4 ,any examination  
of the modern fairy tale very           
frequently shows a failure to meet these
 requirements4    ,the modern tale is   
not so poor1 however1 when we mention   
such tales as  ,lewis ,carroll's ,alice 

in ,wonderland1 ,oscar ,wilde's ,happy  
,prince1  ,alice ,brown's ,gradual      
,fairy1 ,frances ,browne's ,prince      
,fairyfoot1  ,miss ,mulock's ,little    
,lame ,prince1 ,barrie's ,peter ,pan1   
,jean  ,ingelow's ,mopsa1 the ,fairy and
 ,the ,ouphe in the ,wood1 ,field's ,the
  ,story of ,claus1 ,stockton's ,old    
,pipes and the ,dryad1 ,kingsley's      
,water ,babies1 ,ruskin's ,king of the  
,golden ,river1 ,collodi's  ,pinocchio1 
,maeterlinck's ,blue-,bird1 ,kipling's  
,just-,so ,stories  and the tales of the
 ,jungle ,books1 ,selma ,lagerlf's      
,wonderful  ,adventures of ,nils1 the   
,uncle ,remus ,tales of ,harris1 etc4   
,but these  classics are1 with a few    
exceptions1 the richness of the primary 
and  elementary literature4 ,the modern 
fairy tale suited to the  kindergarten  
child1 is at a disadvantage1 for most   
likely it is hidden  away in some       
magazine1 waiting for appreciation to   
bring some  attention to it4 ,and in    
these complex modern days it is         

difficult to  secure a tale whose       
simplicity suits the little child4      
,among the best tales for little people 
are ,miss ,harrison's ,hans and  the    
,four ,giants and ,little ,beta and the 
,lame ,giant4 ,in ,little ,beta  and the
 ,lame ,giant a natural child is placed 
in unusual surroundings1  where the     
gentleness of the giant and the strength
 of love in the  little girl present    
strong contrasts that please and        
satisfy4 ,the ,sea  ,fairy and the ,land
 ,fairy in ,some ,fairies ,i have ,met1 
by ,mrs4  ,stawell1 though possessing   
much charm and beauty1 is too           
complicated  for the little people4 ,it 
is a quarrel of a ,sea ,fairy and a     
,land  ,fairy4 ,it is marked by good    
structure1 it presents a problem in the 
introduction1 has light fancy suited to 
its characters1 piquant  dialogue1 good 
description1 visualized expressions1 and
 it presents  distinct pictures4 ,its   
method is direct and it gets immediately
 into  the story4 ,its method of        

personification1 which in this1 perhaps 
the  best story of the collection1 is   
rather delightful1 in some of the       
others is less happy and is open to     
question4 ,how ,double ,darling's  ,old 
,shoes ,became ,lady ,slippers1 by      
,candace ,wheeler1 in ,st4  ,nicholas1  
is a really delightful modern fairy     
story suited to be read  to the little  
child4 ,it is the experience of a little
 girl with new  shoes and her dream     
about her old shoes4 ,but the story     
lacks in  structure1 there is not the   
steady rise to one great action1 the    
episode of the ,santa ,claus tree is    
somewhat foreign and unnecessary1  and  
the conclusion falls flat because the   
end seems to continue after  the problem
 has been worked out4    ,in ,the       
,dwarf's ,tailor1 by ,underhill1 there  
is much conversation  about things and  
an indirect use of language1 such as    
arouse them to  reply and continued to  
question1 which is tedious4 ,the humor  
is at  times heavy1 quoting proverbs1   

such as ,the pitcher that goes too      
often to the well is broken at last4    
,the climax is without interest4  ,the  
scene of the ,dwarfs around the fire--in
 which the chief element of  humor seems
 to be that the ,tailor gives the ,dwarf
 a slap--is rather  foolish than funny4 
,the details are trite and the          
transformation  misses being pleasing4  
,again there is not much plot and the   
story does  not hold by its interest4   
,in ,the ,golden ,egg and the ,cock of  
,gold1 by  ,scudder1 the conversation is
 not always to the point1 is somewhat on
  the gossipy order1 is trite1 and the  
suspense is not held because the  climax
 is told beforehand4 ,mrs4 ,burton      
,harrison's ,old ,fashioned ,fairy      
,book is very pleasing1 but it was      
written for her two sons1 who were      
older children4 ,it has the fault of    
presenting too great a variety of       
images and it lacks simplicity of       
structure4 ,its ,juliet1 or ,the        
,little ,white ,mouse1 which seems to be

 a re-telling of ,d',aulnoy's  ,good    
,little ,mouse1 contains a good         
description of the old-time fairy       
dress4 ,deep ,sea ,violets1 perhaps the 
best-written story in the book1  gives a
 good picture of a maiden taken to a    
,merman's realm4 ,rosy's  ,stay-at-,home
 ,parties has delightful imagination    
similar to that of  ,andersen4    ,five 
,little ,pigs1 by ,katherine ,pyle1 is a
 delightful little modern  story1 which 
could be used with interest by the child
 who knows ,the  ,story of ,three       
,little ,pigs4 ,the ,little ,rooster1 by
 ,southey1 is a  very pleasing realistic
 tale of utmost simplicity which1       
because of  its talking animals1 might  
be included here4 ,a criticism of this  
tale1  together with a list of realistic
 stories containing some realistic      
fairy tales suited to the kindergarten1 
may be read in ,educational             
,foundations1 ,october1 #aiad4 ,the ,hen
 ,that ,hatched ,ducks1 by ,harriet     
,beecher ,stowe1 is a pleasing and      

sprightly humorous tale of ,madam       
,feathertop and her surprising family of
 eight ducks1 and of ,master  ,gray     
,cock1 ,dame ,scratchard and ,dr4       
,peppercorn4 ,a modern tale that is     
very acceptable to the children is ,the 
,cock1 the ,mouse1 and the  ,little ,red
 ,hen1 by ,flicit ,lefvre1 which is a   
re-telling of the  ,story of the ,little
 ,red ,hen combined with the story of   
,the ,little  ,rid ,hin4 ,in this tale  
the two old classic stories are         
preserved but  re-experienced1 with such
 details improvised as a clever child   
would  himself naturally make4 ,these   
additional details appeal to his        
imagination and give life-likeness and  
freshness to the tale1 but they  do not 
detract from the impression of the      
original or confuse the  identity of the
 characters in the old tales4    ,one   
must not forget ,peter ,rabbit--that    
captivating1 realistic fairy  tale by   
,beatrix ,potter--and his companions1   
,benjamin ,bunny1 ,pigling  ,bland1 ,tom

 ,kitten1 and the rest1 of which        
children never tire4 ,peter  ,rabbit    
undoubtedly holds a place as a          
kindergarten classic4 ,in  somewhat the 
same class of merry animal tales is     
,tommy and the  ,wishing ,stone1 a      
series of tales by ,thornton ,burgess1  
in ,st4  ,nicholas1 #aiae4 ,here the    
child enjoys the novel transformation of
  becoming a ,musk-rat1 a ,ruffed       
,grouse1 a ,toad1 ,honker the ,goose1   
and  other interesting personages4 ,a   
modern fairy tale which is received     
gladly by children is ,ludwig and       
,marleen1 by ,jane ,hoxie4 ,here we     
have the friendly ,fox who grants to    
,ludwig the wishes he asks for          
,marleen4 ,the theme parallels for the  
little people the charm of ,the         
,fisherman and ,his ,wife1 a ,grimm tale
 suited to the second grade4  ,among    
modern animal tales ,the ,elephant's    
,child#ab1 one of the  ,just-,so        
,stories by ,rudyard ,kipling1 ranks    
high as a fairy tale  produced for      

little children by one of the great     
literary masters of  the short-story4   
,a modern tale that is a bit of pure    
imagination and seems an attempt  to    
follow ,grimm and ,andersen1 is ,a      
,quick-,running ,squash1 in             
,aspinwall's ,short ,stories for ,short 
,people4 ,it uses the little boy's      
interest in a garden--his               
garden4--,interest centers about the    
fairy1  the magic seed1 the wonderful   
ride1 and the happy ending4 ,it uses the
  simple1 everyday life and puts into it
 the unusual and the wonderful  where   
nothing is impossible4 ,it blends the   
realistic and the romantic  in a way    
that is most pleasing4 ,the ,rich       
,goose1 by ,leora ,robinson1  in the    
,outlook1 is an accumulative tale with  
an interesting ending  and surprise4    
,why the ,morning ,glory ,climbs1 by    
,elizabeth ,mc,cracken1  in ,miss       
,bryant's ,how to ,tell ,stories1 is a  
simple fanciful tale4  ,the             
,discontented ,pendulum1 by ,jane       

,taylor1 in ,poulssen's ,in the         
,child's ,world1 is a good illustration 
of the modern purely fanciful  tale4    
,what ,bunch and ,joker saw in the      
,moon1 in ,wide-,awake  ,chatterbox1    
about #ahhg1 is a most delightful modern
 fanciful tale1  although it is best    
suited to the child of nine or ten4     
,greencap1 by  ,ruth ,hays1 in ,st4     
,nicholas1 ,june1 #aiae1 appeals to the 
child through  the experience of ,sarah 
,jane1 whose ,mother and ,father        
traveled to  ,india4 ,sarah went to live
 with ,aunt ,jane and there met         
,greencap who  granted the proverbial   
three wishes4 ,alice in ,wonderland     
ranks in  a class by itself among modern
 fanciful tales but it is better suited 
to the child of the third and fourth    
grades4    ,a modern fairy tale which is
 suited to the child's simplicity and   
which will stimulate his own desire to  
make a tale1 is ,the ,doll ,who  ,was   
,sister to a ,princess1 one of the ,toy 
,stories by ,carolyn ,bailey  which have

 been published by the ,kindergarten    
,review during #aiad-ae4  ,among modern 
tales selected from ,fairy ,stories     
,re-told from ,st4  ,nicholas1 appear   
some interesting ones which might be    
read to the  little child1 or told in   
the primary grades4 ,among these might  
be  mentioned3--         ,the ,ballad of
 the ,blacksmith's ,sons1 a modern tale 
in verse by       ,mary ,e4 ,wilkins4   
,casperl1 by ,h4,c4 ,bunner1 a modern   
,sleeping ,beauty tale4 ,this       tale
 has the virtue of not being complex and
 elaborate4 ,it has       the underlying
 idea that ,people who are helping      
others have a       strength beyond     
their own4         ,ten ,little ,dwarfs1
 by ,sophie ,dorsey1 from the ,french of
 ,emile       ,souvestre4 ,it tells of  
the ten little ,dwarfs who lived in the 
,good-wife's fingers4         ,wondering
 ,tom1 by ,mary ,mapes ,dodge4 ,this is 
a bright story of a       boy who       
,hamlet-like1 hesitated to act4 ,tom was
 always       wondering4 ,the story     

contains a fairy1 ,kumtoo-thepoynt1 who 
sat       on a toadstool and looked     
profound4 ,it is realistic and          
romantic and has fine touches of humor4 
,it tells how ,wondering       ,tom     
became transformed into a ,royal        
,ship-,builder4         ,how ,an ,elf   
,set ,up ,housekeeping1 by ,anne ,cleve4
 ,this is a good       tale of fancy4   
,an ,elf set up housekeeping in a lily  
and obtained       a curtain from a     
spider1 down from a thistle1 a stool    
from a toad       who lived in a green  
house in the wood1 etc4         ,the    
,wish-,ring1 translated from the ,german
 by ,anne ,eichberg4       ,this is a   
tale with the implied message that ,the 
best way to       secure one's best wish
 is to work for it4         ,the        
,hop-,about ,man1 by ,agnes ,herbertson1
 in ,little ,folks       ,magazine1 is a
 very pleasing modern romantic fairy    
tale for       little children4 ,wee    
,wun was a gnome who lived in the       
,bye-,bye meadow in a fine new house    

which he loved4 ,as he       flew across
 the ,meadow he had his pockets full of 
blue       blow-away seeds4 ,in the     
,meadow he found a pair of shoes1 of    
blue and silver1 and of course he took  
them home to his new       house4 ,but  
first he scattered the blue blow-away   
seeds over       the garden wall in the 
,stir-,about-,wife's garden where golden
       dandelions grew4 ,and the seeds  
grew and crowded out the                
dandelions4 ,next day ,wee ,wun found a 
large blue seed which       he planted  
outside his house2 and on the following 
morning a       great blue blow-away    
which had grown in a night1 made his    
house dark4 ,so he went to the ,green   
,ogre to get him to take       it away4 
,when he came home he found1 sitting in 
his chair1       the ,hop-,about-,man1  
who had come to live with him4 ,he had  
been forewarned of this coming by the   
little blue shoes when       they hopped
 round the room singing3--              
,ring-a-ding-dill1 ring-a-ding-dill1    

,the ,hop-,about-,man comes over the    
hill4            ,why is he coming1 and 
what will he see8            ,rickety1  
rackety1--one1 two1 three4    ,the story
 then describes ,wee ,wun's troubles    
with the ,hop-,about-,man1  who remained
 an unwelcome inhabitant of the house   
where ,wee ,wun liked  to sit all alone4
 ,the ,hop-,about-,man made everything  
keep hopping about  until ,wee ,wun     
would put all careless things straight1 
and until he  would give back to him his
 blue-and-silver shoes4 ,one day1 ,wee  
,wun  became a careful housekeeper and  
weeded out of the dandelion garden  all 
the blue blow-away plants that grew from
 the seeds he had  scattered there in   
the ,stir-,about-,wife's garden1 and    
when he came home  his troubles were    
over1 and the ,hop-,about-,man was gone4
    ,perhaps one reason for the frequent
 failure of the modern fairy tale  is   
that it fails to keep in harmony with   
the times4 ,just as the modern  novel   
has progressed from the romanticism of  

,hawthorne1 the realism of  ,thackeray1 
through the psychology of ,george       
,eliot1 and the philosophy  of ,george  
,meredith1 so the little child's        
story--which like the adult  story is an
 expression of the spirit of the        
times--must recognize  these modern     
tendencies4 ,it must learn1 from ,alice 
in ,wonderland and  from ,a ,child's    
,garden of ,verses1 that the modern     
fairy tale is not a  ,cinderella or     
,sleeping ,beauty1 but the modern fairy 
tale is the  child's mind4 ,the real    
fairy world is the strangeness and      
beauty of  the child mind's point of    
view4 ,it is the duty and privilege of  
the  modern fairy tale to interpret the 
child's psychology and to present  the  
child's philosophy of life4             
,,references         ,century ,co43 ,st4
 ,nicholas ,magazine1 #aiae2 ,st4       
,nicholas ,fairy         ,stories       
,re-told4         ,gates1 ,josephine3   
,and ,piped ,those ,children ,back      
,again1 7,pied         ,piper7 ,st4     

,nicholas1 ,nov41 #aiad4         ,hays1 
,ruth3 ,greencap1 ,st4 ,nicholas1 ,june1
 #aiae4         ,hazlitt1 ,william2     
,essays4 7,wit and ,humor47 ,camelot    
,series4         ,scott4                
,hooker1 ,b43 ,narrative and the ,fairy 
,tale1 ,bookman1 #cc3 ,june         and 
,july1 #aiaa1 pp4 #chi-ic1 pp4 #eja-je4 
,ibid3 ,types of ,fairy ,tales1 ,forum1 
#dj3 ,oct41 #aijh1 pp4         #cge-hd4 
,martin1 ,john3 ,john ,martin's ,book   
7,magazine71 #aiae         ,meredith1   
,george3 ,the ,comic ,spirit4           
,scribners4         ,moulton1 ,alice    
,o',grady1 and ,literature ,committee3  
,humorous         ,tales ,kindergarten  
,review1 ,dec1 #aiad4         ,perry1   
,bliss3 ,a ,study of ,prose ,fiction4   
7,the ,romantic and         ,the        
,realistic7 ,houghton4                  
,,chapter ,,vi    ,,sources ,,of        
,,material ,,for ,,fairy ,,tales3 ,a    
,,list ,,of ,,fairy ,,tales1 ,,pictures1
  ,,picture-,,books1 ,,poems1 ,,and     
,,books         ,shall we permit our    

children1 without scruple1 to hear any  
fables composed by any authors          
indifferently1 and so to       receive  
into their minds opinions generally the 
reverse of       those which1 when they 
are grown to manhood1 we shall think    
they ought to entertain8--,,plato1 in   
,the ,republic4    ,any list of fairy   
tales for little children must be       
selected from  those books which1 as we 
have noted1 contain the best collections
 of  folk-lore1 and from books which    
contain tales that rank as classics4    
,an examination of the tales of         
,perrault1 of ,grimm1 of ,dasent1 of    
,andersen1 of ,jacobs1 of ,harris1 and  
of miscellaneous tales1 to see  what are
 suited to the little child1 would      
result in the following  lists of tales4
 ,those most worthy of study for the    
kindergarten are  marked with an        
asterisk and those suited to the first  
grade are marked  #a4 ,no attempt has   
been made to mention all the varied     
sources of a  tale or its best version4 

,the ,boston ,public ,library issues a  
,finding  ,list of ,fairy ,tales and    
,folk ,stories1 which may be procured   
easily1  and the ,carnegie ,library at  
,pittsburg issues in its monthly        
bulletin  for ,december1 #aiac1 vol4    
#ah1 no4 #aj1 a ,list of ,folk-,tales1  
and other  stories which may be         
dramatized4 ,the ,baker1 ,taylor        
,company1 in #aiad1  issued a ,graded   
,guide to ,supplementary ,reading1 which
 contains a  list of many of the best   
editions of folk and fairy tales suited 
to  primary grades4 ,a list of school   
editions is included in this book4  ,but
 one cannot fail to be impressed with   
the general low literary  standard of   
many school editions of fairy tales when
 judged by the  standards here applied  
to the tales themselves4--      ,i4 ,a  
,list of ,fairy ,tales and ,folk ,tales 
,tales of ,perrault3           99       
,,cinderella4         #a ,,little       
,,thumb4         #a ,,puss-,,in ,,boots4
         99 ,,red ,,riding ,,hood4      

#a ,,sleeping ,,beauty4         #a ,,the
 ,,three ,,wishes4           ,tales of  
the ,grimms3           #a ,,birdie ,,and
 ,,lena4         #a ,,briar ,,rose4     
99 ,,the ,,cat ,,and ,,the ,,mouse ,,in 
,,partnership4         #a ,,chanticleer 
,,and ,,partlet4           #a4 ,,how    
,,they ,,went ,,to ,,the ,,hills ,,to   
,,eat ,,nuts4           #b4 ,,the       
,,visit ,,to ,m ,,korbes4           #c4 
,,the ,,death ,,of ,,partlett4          
99 ,,cinderella4         99 ,,the       
,,elves ,,and ,,the ,,shoemaker4        
,,the ,,fox ,,and ,,the ,,geese4        
#a ,,the ,,hare ,,and ,,the ,,hedgehog4 
#a ,,the ,,house ,,in ,,the ,,wood4     
99 ,,the ,,king ,,of ,,the ,,birds4     
#a ,,little ,,brother ,,and ,,sister    
#a ,,the ,,little ,,lamb ,,and ,,the    
,,little ,,fish4         99 ,,little    
,,red-,,cap4         #a ,,little ,,snow 
,,white4         #a ,,little            
,,two-,,eyes4           ,,mother        
,,holle4         #a ,,the ,,nose4       
#a ,,snow ,,white ,,and ,,rose ,,red4   

99 ,,the ,,sparrow ,,and ,,his ,,four   
,,children4           ,,star ,,dollars4 
99 ,,the ,,spider ,,and ,,the ,,flea4   
99 ,,the ,,straw1 ,,the ,,coal1 ,,and   
,,the ,,bean4         99 ,,the ,,town   
,,musicians ,,of ,,bremen4              
,,the ,,willow ,,wren ,,and ,,the       
,,bear4         99 ,,the ,,wolf ,,and   
,,the ,,seven ,,kids4         99 ,,the  
,,wonderful ,,porridge ,,pot4           
,norse ,tales3             ,,cock ,,and 
,,hen4           ,,the ,,cock ,,and     
,,hen ,a-,,nutting4           ,,the     
,,cock ,,and ,,hen ,,that ,,went ,,to   
,,the ,,dovrefell4           ,,cock1    
,,cuckoo1 ,,and ,,black ,,cock4         
99 ,,doll ,i' ,,the ,,grass4         #a 
,,gertrude',s ,,bird4         #a ,,katie
 ,,woodencloak 7read74         #a ,,the 
,,lad ,,who ,,went ,,to ,,the ,,north   
,,wind4         #a ,,lord ,,peter       
7read74           ,,one',s ,,own        
,,children ,,abe ,,always ,,prettiest4  
99 ,,three ,,billy ,,goats4         #a  
,,thumbikin 7read74         99 ,,why    

,,the ,,bear ,,is ,,stumpy-,,tailed     
7pourquois74           ,english ,tales1 
by ,jacobs3           99 ,,the ,,cat    
,,and ,,the ,,mouse4         99 ,,henny 
,,penny4         #a ,,the ,,history ,,of
 ,,tom ,,thumb4         99 ,,how ,,jack 
,,went ,,to ,,seek ,,his ,,fortune4     
#a ,,jack ,,and ,,the ,,bean-,,stalk4   
99 ,,johnny ,,cake4         99 ,,lazy   
,,jack4         99 ,,the ,,magpie',s    
,,nest4         #a ,,master ,,of ,,all  
,,masters4         99 ,m ,,miacca4      
#a ,m ,,vinegar4         99 ,,the ,,old 
,,woman ,,and ,,her ,,pig4         99   
,,puddock1 ,,mousie1 ,,and ,,ratton4    
#a ,,scrapefoot4         99 ,,the       
,,story ,,of ,,three ,,bears4         99
 ,,the ,,story ,,of ,,three ,,little    
,,pigs4         99 ,,teeny ,,tiny4      
99 ,,titty ,,mouse ,,and ,,tatty        
,,mouse4           ,modern ,fairy       
,tales1 by ,andersen3           99 ,,the
 ,,fir ,,tree4         99 ,,five ,,peas 
,,in ,a ,,pod4         #a ,,the ,,happy 
,,family 7retold in ,tales of           

,laughter74           ,,little ,,ida',s 
,,flowers 7read74         99            
,,ole-,,luk-,,ole 7read to end of       
,thursday74           ,,thursday1       
,,wedding ,,of ,a ,,mouse4         99   
,,the ,,princess ,,and ,,the ,,pea4     
99 ,,the ,,snow ,,man4         #a ,,the 
,,steadfast ,,tin ,,soldier4            
,,the ,,top ,,and ,,the ,,ball4         
99 ,,thumbelina4           ,,what ,,the 
,,moon ,,saw3         99 ,,little ,,girl
 ,,and ,,chickens4         99 ,,the     
,,new ,,frock 7realistic74         99   
,,little ,,chimney ,,sweep4         99  
,,bear ,,who ,,played ,,soldiers4       
99 ,,bread ,,and ,,butter4              
,uncle ,remus ,tales1 by ,harris1 in    
,nights with ,uncle ,remus3           99
 ,,brer ,,rabbit ,,and ,,the ,,little   
,,tar ,,baby4         99 ,,brother      
,,rabbit ,,and ,,the ,,little ,,girl4   
99 ,,brother ,,rabbit ,,takes ,a ,,walk4
         99 ,,brother ,,rabbit ,,takes  
,,some ,,exercise4         99 ,,cutta   
,,cord-,,la 7similar to ,wolf and ,seven

 ,kids74         99 ,how ,,brother      
,,rabbit ,,broke ,,up ,a ,,party4       
99 ,how ,,brother ,,rabbit ,,frightens  
,,his ,,neighbors4         99 ,how ,m   
,,rooster ,,lost ,,his ,,dinner 7read74 
99 ,,in ,,some ,,lady',s ,,garden4      
99 ,m ,,benjamin ,,ram 7,brother        
,rabbit's ,riddle74         99 ,,the    
,,moon ,,in ,,the ,,mill-,,pond         
7pourquois74         99 ,,why ,,brother 
,,beak ,,has ,,no ,,tail 7pourquois74   
99 ,,why ,m ,,dog ,,runs ,,after        
,,brother ,,rabbit4         99 ,,why    
,,guinea ,,fowls ,,are ,,speckled       
7pourquois74           ,uncle ,remus    
,tales1 by ,harris1 in ,uncle ,remus and
 the ,little          ,boy3           99
 ,,brother ,,billy ,,goat',s ,,dinner4  
,,brother ,,fox ,,smells ,,smoke4       
99 ,,brother ,,rabbit ,,and ,,brother   
,,tiger4         99 ,,brother ,,rabbit  
,,and ,,brother ,,lion 7similar to ,the 
,dog and ,his             ,shadow74     
99 ,,brother ,,mud-,,turtle',s          
,,trickery4         99 ,,brother        

,,rabbit',s ,,money ,,mint4         #a  
,,brother ,,wolf ,,says ,,grace4        
#a ,,the ,,fire ,,test 7,use with ,three
 ,pigs74           ,,fun ,,at ,,the     
,,ferry4         99 ,,heyo1 ,,house4    
,,the ,,little ,,rabbits4               
,,mrs4 ,,partridge ,,has ,a ,,fit4      
,,why ,,brother ,,fox',s ,,legs ,,are   
,,black4         99 ,,why ,,the ,,hawk  
,,catches ,,chickens4         ,tale1 by 
,harris1 in ,little ,mr4 ,thimblefinger3
           99 ,,why ,,billy-,,goat',s   
,,tail ,,is ,,short4                    
,miscellaneous ,tales3           99     
,,the ,,adventures ,,of ,,little ,,field
 ,,mouse1 ,stories to ,tell1            
,bryant4         99 ,,beta ,,and ,,the  
,,lame ,,giant1 ,miss ,harrison1 ,in    
,storyland4         99 ,,billy          
,,bobtail1 ,jane ,hoxie1 ,kindergarten  
,stories2 ,child-,lore                  
,dramatic ,reader1 ,scribners4          
99 ,,blunder ,,and ,,the ,,wishing      
,,gate1 ,louise ,chollet1 in ,child     
,life             in ,prose1 ,whittier4 

99 ,,the ,,boy ,,and ,,the ,,goat1 ,,or 
,,the ,,goat ,,in ,,the ,,turnip ,,field
             7,norwegian71 ,primer1     
,free and ,treadwell2 ,child-,lore      
,dramatic ,reader1 ,scribners4          
99 ,,the ,,cap ,,that ,,mother ,,made   
,,or ,,ander',s ,,new ,,cap 7,swedish71 
,swedish ,fairy ,tales1 ,mc,clurg2 ,for 
the ,story-,teller1             ,bailey4
         #a ,,the ,,cat ,,and ,,the     
,,parrot ,,or ,,the ,,greedy ,,cat1     
,,how to ,tell             ,stories1    
,bryant2 ,tales of ,laughter1 ,wiggin   
and ,smith4         #a ,,the ,,cat      
,,that ,,waited1 ,classics in ,dramatic 
,form1 vol4 ,i1             ,stevenson4 
99 ,,the ,,cat1 ,,the ,,cock1 ,,and     
,,the ,,fox1 ,tales of ,laughter1       
,wiggin             and ,smith4         
#a ,,clytie1 ,nature ,myths1 ,flora     
,cooke4         #a ,,the ,,cock1 ,,the  
,,mouse1 ,,and ,,the ,,little ,,red     
,,hen1 ,flicit             ,lefvre1     
,jacobs4         99 ,,the ,,country     
,,mouse ,,and ,,the ,,city ,,mouse1     

sop's ,fables1 ,joseph                  
,jacobs4         99 ,,dame ,,wiggins    
,,and ,,her ,,cats1 ,mrs4 ,sharp1 in    
,six ,nursery             ,classics1    
,heath4         99 ,,the ,,discontented 
,,pendulum1 ,jane ,taylor1 in ,in the   
,child's             ,world1 ,poulsson4 
99 ,,the ,,doll ,,who ,,was ,,sister    
,,to ,a ,,princess1 ,,the ,,toy         
,,stories1             ,carolyn ,bailey1
 ,kindergarten ,review1 ,dec41 #aiad4   
99 ,,drakesbill1 ,the ,story-,teller's  
,book1 ,o',grady and ,throop2           
,the ,fairy ,ring1 ,wiggin and ,smith2  
,firelight ,stories1                    
,bailey4         99 ,,the ,,elephant',s 
,,child1 ,just-,so ,stories1 ,kipling4  
#a ,,the ,,first ,,christmas ,,tree1 ,a 
,little ,book of ,profitable            
,tales1 ,eugene ,field4         #a ,,the
 ,,five ,,little ,,pigs1 ,katherine     
,pyle1 in ,wide ,awake ,second          
,reader1 ,little4         99 ,,the      
,,foolish ,,timid ,,rabbit1 ,jataka     
,tales ,retold1 ,babbit4           ,,the

 ,,golden ,,cock1 ,that's ,why ,stories1
 ,bryce4         #a ,,golden ,,rod ,,and
 ,,aster1 ,nature ,myths1 ,cooke4       
,,the ,,grain ,,of ,,corn 7,old ,woman  
and ,her ,pig71 ,tales of the           
,punjab1 ,steel4         #a ,,greencap1 
,ruth ,hays1 in ,st4 ,nicholas1 ,june1  
#aiae4         #a ,,hans ,,and ,,the    
,,four ,,big ,,giants1 ,miss ,harrison1 
,in ,storyland4         #a ,,the ,,hen  
,,that ,,hatched ,,ducks1 ,harriet      
,beecher ,stowe1 in ,child              
,life in ,prose1 ,whittier4         99  
,,the ,,hop-,,about-,,man1 ,agnes       
,herbertson1 in ,the ,story-,teller's   
,book1 ,o',grady and ,throop2 in ,little
 ,folks' ,magazine4         99 ,,the    
,,house ,,that ,,jack ,,built1 ,six     
,nursery ,classics1 ,d4,c4              
,heath4         #a ,,how ,,brother      
,,rabbit ,,fooled ,,the ,,whale1        
,stories to ,tell1             ,bryant4 
99 ,,how ,,the ,,camel ,,got ,,his      
,,hump1 ,just-,so ,stories1 ,kipling4   
#a ,,how ,,the ,,chipmunk ,,got ,,the   

,,stripes ,,on ,,its ,,back1 ,nature    
,myths1             ,cooke4         99  
,,how ,,double ,,darling',s ,,old       
,,shoes ,,became ,,lady ,,slippers1     
,candace             ,wheeler1 in ,st4  
,nicholas1 ,march1 #ahhg2 vol4 #ad1 pp4 
#cdb-dg4         99 ,,how ,,fire ,,was  
,,brought ,,to ,,the ,,indians1 ,the    
,book of ,nature             ,myths1    
,holbrook4         99 ,,how ,,sun1      
,,moon1 ,,and ,,west ,,wind ,,went ,,out
 ,,to ,,dinner1 ,old ,deccan            
,days1 ,frre4         #a ,,the ,,jackal 
,,and ,,the ,,alligator1 ,stories to    
,tell1 ,bryant4         #a ,,the        
,,jackals ,,and ,,the ,,lion1 ,stories  
to ,tell1 ,bryant4         #a ,,king    
,,solomon ,,and ,,the ,,ants1 ,nature   
,myths1 ,cooke4         99 ,,the        
,,lambikin1 ,tales of the ,punjab1      
,steel2 ,indian ,tales1                 
,jacobs4         99 ,,little ,,jack     
,,rollaround1 ,stories to ,tell1        
,bryant4         99 ,,the ,,little      
,,rabbit ,,who ,,wanted ,,red ,,wings1  

,for the             ,story-,teller1    
,bailey4         99 ,,the ,,little ,,red
 ,,hen1 ,stories to ,tell1 ,bryant4     
99 ,,the ,,little ,,red ,,hin 7,irish   
dialect verse71 ,stories to ,tell1      
,bryant4         99 ,,the ,,little      
,,rooster1 ,robert ,southey1 in ,boston 
,collection of             ,kindergarten
 ,stories1 ,hammett  ,co4         99    
,,little ,,spider',s ,,first ,,web1     
,primer1 ,free and ,treadwell4          
99 ,,little ,,top-,,knot 7,swedish71    
,first ,reader1 ,free and               
,treadwell4         99 ,,little         
,,tuppen1 ,fairy ,stories and ,fables1  
,baldwin2 ,primer1             ,free and
 ,treadwell4         99 ,,ludwig ,,and  
,,marleen1 ,jane ,hoxie1 in             
,kindergarten ,review1             vol4 
xi1 no4 #e4         99 ,,medio          
,,pollito1 ,,the ,,little ,,half-,,chick
 7,spanish71 ,the ,green                
,fairy ,book1 ,lang4         99         
,,mezumi1 ,,the ,,beautiful1 ,,or ,,the 
,,rat ,,princess 7,japanese71           

,birch-,tree ,fairy ,book1 ,johnson2    
,tales of ,laughter1             ,wiggin
 and ,smith4         #a ,m ,,elephant   
,,and ,m ,,frog1 ,firelight ,stories1   
,bailey4         #a ,,the ,,moon',s     
,,silver ,,cloak1 ,classics in ,dramatic
 ,form1             ,stevenson1 vol4 i4 
#a ,,the ,,mouse ,,and ,,the ,,sausage1 
,stories and ,story-,telling1           
,angela ,keyes4         99 ,,oeyvind    
,,and ,,marit1 from ,the ,happy ,boy1   
,bjrnstjerne             ,bjrnson1 in   
,the ,story-,teller's ,book1 ,o',grady  
and             ,throop2 in ,child-,life
 in ,prose1 ,whittier4         99       
,,peter ,,rabbit1 ,peter ,rabbit1       
,beatrix ,potter4         #a ,,the      
,,pigs ,,and ,,the ,,giant1 ,pyle1 in   
,child-,lore ,dramatic                  
,reader1 ,scribners4         99 ,,the   
,,quick-,,running ,,squash1 ,short      
,stories for ,short ,people1            
,aspinwall4         #a ,,the            
,,red-,,headed ,,woodpecker1 ,nature    
,myths1 ,cooke4         99 ,,the ,,rich 

,,goose1 ,leora ,robinson1 in ,the      
,outlook4         99 ,,the ,,robin',s   
,,christmas ,,song1 ,birch-,tree ,fairy 
,book1             ,johnson4         99 
7,,wee7 ,,robin',s ,,yule ,,song4 ,tales
 of ,laughter1 ,wiggin and              
,smith4         99 ,,the ,,sheep ,,and  
,,the ,,pig 7,scandinavian71 ,for the   
,children's             ,hour1 ,bailey4 
99 ,,the ,,sparrow ,,and ,,the ,,crow1  
,tales of the ,punjab1 ,steel2          
,birch-,tree ,fairy ,book1 ,johnson4    
99 ,,the ,,straw ,,ox1 ,cossack ,fairy  
,tales1 ,bain4         99 ,,story ,,of  
,,the ,,morning-,,glory ,,seed1 ,m4     
,eytinge1 ,boston                       
,kindergarten ,stories4         #a ,,the
 ,,tale ,,of ,a ,,black ,,cat1          
,oak-,tree ,fairy ,book1 ,johnson4      
#a ,,tommy ,,and ,,the                  
,,wishing-,,stone1 a series1 by ,t4     
,burgess1 in ,st4             ,nicholas1
 #aiae4         #a ,,travels ,,of ,a    
,,fox1 ,oak-,tree ,fairy ,book1         
,johnson4         #a ,,the ,,turtle     

,,who ,,couldn',t ,,stop ,,talking1     
,jataka ,tales ,retold1                 
,babbit4         99 ,,the ,,unhappy     
,,pine ,,tree1 ,classic ,stories1       
,mc,murry4         #a ,what ,bunch ,and 
,joker ,saw ,in ,the ,moon1 ,wide ,awake
             ,chatterbox1 about #ahhg4  
#a ,the ,white ,cat1 ,fairy ,tales1     
,d',aulnoy2 ,fairy ,tales1 ,vol4        
,,ii1 ,lansing4         99  ,why ,the   
,evergreen ,trees ,never ,lose ,their   
,leaves1 ,the ,book              ,of    
,nature ,myths1 ,holbrook4         99   
,why ,the ,juniper ,has ,berries1 ,the  
,book ,of ,nature ,myths1               
,holbrook4           99  ,why ,the      
,morning ,glory ,climbs1 ,how to ,tell  
,stories1 ,bryant4           #a ,the    
,wish ,bird1 ,classics ,in ,dramatic    
,form1 ,vol4 ,,ii1                      
,stevenson4     ,,ii4 ,bibliography ,of 
,fairy ,tales         ,baker1 ,franklin 
,t43 ,bibliography ,of ,children's      
,reading4         ,introduction and     
lists4 ,teachers ,college1 ,columbia    

,university4         ,baker ,taylor     
,company1 ,the3 ,graded ,guide to       
,supplementary         ,reading4 #aiad4 
,boston ,public ,library3 ,finding ,list
 of ,fairy ,tales4         ,carnegie    
,library1 ,pittsburgh4 ,list of ,folk   
,tales4 ,bulletin1         ,dec1 #aiac1 
,vol4 #ah1 ,no4 #aj4         ,ibid43    
,illustrated ,editions of ,children's   
,books4 #aiae4         ,harron1 ,julia2 
,bacon1 ,corinne2 and ,dana1 ,john3     
,american ,library         ,economy4    
,newark ,free ,library1 ,newark1 ,new   
,jersey4         ,haight1 ,rachel ,webb3
 ,fairy ,tales4 ,bulletin of            
,bibliography1         #aiab4 ,boston   
,book ,co4         ,hewins1 ,caroline3  
,a4,l4,a4 ,list4 ,books for ,boys and   
,girls4 ,third         ,edition1 #aiac4 
,a4,l4,a4 ,pub4 ,board1 ,chicago4       
,kready1 ,laura ,f43 ,picture-,books    
,for ,little ,children4                 
,kindergarten ,review1 ,sept41 #aiad4   
,moulton1 ,alice ,o',grady1 and         
,literature ,com4 of ,i4,k4,u43         

,humorous        ,stories for ,children4
 ,kindergarten ,review1 ,dec1 #aiad4    
,salisbury1 ,g4,e41 and ,beckwith1      
,m4,e43 ,index to ,short ,stories4      
,st4 ,louis ,public ,library4 ,lists of 
,stories and ,programs for              
,story ,hours4 ,give best versions4     
,widdemer1 ,margaret3 ,a ,bibliography  
of ,books and ,articles                 
,relating to ,children's ,reading4 ,part
 ,i1 ,children's ,reading in            
general4 ,part ,,ii1 ,history of        
,children's ,literature1 etc4 ,part     
,,iii1 ,guidance of ,children's         
,reading4 ,bulletin of                  
,bibliography1 ,july1 #aiaa1 ,oct41     
#aiaa1 and ,jan41 #aiab4 ,boston        
,book ,co4      ,,iii4 ,a ,list of      
,picture-,books#ac           ,beskow1   
,elsa3 ,hanschen im ,blaubeerenwald4    
,stuttgart4           ,brooke1 ,leslie3 
,the ,golden ,goose ,book4 ,f4 ,warne4  
,ibid43 ,the ,house in the ,wood4 ,f4   
,warne4           ,ibid43 ,the ,truth   
,about ,old ,king ,cole4 ,f4 ,warne4    

,browning1 ,robert3 ,the ,pied ,piper1  
,kate ,greenaway1 ,f4 ,warne2           
,hope ,dunlap1 ,rand2 ,t4 ,butler       
,stoney1 ,dutton4           ,caldecott1 
,randolph3 ,picture-,books3             
#b4 ,the ,house that ,jack ,built4 ,f4  
,warne4           #c4 ,hey ,diddle      
,diddle ,book4 ,f4 ,warne4              
,coussens1 ,p4,w43 ,a ,child's ,book of 
,stories4 ,jessie ,w4 ,smith4           
,duffield4           ,crane1 ,walter3   
,picture-,books3           ,cinderella4 
,john ,lane4           ,mother ,hubbard4
 ,john ,lane4           ,red ,riding    
,hood4 ,john ,lane4           ,this     
,little ,pig4 ,john ,lane4              
,grimm1 ,jacob and ,william3 ,cruikshank
 ,fairy ,book4 ,cruikshank1             
,putnam4           ,ibid43 ,das         
,deutsche ,bilderbuch4 ,jos4 ,scholz4   
#a4 ,drnroschen4             #b4        
,aschenputtel4             #g4 ,frau    
,holle4            #aj4 ,der ,wolf und  
,sieben ,geislein4           ,ibid43    
,liebe ,mrchen4 #aj1 #aa1 #ab4 ,jos4    

,scholz4           ,ibid43 ,cherry      
,blossom4 ,helen ,stratton4 ,blackie and
 ,sons4           ,jerrold1 ,walter3    
,the ,big ,book of ,fairy ,tales4       
,robinson4           ,blackie4          
,olfers1 ,sibylle3 ,windschen4 ,j4,f4   
,schreiber4           ,ibid43           
,wurzelkindern4 ,j4,f4 ,schreiber4      
,sharp1 ,mrs43 ,dame ,wiggins of ,lee4  
,introduction by ,ruskin4               
,kate ,greenaway4 ,george ,allen4       
,,iv4 ,a ,,list ,,of ,,pictures         
,cinderella4 #bbg1 ,meinhold4 ,dresden4 
#gbd1 ,meinhold4 ,dresden4 #cff1        
,teubner4 ,leipzig4         ,canadian   
,magazine1 ,dec41 #aiaa1 by ,val        
,prinsep1 ,a4         ,elves4 ,arthur   
,rackham4 ,st4 ,nicholas1 ,nov41 #aiad4 
,ibid43 ,book of ,pictures4 ,century4   
,hop-o'-my-,thumb4 ,a ,child's ,own     
,book of ,fairy ,tales4 ,dore4 ,h4      
,pisan1 engraver4 ,elizabeth ,s4        
,forbes4 ,canadian ,magazine1           
,dec41 #aiaa4         ,little ,brother  
and ,sister4 ,tempera ,painting1        

,marianna ,stokes4         ,illustrated 
,london ,news1 ,dec41 #aijg4            
,perrault's ,tales4 ,kay ,nielsen4      
,illustrated ,london ,news1 ,dec41      
#aiac4         ,red ,riding ,hood4      
,poster1 ,mary ,stokes4 ,ladies' ,home  
,journal4         #bcj1 ,meinhold4      
,dresden4 #gg1 ,teubner4 ,leipzig and   
,berlin4 ,g4         ,ferrier4 ,engraved
 for ,st4 ,nicholas1 ,braun1 ,clement1  
,co4         ,supplement to ,american   
,primary ,teacher1 ,may1 #aijh4         
,picture1 #b         ft4 by #a ft41 ,new
 ,specialty ,shop1 ,phila41 ,pa4        
,sleeping ,beauty4 ,mouat1 ,london4     
,canadian ,magazine1 ,dec41 #aiaa4      
,illustrated ,london ,news1 ,dec41      
#aijg4         ,snow ,white4 ,a series4 
,maxfield ,parrish4 ,picture by         
,elizabeth         ,shippen ,green4     
,two ,series4 ,five pictures in each4   
,jessie ,willcox ,smith4 ,p4,f4         
,collier  ,sons4        ,v4 ,a ,,list   
,,of ,,fairy ,,poems                    
,allingham1 ,william3 ,the ,fairy ,folk4

 ,the ,posy ,ring4 ,bangs1 ,john        
,kendrick3 ,the ,little ,elf4 ,the ,posy
 ,ring4         ,bird1 ,robert3 ,the    
,fairy ,folk4 ,a ,child's ,book of ,old 
,verses4         ,dodsley1 ,r43 ,red    
,caps of ,fairies4 ,fuimus ,troes1 ,old 
,plays4         ,drayton1 ,michael3     
,nymphal ,,iii1 ,poets' ,elysium4       
,herford1 ,oliver3 ,the ,elf and the    
,dormouse4 ,the ,posy ,ring4            
,hood1 ,thomas3 ,a ,plain ,direction4   
,heart of ,oak ,books1 ,,iii4           
,ibid43 ,queen ,mab4 ,a ,child's ,book  
of ,old ,verses4         ,howitt1 ,mary3
 ,the ,fairies of the ,caldon-,low4 ,the
 ,posy ,ring4         ,ibid43 ,mabel on 
,midsummer ,day4 ,the ,story-,teller's  
,book1         ,o',grady and ,throop4   
,lyly1 ,john3 ,the ,urchin's ,dance and 
,song4 ,song of the ,first              
,fairy4 ,song of the ,second ,fairy4    
,maydes ,metamorphosis4                 
,mc,dermot1 ,jessie3 ,a ,fairy ,tale4   
,fairy ,tales4 ,rolfe4 ,amer4 ,book     
,co4         ,noyes1 ,alfred3 ,the      

,magic ,casement4 ,an anthology of fairy
         poetry1 with an introduction4  
,dutton4         ,percy1 ,bishop3 ,the  
,fairy ,queen4 ,reliques of ,ancient    
,poetry2         from ,the ,mysteries of
 ,love and ,eloquence1 ,london1 #afeh4  
,shakespeare1 ,william3 ,ariel's ,song2 
,a ,fairy ,song2 ,i know a         bank2
 ,the ,song of the ,fairies4            
,shakespeare's ,dramas4                 
,stevenson1 ,robert ,l4 ,fairy ,bread2  
,the ,little ,land4 ,a ,child's         
,garden of ,verses4         ,unknown    
,author3 ,the ,fairy4 ,oh1 who is so    
merry4 ,a ,child's         ,book of ,old
 ,verses4 ,duffield4         ,wilkins1  
,mary ,e43 ,the ,ballad of the          
,blacksmith's ,sons4 ,fairy             
,stories ,retold from ,st4 ,nicholas4   
,century4         ,,vi4 ,,main          
,,standard ,,fairy ,,tale ,,books       
,andersen1 ,hans ,christian3 ,fairy     
,tales4 #b vols4 ,pedersen              
,stone4 ,houghton4         ,ibid43      
,fairy ,tales4 ,edited by ,w4,a4 and    

,j4,k4 ,craigie4 ,oxford                
,university ,press4         ,ibid43     
,fairy ,stories for ,youngest ,children4
 ,lucas4         ,stratton4 ,blackie4   
7,english edition47         ,ibid43     
,fairy ,tales4 ,mrs4 ,lucas4 ,t4,c4 and 
,w4 ,robinson4         ,dutton4         
,ibid43 ,fairy ,tales4 ,mrs4 ,lucas4    
,helen ,stratton4 ,dodge4               
,ibid43 ,fairy ,tales4 ,maria ,l4 ,kirk4
 ,lippincott4         ,andersen1 ,hans  
,christian3 ,fairy ,tales4 ,edmund      
,dulac4 ,hodder          ,stoughton4    
,ibid43 ,fairy ,tales4 ,w4,h4 ,robinson4
 ,holt4         ,ibid43 ,fairy ,tales4  
,braekstad4 ,tegner4 ,introd4 by ,gosse4
           ,century4         ,asbjrnsen1
 ,p4,c43 ,fairy ,tales from the ,far    
,north4 ,burt4         ,ibid43 ,round   
the ,yule ,log4 ,introd4 by ,gosse4     
,braekstad4         ,lippincott4        
,dasent1 ,sir ,george ,w43 ,popular     
,tales from the ,north4 ,routledge4     
,dutton4         ,ibid43 ,popular ,tales
 from the ,north4 ,putnam4              

,ibid43 ,tales from the ,field4 ,putnam4
         ,grimm1 ,jacob and ,william3   
,household ,tales4 ,margaret ,hunt4     
,bonn's ,libraries1 ,bell  ,co4         
,ibid43 ,household ,tales4 ,lucy ,crane4
 ,walter ,crane4 ,macmillan4            
,ibid43 ,fairy ,tales4 ,helen ,stratton4
 ,dodge4         ,ibid43 ,german        
,popular ,stories4 ,tr4 ,edgar ,taylor4 
,introd4 by         ,ruskin4 #bb        
illustrations by ,cruikshank4 ,chatto   
,windus4         ,ibid43 ,fairy ,tales4 
,johann  ,leinweber4 ,mc,loughlin4      
,ibid43 ,fairy ,tales4 ,arthur ,rackham4
 ,doubleday4         ,ibid43 ,fairy     
,tales4 ,hope ,dunlap4 ,rand4           
,harris1 ,joel ,chandler3 ,uncle ,remus1
 ,his ,songs and ,sayings4              
,appleton4         ,ibid43 ,nights ,with
 ,uncle ,remus4 ,church4 ,houghton4     
,ibid43 ,uncle ,remus and ,his ,friends4
 ,frost4 ,houghton4         ,ibid43     
,uncle ,remus and the ,little ,boy4     
,j4,m4 ,comte4 ,small4         ,jacobs1 
,joseph3 ,english ,fairy ,tales4 #b     

vols4 ,batten4 ,putnam4         ,ibid43 
,celtic ,fairy ,tales4 #b vols4 ,batten4
 ,putnam4         ,ibid43 ,indian ,fairy
 ,tales4 ,batten4 ,putnam4              
,ibid43 ,the ,most ,delectable ,history 
of ,reynard the ,fox4         ,frank    
,calderon4 ,macmillan4         ,ibid43  
,europa's ,fairy ,tales4 ,batten4       
,putnam4         ,o',shea1 ,m4,v43 ,old 
,world ,wonder ,stories4 ,heath4        
,perrault1 ,charles3 ,tales of ,mother  
,goose4 ,welsh4 ,heath4         ,ibid43 
,fairy ,tales4 ,appleton4 ,estes4       
,perrault1 ,charles3 ,tales of ,passed  
,times4 ,temple ,classics4 ,c4          
,robinson4 ,dutton4         ,ibid43     
,popular ,tales4 ,edited by ,andrew     
,lang4 ,french2 and         ,english    
translation of original edition4        
,oxford1 ,clarendon         ,press4     
,,vii4 ,,fairy ,,tales ,,of ,,all       
,,nations         ,celtic4 ,jacobs4     
#aiaa4 ,putnam4         ,chinese4       
,pitnam4 #aiaj4 ,crowell4               
,cossack4 ,bain4 #ahii4 ,burt4          

,danish4 ,bay4 #ahii4 ,harper4          
,donegal4 ,mc,manus4 #aijj4 ,doubleday4 
,english4 ,jacobs4 #aijd4 ,putnam4      
,ibid43 ,folk and ,fairy ,stories4      
,hartland1 born #ahdh4 ,camelot         
series4         ,french4 ,de,segur4     
#agii-ahgd4 ,winston4         ,german4  
,grimm4 #ahab1 #ahbb4 ,bonn's           
,libraries4         ,hungarian4 ,pogany4
 #aiad4 ,stokes4         ,indian4 ,old  
,deccan ,days4 ,frre4 #ahfh4            
,mc,donough4         ,ibid43 ,tales of  
the ,sun4 ,mrs4 ,kingscote4 #ahij4      
,w4,h4 ,allen4         ,ibid43 ,buddhist
 ,birth ,stories4 ,rhys ,davids4 #ahhj4 
,trubner4         ,ibid43 ,fairy ,tales4
 ,stokes4 #ahhj4 ,ellis  ,white4        
,ibid43 ,folk ,tales of ,bengal4 ,day4  
#ahhc4 ,macmillan4         ,ibid43 ,wide
 ,awake ,stories4 ,steel and ,temple4   
#ahhd4 ,trubner4         ,ibid43        
,folk-,tales of ,kashmir4 ,knowles4     
#ahhg4 ,trubner4         ,ibid43 ,tales 
of the ,punjab4 ,steel4 #ahid4          
,macmillan4         ,irish4 ,yeats4     

#aijb4 ,burt4         ,italian4         
,macdonell4 #aiaa4 ,stokes4             
,ibid43 ,crane4 #ahhe4 ,macmillan4      
,japanese4 ,ozaki4 #aiji4 ,dutton4      
,manx4 ,morrison4 #ahii4 ,nutt4         
,new ,world4 ,kennedy4 #aijd4 ,dutton4  
,norse4 ,dasent4 #ahbj-ahif4            
,lippincott4         ,ibid43 ,mabie4    
#ahdf-4 ,dodd4         ,papuan4 ,kerr4  
#aiaj4 ,macmillan4         ,persian4    
,stephen4 #ahib4 ,dutton4               
,ibid43 ,clouston4 #aijg4 ,stokes4      
,russian4 ,dole4 #aijg4 ,crowell4       
,ibid43 ,bain4 ,bilibin4 #aiad4         
,century4         ,scottish4 ,grierson4 
#aiaj4 ,stokes4         ,south ,african4
 ,honey4 #aiaj4 ,baker  ,taylor4        
,welsh4 ,thomas4 #aijh4 ,stokes4        
,,viii4 ,,miscellaneous ,,editions ,,of 
,,fairy ,,tales         ,d',aulnoy1     
,madame3 ,fairy ,tales4 ,trans1 by      
,planch4 ,gordon         ,browne4       
,mc,kay4         ,ibid43 ,fairy ,tales4 
,introd4 by ,anne ,t4 ,ritchie4         
,scribners4         ,austin1 ,m4,h43    

,basket ,woman4 ,houghton4              
,babbit1 ,ellen3 ,jataka ,tales ,retold4
 ,century4         ,bailey1 ,carolyn3   
,firelight ,stories4 ,bradley4          
,bailey and ,lewis3 ,for the ,children's
 ,hour4 ,bradley4         ,baldwin1     
,james3 ,fairy ,stories and ,fables4    
,amer4 ,book ,co4         ,barrie1      
,j4,m43 ,peter ,pan in ,kensington      
,gardens4 ,rackham4         ,scribners4 
,baumbach1 ,rudolf3 ,tales from         
,wonderland4 ,simmons4                  
,bertelli1 ,luigi3 ,the ,prince and ,his
 ,ants4 ,holt4         ,bryant1 ,sara   
,c43 ,best ,stories to ,tell to         
,children4 ,houghton4         ,burgess1 
,thornton3 ,old ,mother ,west ,wind4    
,little4         ,ibid43 ,the           
,adventures of ,reddy ,fox4 ,little4    
,ibid43 ,the ,adventures of ,johnny     
,chuck4 ,little4         ,ibid43 ,tommy 
and the ,wishing-stone4 ,animal ,tales4 
,st4         ,nicholas1 #aiae4          
,chapin1 ,anna3 ,the ,now-a-,days ,fairy
 ,book4 ,jessie ,w4 ,smith4 ,dodd4      

,chisholm1 ,louey3 ,in ,fairyland4      
,katherine ,cameron4 ,putnam4           
,ibid43 ,little ,red ,riding ,hood2     
,cinderella2 7,i ,read ,them            
,myself series74 ,dodge4                
,collection3 ,half a ,hundred ,stories  
for ,little ,people4 ,bradley4          
,cooke1 ,flora ,j43 ,nature ,myths and  
,stories4 ,flanagan4         ,cowell1   
,e4,b43 ,the ,jatakas or ,stories of the
 ,buddha's ,former         ,births4 ,tr4
 from the ,pali4 #f vols4 ,cambridge    
,university         ,press4 ,putnam4    
#ahie-aijg4         ,crothers1 ,samuel  
,mc,chord3 ,miss ,muffet's ,christmas   
,party4         ,houghton4              
,emerson1 ,ellen3 ,indian ,myths4       
,houghton4         ,everyman ,series3   
#aeg2 #cfe2 and #eda4 ,dutton4          
,france1 ,anatole3 ,the ,honey ,bee4    
,john ,lane4         ,grover1 ,eulalie  
,o41 editor3 ,mother ,goose4 ,f4        
,richardson4         ,volland4          
,harris1 ,joel ,c43 ,little ,mr4        
,thimblefinger4 ,houghton4              

,harrison1 ,miss3 ,in ,storyland4       
,central ,pub4 ,co41 ,chicago4          
,holbrook1 ,florence3 ,the ,book of     
,nature ,myths4 ,houghton4              
,james1 ,grace3 ,the ,green ,willow3    
,japanese4 ,goble4 ,macmillan4          
,jerrold1 ,walter3 ,the ,reign of ,king 
,oberon4 ,robinson4 ,dent4              
,little4         ,johnson1 ,clifton3    
,fairy ,books3 ,oak-,tree2 ,birch-,tree2
 and         ,elm-,tree4 ,little4       
,ibid43 ,book of ,fairy ,tale ,bears4   
,houghton4         ,ibid43 ,book of     
,fairy ,tale ,foxes4 ,houghton4         
,kingsley1 ,charles3 ,water-,babies4    
,warwick ,goble4 ,macmillan4            
,ibid43 ,water-,babies4 ,introd1 by     
,rose ,kingsley4 ,margaret              
,tarrant4 ,dutton4         ,kipling1    
,rudyard3 ,jungle ,books4 #b vols4      
,original edition4         ,century4    
,ibid43 ,jungle ,books4 ,m4 and ,e4     
,detmold4 ,century4         ,ibid43     
,jungle ,books4 ,a4 ,rackham4           
,doubleday4         ,ibid43 ,just-,so   

,stories4 ,doubleday4         ,ibid43   
,puck of ,pook's ,hill4 ,doubleday4     
,ibid43 ,rewards and ,fairies4          
,doubleday4         ,laboulaye1         
,edouard3 ,fairy ,book4 ,harper4        
,ibid43 ,last ,fairy ,tales4 ,harper4   
,lang1 ,andrew3 ,fairy ,books3 ,red2    
,orange2 ,yellow2 ,green2 ,blue2        
,violet2 ,gray2 ,crimson2 ,brown2 ,pink4
 ,longmans4         ,lansing1 ,marion3  
,rhymes and ,stories4 ,ginn4            
,ibid43 ,fairy ,tales4 #b vols4 ,ginn4  
,leamy1 ,edward3 ,golden ,spears4       
,fitz,gerald4         ,lefvr1 ,felicit3 
,the ,cock1 the ,mouse1 and the ,little 
,red ,hen4         ,tony ,sarg4 ,jacobs1
 ,phila4         ,lindsay1 ,maud3       
,mother ,stories2 ,more ,mother         
,stories4 ,bradley4                     
,maeterlinck1 ,madam3 ,the ,children's  
,bluebird4 ,dodd4         ,molesworth1  
,mary ,louise3 ,the ,cuckoo ,clock4     
,maria ,kirk4         ,lippincott4      
,mulock1 ,miss3 ,the ,fairy ,book4 ,boyd
 ,smith4 ,crowell4         ,ibid43      

,fairy ,book4 #cb illus4 by ,w4 ,goble4 
,macmillan4         ,ibid43 ,little     
,lame ,prince4 ,hope ,dunlap4 ,rand4    
,musset1 ,paul de3 ,mr4 ,wind and ,madam
 ,rain4 ,bennett4 ,putnam4              
,nyblom1 ,helena3 ,jolly ,cable and     
other ,swedish ,fairy ,tales4           
,folknin4 ,dutton4         ,olcott1     
,frances ,j43 ,arabian ,nights4 ,tr4 by 
,lane4 ,cairo text4         ,selections4
 ,holt4         ,perrault1 ,charles3    
,the ,story of ,bluebeard4 ,stone       
,kimball1         ,chicago4             
,poulsson1 ,e43 ,in the ,child's ,world4
 ,bradley4         ,pyle1 ,howard3 ,the 
,garden ,behind the ,moon4 ,scribners4  
,ibid43 ,wonder-,clock4 ,harper4        
,pyle1 ,katherine3 ,fairy ,tales from   
,many ,lands4 ,dutton4         ,rackham1
 ,arthur3 ,mother ,goose4 ,century4     
,ram1 ,louise de la 7,ouida73 ,nrnberg  
,stove3 ,bimbi ,stories for             
,children4 ,page4         ,rhys1        
,ernest3 ,fairy ,gold4 ,herbert ,cole4  
,dutton4         ,rolfe1 ,william3      

,fairy ,tales in ,prose and ,verse4     
,amer4 ,book ,co4         ,shakespeare1 
,william3 ,midsummer ,night's ,dream4   
,with forty         illustrations in    
color by ,arthur ,rackham4 ,doubleday4  
,shedlock1 ,marie3 ,a ,collection of    
,eastern ,stories and ,legends4         
,foreword by ,t4 ,rhys ,davids4 ,dutton4
         ,smith1 ,jessie ,willcox3      
,mother ,goose4 ,dodd4         ,stephen1
 ,a43 ,fairy ,tales of a ,parrot4       
,ellis4 ,nister4 ,dutton4               
,stockton1 ,f43 ,the ,queen's ,museum4  
,f4 ,richardson4 ,scribners4            
,tappan1 ,eva ,march3 ,the ,children's  
,hour3 ,folk ,stories and               
,fables4 ,houghton4                     
,thorne-,thomson3 ,east o' the ,sun and 
,west o' the ,moon4 ,row4               
,underhill1 ,zoe ,d43 ,the ,dwarf's     
,tailor4 ,harper4         ,valentine1   
,mrs4 ,laura3 ,old1 ,old ,fairy ,tales4 
,f4 ,warne4         ,welsh1 ,charles3   
,fairy ,tales ,children ,love4 ,dodge4  
,wheeler1 ,w4,a43 ,mother ,goose        

,melodies4 ,houghton4         ,wiggin1  
,kate2 and ,smith1 ,nora3 ,the ,fairy   
,ring3 ,tales of         ,laughter3     
,magic ,casements3 and ,tales of        
,wonder4 ,doubleday4        ,,ix4       
,,school ,,editions ,,of ,,fairy ,,tales
           ,alderman1 ,e4,a43 ,classics 
,old and ,new4 ,amer4 ,book ,co4        
,alexander1 ,g43 ,child ,classics4      
,bobbs4         ,baker1 ,f4,t41 and     
,carpenter1 ,g43 ,language ,readers4    
,macmillan4         ,baldwin1 ,james3   
,the ,fairy ,reader1 ,i and ,,ii4 ,amer4
 ,book ,co4         ,blaisdell1 ,etta   
7,mac,donald73 ,child ,life in ,tale and
 ,fable4         ,macmillan4            
,blumenthal1 ,verra3 ,fairy ,tales from 
the ,russian4 ,rand4         ,brooks1   
,dorothy3 ,stories of ,red ,children4   
,educational4         ,bryce1           
,catherine3 ,child-,lore ,dramatic      
,reader4 ,scribners4         ,burchill1 
,ettinger3 ,progressive ,road to        
,reading1 ,readers4         ,silver4    
,chadwick1 ,mara ,p43 ,three ,bears     

,story ,primer4 ,educational4           
,chadwick1 ,m4,p4 and ,freeman1 ,e4,g43 
,chain ,stories and ,playlets3          
,the ,cat ,that ,was ,lonesome3 ,the    
,mouse ,that ,lost ,her ,tail2 and      
,the ,woman and ,her ,pig4 ,world ,book 
,co4         ,coe and ,christie3 ,story 
,hour ,readers4 ,amer4 ,book ,co4       
,craik1 ,georgiana3 ,so ,fat and ,mew   
,mew4 ,heath4         ,davis1 ,m4,h4 and
 ,leung1 ,chow3 ,chinese ,fables and    
,folk ,stories4         ,amer4 ,book4   
,co4         ,dole1 ,c4,f43 ,crib and   
,fly4 ,heath4         ,free and         
,treadwell3 ,reading ,literature        
,series4 ,row1 ,peterson4               
,grover1 ,eulalie ,o43 ,folk ,lore      
,primer4 ,atkinson4         ,hale1      
,e4,e43 ,arabian ,nights4 ,selections4  
,ginn4         ,heath1 ,d4,c43 ,dramatic
 ,reader4 ,heath4         ,henderson1   
,alice3 ,andersen's ,best ,fairy ,tales4
 ,rand4         ,hix1 ,melvin3 ,once    
,upon a ,time ,stories4 ,longmans4      
,holbrook1 ,florence3 ,dramatic ,reader 

for the ,lower ,grades4 ,amer4          
,book ,co4         ,howard1 ,f4,w43 ,the
 ,banbury ,cross ,stories3 ,the ,fairy  
,gift and ,tom         ,hickathrift4    
,merrill4         ,johnston1 ,e42 and   
,barnum1 ,m43 ,book of ,plays for       
,little ,actors4         ,amer4 ,book4  
,co4         ,kennerley3 ,the ,kipling  
,reader4 #b vols4 ,appleton4            
,ketchum and ,rice3 ,our ,first ,story  
,reader4 ,scribners4         ,lang1     
,andrew3 ,fairy ,readers4 ,longmans4    
,lansing1 ,m43 ,tales of ,old ,england4 
,ginn4         ,mabie1 ,h43 ,fairy      
,tales ,every ,child ,should ,know4     
,doubleday4         ,mc,mahon1 ,h41 ,m41
 and ,a43 ,rhyme and ,story ,primer4    
,heath4         ,mc,murry1 ,mrs4 ,lida  
,b43 ,classic ,stories4 ,public ,school 
,pub4 ,co4         ,norton1 ,charles    
,e43 ,heart of ,oak ,books4 ,heath4     
,norvell1 ,f4,t41 and ,haliburton1      
,m4,w43 ,graded ,classics4 ,johnson4    
,perkins1 ,f4,o43 ,the ,bluebird        
,arranged for ,schools4 ,silver4        

,pratt1 ,mara ,l43 ,legends of ,red     
,children4 ,amer4 ,book ,co4            
,roulet1 ,mary ,nixon3 ,japanese        
,folk-,stories and ,fairy ,tales4       
,amer4 ,book ,co4         ,scudder1 ,h43
 ,andersen's ,fairy ,tales3 ,grimm's    
,fairy ,tales2         ,fables and ,folk
 ,stories2 ,the ,children's ,book4      
,houghton4         ,smythe1 ,louise3    
,reynard the ,fox4 ,amer4 ,book ,co4    
,spaulding and ,bryce3 ,aldine ,readers4
 ,newson4         ,stevenson1 ,augusta3 
,children's ,classics in ,dramatic      
,form4 #e         vols4 ,houghton4      
,stickney1 ,j4,h43 ,andersen's ,fairy   
,tales4 #b series4 ,ginn4               
,summers1 ,maud3 ,the ,summers ,readers4
 ,beattys4         ,turpin1 ,e4,h43     
,andersen's ,fairy ,tales4 ,merrill4    
,underwood1 ,kate3 ,fairy ,tale ,plays  
7,for ,infants and ,juniors74           
,macmillan4         ,university ,pub4   
,co43 ,fairy ,tales4 ,standard          
,literature ,series2         ,hans      
,andersen's ,best ,stories2 ,grimm's    

,best ,stories4 ,newson and         ,co4
         ,van ,sickle1 ,j4,h41 etc43    
,the ,riverside ,readers4 ,houghton4    
,varney1 ,alice3 ,story ,plays ,old and 
,new4 ,amer4 ,book ,co4         ,villee3
 ,little ,folk ,dialog ,reader4 ,sower4 
,wade1 ,mary ,h43 ,indian ,fairy ,tales4
 ,wilde4         ,washburne1 ,mrs4 ,m43 
,old-,fashioned ,fairy ,tales 7,retold  
from         poetic versions of ,thomas 
,hood74 ,rand4         ,white1 ,emma    
,g43 ,pantomime ,primer4 ,amer4 ,book   
,co4         ,williston1 ,p43 ,japanese 
,fairy ,tales4 #b series4 ,rand4        
,wiltse1 ,sara ,e43 ,folk ,lore ,stories
 and ,proverbs4 ,ginn4                  
,wohlfarth1 ,j41 and ,mc,murry1 ,frank3 
,little ,folk-,tales4 #b vols4          
,zitkala-sa3 ,old ,indian ,legends4     
,ginn4              ,,appendix          
,,illustrations ,,of ,,creative         
,,return#ad    ,tales suited for        
dramatization    ,little ,two-,eyes     
,little ,two-,eyes1 which is suited to  
the first-grade child1 is one of  the   

most attractive of folk-tales and       
contains blended within itself  the     
varied beauties of the tales4 ,it is in 
cante-fable form1 which  gives it the   
poetic touch so appealing to children4  
,it contains the  magic rhymes1--       
,little kid1 bleat1       ,i wish to    
eat6         ,little kid1 bleat1        
,clear it off1 neat6    the fairy wise  
woman1 and the friendly goat4 ,it       
contains the fairy  housekeeping in the 
forest which combines tea-party1 picnic1
 and magic  food--all of which could not
 fail to delight children4 ,the lullaby 
to  put ,two-,eyes to sleep suits little
 children who know all there is to  know
 about going to sleep4 ,the magic tree1 
the silver leaves1 the  golden fruit1   
the knight and his fine steed1 and the  
climax of the  tale when the golden     
apple rolls from under the cask--all    
possess  unusual interest4 ,there is    
exceptional beauty in the setting of    
this  tale2 and its message of the worth
 of goodness places it in line with     

,cinderella4 ,it should be dramatized as
 two complete episodes1 each  of three  
acts3--    ,the ,goat ,episode          
,place  ,the home and the forest4       
,time  ,summer4         ,act  ,i1 ,scene
 i4 ,a home scene showing how the       
,mother and          ,sisters despised  
,two-,eyes4         ,scene ii4          
,two-,eyes and the ,fairy4              
,scene iii4 ,two-,eyes and the ,goat4   
,evening of the first day4         ,act 
,,ii1 ,scene i4 ,one-,eye went with     
,two-,eyes4 ,third morning4             
,song 444 ,feast 444 ,return home4      
,act ,,iii1 ,scene i4 ,three-,eyes went 
with ,two-,eyes4 ,fourth                
morning4 ,song 444 ,feast 444 ,return   
home4    ,the ,story of ,two-,eyes      
,place  ,the forest2 and the magic tree 
before the house4         ,time         
,summer4         ,act  ,i1 ,scene i4    
,two-,eyes and the ,fairy4         ,act 
,,ii1 ,scene i4 ,the magic tree4 ,mother
 and ,sisters attempt to         pluck  
the fruit4         ,act ,,iii1 ,scene i4

 ,the ,knight4 ,second attempt to pluck 
fruit4         ,conclusion4 ,the happy  
marriage4    ,snow ,white    ,the ,story
 of ,snow ,white is one of the romantic 
fairy tales which has  been re-written  
and staged as a play for children1 and  
now may be  procured in book form4 ,it  
was produced by ,winthrop ,ames at the  
,little  ,theatre in ,new ,york ,city4  
,the dramatization by ,jessie ,braham   
,white  followed closely the original   
tale4 ,the entire music was composed by 
,edmond ,rickett1 who wrote melodies for
 a number of ,london ,christmas         
pantomimes4 ,the scenery1 by ,maxfield  
,parrish1 was composed of six  stage    
pictures1 simple1 harmonious1 and       
beautiful1 with tense blue  skies1 a dim
 suggestion of the forest1 and the      
quaint architecture of  the ,house of   
the ,seven ,dwarfs4 ,pictures in old    
nursery books were the  models for the  
scenes4 ,because of the simplicity of   
the plot and the  few characters1 ,snow 
,white could be played very simply in   

four  scenes1 by the children of the    
second and third grades for the         
kindergarten and first grade4    ,snow  
,white         ,scene i4 ,a ,festival on
 the occasion of ,snow ,white's         
sixteenth         birthday4             
,scene ii4 ,in the ,forest4             
,scene iii4 ,a ,room in the ,house of   
the ,seven ,dwarfs4         ,scene iv4  
,the ,reception to ,snow ,white as      
,queen1 on the grounds         near the 
young ,king's ,palace4    ,the beautiful
 character of ,snow ,white2 the glimpse 
of ,dwarf life--the  kindly little men  
with their unique tasks and their novel 
way of  living2 the beauty and cheer of 
,snow ,white which her housekeeping     
brought into their home2 their devotion 
to her2 the adventure in the  wood2 the 
faithful ,huntsman2 the magic mirror2   
the wicked ,queen2 and  the ,prince     
seeking the ,princess--all contribute to
 the charm of the  tale4 ,the songs     
written for the play may be learned by  
the children1  who will love to work    

them into their simple play3 ,snow      
,white1 as  fair as a lily1 as sweet as 
a rose2 the song of the forest fairies1 
,welcome1 ,snow ,white2 and their second
 song which they sing as they  troop    
about ,snow ,white lying asleep on the  
,dwarf's bed1 ,here you'll  find a happy
 home1 softly sleep6 or the song of     
,snow ,white to the  ,dwarfs1 ,i can    
brew1 ,i can bake4    ,the ,little ,lamb
 and the ,little ,fish    ,once upon a  
time there lived a sister and a brother 
who loved each  other very much4 ,they  
were named ,gretchen and ,peterkin4 ,one
 day their  father who was ,king of the 
country1 left them and brought home with
  him a new ,queen who was not kind to  
the children4 ,she banished them  from  
the castle and told the ,king bad tales 
about them4 ,so they made  friends with 
the ,cook and ate in the kitchen4       
,peterkin would bring  water and        
,gretchen could carry plates and cups   
and saucers4    ,one beautiful spring   
day when all the children were          

out-of-doors  playing games1 ,gretchen  
and ,peterkin went to play with them1 by
 the  pond1 on the meadow1 beyond the   
castle wall4 ,around this pond the      
children would run1 joining hands and   
singing3--         ,eneke1 ,beneke1 let 
me live1       ,and ,i to you my bird   
will give2       ,the bird shall fetch  
of straw a bunch1       ,and that the   
cow shall have to munch2       ,the cow 
shall give me milk so sweet1       ,and 
that ,i'll to the baker take1       ,who
 with it shall a small cake bake2       
,the cake the cat shall have to eat1    
,and for it catch a mouse for me1       
99       99       99       99       99  
,and this is the end of the tale4       
,round and round the pond the children  
ran singing2 and as the word  tale fell 
on ,peterkin he had to run away over the
 meadow and all the  rest ran after to  
catch him4    ,but just then the wicked 
,queen from her window in the castle    
spied the  happy children4 ,she did not 
look pleased and she muttered words     

which  you may be sure were not very    
pleasant words4    ,the children had    
been racing across the meadow after     
,peterkin4 ,now one  called1 ,where is  
,peterkin8 ,i saw him near that tree1   
but now ,i cannot  see him4 ,gretchen1  
can you see ,peterkin8--,why1 where's   
,gretchen8    ,peterkin and ,gretchen   
were nowhere to be seen4 ,suddenly a    
little boy  said1 ,where did that lamb  
come from over there8 ,it must have been
  behind the linden tree6    ,the       
children drew near the lamb1 when what  
was their surprise to hear  it call out 
to them1 ,run children1 run quick or the
 ,queen will harm  you6 ,i am ,gretchen6
 ,run1 and never come near the pond     
again6 ,and at  the little ,lamb's words
 the children fled4    ,but the little  
,lamb ran all about the meadow1 calling1
 ,peterkin1  ,peterkin6 and would not   
touch a blade of grass4 ,sadly she      
walked to  the edge of the pond and     
slowly walked round and round it        
calling1  ,peterkin1 where are you8     

,suddenly the water bubbled and a weak  
voice cried1 ,here1 ,gretchen1 in  the  
pond1--         ,here ,gretchen1 here   
swim ,i in the pond1       ,nor may ,i  
ever come near castle ground4    ,and   
the ,lamb replied3--         ,ah1 my    
brother6 ,in the wood1       ,a lamb1   
now ,i must search for food4    ,then   
,peterkin comforted ,gretchen and       
promised early every morning to  come up
 to the water to talk with her2 and     
,gretchen promised to come  early from  
the wood1 before the sun was up1 to be  
with ,peterkin4 ,and  ,peterkin said1 ,i
 will never forsake you1 ,gretchen1 if  
you will never  forsake me6 ,and        
,gretchen said1 ,i will never forsake   
you1 ,peterkin1  if you will never      
forsake me6    ,then the little ,lamb   
fled sadly to the wood to look for food 
and the  little ,fish swam round the    
pond4 ,but the children did not forget  
their  playmates4 ,every day they saved 
their goodies and secretly laid them  at
 the edge of the wood where the ,lamb   

could get them4 ,and the ,lamb  always  
saved some to throw the crumbs to the   
little ,fish in the  morning4    ,many  
days passed by4 ,one day visitors were  
coming to the castle4 ,now  is my       
chance1 thought the wicked ,queen4 ,so  
she said to the ,cook1 ,go1  fetch me   
the lamb out of the meadow1 for there is
 nothing else for the  strangers6       
,now the ,lamb had lingered by the pond 
longer than usual that morning  so that 
the ,cook easily caught her2 and taking 
her with him tied her  to the tree just 
outside the kitchen4 ,but when the ,cook
 was gone to  the kitchen1 the little   
,fish swam up from the pond into the    
little  brook that ran by the tree and  
said--         ,ah1 my sister1 sad am   
,i1       ,that so great harm to you is 
nigh6       ,and far from you ,i love   
must be1       ,a-swimming in the deep1 
deep sea6    ,and the ,lamb replied3--  
,ah1 my brother in the pond1       ,sad 
must ,i leave you1 though ,i'm fond2    
,the cook has come to take my life1     

,swim off to sea1--,beware6    ,just    
then the ,cook came back and hearing the
 ,lamb speak became  frightened4        
,thinking it could not be a real lamb1  
he said1 ,be still1  ,i will not harm   
you4 ,run1 hide in the wood1 and when it
 is evening1  come to the edge of the   
wood and ,i will help you6    ,then the 
,cook caught another lamb and dressed it
 for the guests4 ,and  before evening he
 went to a wise woman who happened to be
 the old  ,nurse who had taken care of  
,peterkin and ,gretchen4 ,she loved the 
children and she soon saw what the      
wicked ,queen had done4 ,she told the   
,cook what the ,lamb and ,fish must do  
to regain their natural forms4    ,as   
soon as it was dark the little ,lamb    
came to the edge of the wood  and the   
,cook said1 ,little ,lamb1 ,i will tell 
you what you must do to  be a maid      
again6 ,so the ,cook whispered what the 
wise ,woman had said4  ,the little ,lamb
 thanked the ,cook and promised to do as
 he said4    ,next morning very early   

before the break of day1 the little     
,lamb  hurried from the wood across the 
meadow4 ,not taking time to go near  the
 pond she hastily pushed against the    
castle gate which the kind  ,cook had   
left unfastened for her4 ,she ran up the
 path1 and there under  the ,queen's    
window stood the beautiful rose-tree    
with only two red  roses on it--just as 
the ,cook had said4 ,not even glancing  
at the  ,queen's window1 the little     
,lamb began nibbling the lowest one4    
,and  behold1 there in the path stood   
,gretchen again6 ,then hastening to     
seize the other rose before the sun's   
first ray might touch it1 she  ran      
lightly down the path1 away from castle 
ground1 across the meadow  to the pond4 
,calling little ,fish to the water's    
edge--for he had  lingered in the       
pond--she sprinkled over him the drops  
of dew in the  heart of the rose4 ,and  
there stood little ,peterkin beside     
,gretchen6    ,then hand in hand1       
,gretchen and ,peterkin hurried from the

 pond and  fled into the wood just as   
the sun began to show beyond the trees4 
,there they built themselves a cottage  
and lived in it happily ever            
afterwards4 ,the kind ,cook and the wise
 ,nurse found them and visited  them4   
,but ,gretchen and ,peterkin never went 
near castle ground until  the ,cook told
 them the ,queen was no more4--,laura   
,f4 ,kready4      ,how the ,birds came  
to ,have ,different ,nests ,time4444    
,once upon a time when pigs spoke rhyme1
  ,and monkeys chewed tobacco4  ,and    
hens took snuff to make them tough1     
,and ducks went quack1 quack1 quack1 ,o6
    ,place4 444 ,madge ,magpie's ,nest  
up in a ,tree-top4    ,characters3      
,madge ,magpie1 the ,teacher2 ,thrush1  
,blackbird1 ,owl1  ,sparrow1 ,starling1 
and ,turtle-,dove4    ,all the ,birds4  
,we have come to you1 ,madge ,magpie1 to
 ask you to  teach us how to build      
nests4 ,all the ,birds tell how clever  
you are at  building nests4    ,magpie4 
,make a circle round about the foot of  

this old pear-tree4 ,i  will sit upon   
this limb near my nest and show you how 
to do it4 ,first  ,i take some mud and  
make a fine round cake with it4         
,thrush4 ,oh1 that's how it's done1 is  
it8 ,i'll hurry home6 ,goodbye1  ,birds1
 ,i can't stay another minute6          
,mud in a cake1 mud in a cake1          
,to-whit1 to-whee1 a nest ,i'll make6   
,magpie4 ,next ,i take some twigs and   
arrange them about the mud4             
,blackbird4 ,now ,i know all about it4  
,here ,i go1 ,i'm off to make my  nest  
in the cherry-tree in ,mr4 ,smith's     
cornfield6         ,sticks upon mud1 mud
 upon sticks1       ,caw1 caw6 ,i'll    
make a nest for six6    ,magpie4 ,see1  
here ,i put another layer of mud over   
the twigs4    ,wise ,owl4 ,oh6 ,that's  
quite obvious4 ,strange ,i never thought
 of that  before4 ,farewell1 come to see
 me at the old elm-tree beside the gray 
church6         ,mud over twigs6        
,to-whit1 to-whoo6       ,no better nest
 than that ever grew6    ,magpie4 ,see  

these long twigs4 ,i just twine them    
round the outside4    ,sparrow4 ,the    
very thing4 ,i'll do it this very day4  
,i can pick some  up on my way home4    
,i'll choose the spout that looks down  
over the  school-yard2 then ,i can see  
the children at play4 ,they must like me
  for they never chase me away or hit   
me4         ,a nest with twigs twined   
round and round1       ,chip1 chip6 ,no 
fear that would fall to the ground6     
,magpie4 ,and see these little feathers 
and soft stuff4 ,what a  comfortable1   
cosy lining for the nest they make6     
,starling4 ,that suits me6 ,off ,i go1  
,i like a cosy warm nest4 ,it  shall be 
in that old plum-tree in the orchard1 on
 the side of the hill4         ,feathers
 and down to make cosy and warm1        
,that's the nest to keep us from harm6  
,magpie4 ,well1 ,birds1 have you seen   
how ,i made my nest8 ,do you think  you 
know how8--,why1 where are all the      
,birds8 ,they couldn't wait until  ,i'd 
finished4 ,only you1 ,turtle-,dove1     

left6    ,turtle-,dove4 ,take two1      
,taffy1 take two--o--o--o6    ,magpie4  
,here ,i put a twig across4 ,but not    
two--one's  enough6    ,turtle-,dove4   
,take two1 ,taffy1 take two--o--o--o6   
,magpie4 ,one's enough ,i tell you1 do  
you not see how ,i  lay it across8      
,turtle-,dove4 ,take two1 ,taffy1 take  
two--o--o--o6    ,magpie4 ,here ,i fly  
away from my nest for awhile6 ,i will   
teach no  more ,birds to build nests4 ,i
 cannot teach a silly ,turtle-,dove who 
will  not learn4 ,i heard him sing just 
now as ,i turned around1                
,turtle-,dove4 ,take two1 ,taffy1 take  
two--o--o--o1                           
,take two1 ,taffy1 take two--o--o--o6   
,laura ,f4 ,kready4          ,,types    
,,of ,,tales      ,an ,animal ,tale#ae  
,the ,good-,natured ,bear      ,i shall 
never forget the patience1 the          
gentleness1 the skill1 and the  firmness
 with which she first taught me to walk 
alone4 ,i mean to walk  on all fours1 of
 course2 the upright manner of my       

present walking was  only learned       
afterwards4 ,as this infant effort1     
however1 is one of my  earliest         
recollections1 ,i have mentioned it     
before all the rest1 and  if you please1
 ,i will give you a little account of   
it4    ,oh6 do1 ,mr4 ,bear1 cried       
,gretchen2 and no sooner had she uttered
 the  words than all the children cried 
out at the same time1 ,oh1 please  do1  
sir6    ,the ,bear took several long    
whiffs at his pipe1 and thus            
continued1--    ,my ,mother took me to a
 retired part of the forest 7of         
,towskipowski1  ,poland7 where few      
animals ever came2 and telling me that  
,i must now  stand alone1 extended both 
paws1 and slowly lowered me towards the 
earth4 ,the height as ,i looked down1   
seemed terrible1 and ,i felt my  legs   
kick in the air1 with fear of ,i did not
 know what1 till suddenly  ,i felt four 
hard things and no motion4 ,it was the  
fixed earth beneath  my four infant     
legs4 ',now1' said my ,mother1 'you are 

what is called  standing alone6' ,but   
what she said ,i heard as in a dream4   
,with my back  in the air as though it  
rested on a wooden trussel1 with my nose
  poking out straight snuffing the fresh
 breeze and the many secrets of  the    
woods1 my ears pricking and shooting    
with all sorts of new sounds  to wonder 
at1 to want to have1 to love1 or to     
tumble down at1--and my  eyes staring   
before me full of light and confused    
gold and dancing  things1 ,i seemed to  
be in a condition over which ,i had no  
power to  effect the least change1 and  
in which ,i must remain fixed till some 
wonderful thing happened4 ,but the firm 
voice of my ,mother came to my          
assistance and ,i heard her tell me to  
look upon the earth beneath me  and see 
where ,i was4 ,first ,i looked up among 
the boughs1 then  side-ways at my       
shoulder1 then ,i squinted at the tip of
 my nose--all  by mistake and           
innocence--at last ,i bent my nose in   
despair and saw my  forepaws standing1  

and this of course was right4 ,the first
 thing that  caught my attention1 being 
the first thing ,i saw distinctly1 was a
  little blue flower with a bright jewel
 in the middle1 which ,i  afterwards    
found was a drop of dew4 ,sometimes ,i  
thought this little  blue darling was so
 close that it almost touched my eyes   
and certainly  the color of it was up in
 my head2 sometimes ,i thought it was   
deep  down1 a long way off4 ,when ,i    
bent my face towards it to give it a    
kiss  it seemed just where it was though
 ,i had not done what ,i had thought  to
 do4    ,the next thing ,i saw upon the 
ground was a soft-looking little        
creature that crawled along with a round
 ball upon the middle of its  back1 of a
 beautiful white color1 with brown and  
red curling stripes4  ,the creature     
moved very1 very slowly1 and appeared   
always to follow  the opinion and advice
 of two long horns on its head1 that    
went  feeling about on all sides4       
,presently it slowly approached my right

  forepaw and ,i wondered how ,i should 
feel or smell or hear it as it  went    
over my toes2 but the instant one of the
 horns touched the hair  of my paw1 both
 horns shrunk into nothing and presently
 came out  again1 and the creature      
slowly moved away in another direction4 
,while  ,i was wondering at this strange
 proceeding--for ,i never thought of    
hurting the creature1 not knowing how to
 hurt anything1 and what  should have   
made the horns think otherwise8--while  
then ,i was  wondering at this1 my      
attention was suddenly drawn to a tuft  
of moss  on my right near a hollow tree 
trunk4 ,out of this green tuft looked a 
pair of very bright round small eyes1   
which were staring up at me4    ,if ,i  
had known how to walk ,i should have    
stepped back a few steps  when ,i saw   
those bright little eyes1 but ,i never  
ventured to lift a  paw from the earth  
since my ,mother had first set me down1 
nor did ,i  know how to do so1 or what  
were the proper thoughts or motions to  

begin with4 ,so ,i stood looking at the 
eyes and presently ,i saw that  the head
 was yellow and that it had a large     
mouth4 ',what you have just  seen1' said
 my ,mother1 'we call a snail2 and what 
you now see is a  frog4' ,the names     
however did not help me at all to       
understand4 ,why the  first should have 
turned from my paw so suddenly and why  
this creature  should continue to stare 
up at me in such a manner ,i could not  
conceive4 ,i expected however that it   
would soon come slowly crawling  forth  
and then ,i should see whether it would 
also avoid me in the same  manner4 ,i   
now observed that its body and breast   
were double some-how1  and that its paws
 were very large for its size1 but had  
no hair upon  them1 which ,i thought was
 probably occasioned by its slow        
crawling  having rubbed it all off4 ,i  
had scarcely made these observations and
  reflections1 when a beam of bright    
light breaking through the trees1  the  
creature suddenly gave a great hop right

 up under my nose2 and ,i1  thinking the
 world was at an end1 instantly fell    
flat down on one side  and lay there    
waiting6--    ,with this glimpse of an  
old-time modern animal tale we shall    
have to  say with ,mr4 ,titmarsh1 ,those
 who wish to know more about him must   
buy the book for themselves1--and add3  
,or they must get some  enterprising    
publisher to reprint it4      ,a ,few   
,romantic ,tales#af    ,puss-in-,boots  
and ,lord ,peter    ,puss-in-,boots1 a  
romantic tale suited to the first grade1
 delights  with its strong sense of     
adventure and of the heroic4 ,puss is a 
,master-,cat1 a hero clever and quick1  
and with fine imagination to see  what  
would happen and prepare for it4 ,he is 
successful1 combining  initiative and   
motivation delightfully4 ,his devotion  
to his master  seems like disinterested 
loyalty1 love1 and sacrifice4 ,while it 
is  true the plot is based on a lie1 the
 moral effect is not bad because  we    
recognize ,puss as a match-making       

character similar to the  matchmaking   
,jackal of ,india2 and in love all is   
fair4 ,moreover  ,puss-in-,boots was    
only true to his cat-nature in playing a
 trick1 and  we admire the cleverness of
 his trick in behalf of a master really 
deserving4 ,the underlying philosophy of
 the tale1 ,that there is a  power in   
making the best with what you possess1  
appeals to all1 and  has the ability to 
lend dignity and force to the light     
intrigue of the  tale4    ,the setting  
in ,puss-in-,boots gives a touch of     
nature beauty4 ,first  we have the      
,miller's poor home1 and from there we  
are led in  succession to the brambles  
through which ,puss scampered2 the      
rabbits'  warren where he lay in waiting
 to bag the heedless rabbits2 the palace
  to which he took the rabbits caught by
 the ,marquis of ,carabas2 the          
cornfield where he bagged the           
partridges2 the river-side where the    
,marquis bathed2 the meadow where the   
countrymen were mowing2 the  cornfields 

where the good people were reaping2     
until at last we are  escorted to the   
stately castle where the ,ogre dwelt4   
,the plot of the tale is very pleasing  
as it easily arranges itself  into a    
simple drama of three acts3--           
,act ,i1         ,scene i4 ,revery of   
the ,master4 ,the ,cat's promise to     
help4         ,scene ii4 ,puss in the   
rabbits' warren with his bag4           
,scene iii4 ,puss takes the rabbits to  
the ,king in his                        
palace4         ,act ,,ii1              
,scene i4 ,puss with his bag in the     
cornfield4         ,scene ii4 ,puss     
takes partridges to the ,king4          
,scene iii4 ,puss and his ,master4 ,puss
 gives advice4         ,act ,,iii1      
,scene i4 ,the ,marquis bathing and     
,puss by the river-side4         ,scene 
ii4  ,the ,drive4 ,puss runs before and 
meets the mowers4         ,scene iii4   
,the ,ogre's ,castle4 ,puss's reception 
of the coach4                           
,marriage of the ,marquis of ,carabas4  

,puss                        becomes a  
,lord4    ,the tale possesses an appeal 
to the emotions1 we want ,puss-in-,boots
 to  accomplish whatever scheme he      
invents1 and we want the ,miller's son  
to  win the ,princess4 ,its appeal to   
the imagination is an orderly           
succession of images1 varied and        
pleasing4 ,the invention of ,puss and   
his successful adventures make the tale 
one of unusual interest1  vivacity1 and 
force4 ,the transformation of the ,ogre 
into a ,lion and  again into a ,mouse1  
and the consequent climax of ,puss's    
management of  the ,mouse1 bring in the 
touch of the miraculous4 ,a similar     
transformation occurs in ,hesiod1 where 
the transformed ,metis is  swallowed by 
,zeus4 ,this transformation may be      
produced by a witch1  when the help of  
another is needed1 as in ,beauty and the
 ,beast and  in ,hansel and ,grethel2 or
 the transformation may come from       
within1  as in this case when the ,ogre 
changes himself into a ,mouse1 or when a

  man changes himself into a ,wolf4 ,a  
situation which parallels the theme  of 
,puss-in-,boots occurs in ,the ,golden  
,goose where ,dummling gets as  his     
share only a goose1 but having the best 
disposition makes his  fortune out of   
his goose4 ,grimm's ,three ,feathers    
also contains a  similar motif4         
,d',aulnoy's ,white ,cat1 the feminine  
counterpart of  ,puss-in-,boots1 is a   
tale of pleasing fancy in which the hero
 wins  the ,white ,cat1 a transformed   
,princess1 who managed to secure for    
him1  the youngest son1 the performance 
of all the tasks his father had set  for
 him4    ,but the most interesting      
parallel of ,puss-in-,boots is the      
,norse  ,lord ,peter told by ,dasent in 
,norse ,tales4 ,here the helpful ,cat   
does not use a bag1 but in true ,norse  
fashion catches game in the wood  by    
sitting on the head of the reindeer and 
threatening1 ,if you don't  go straight 
to the ,king's palace1 ,i'll claw your  
eyes out6 ,the ,norse  tale omits the   

bathing episode4 ,the ,king wants to    
visit ,lord ,peter but  the ,cat manages
 that ,lord ,peter shall visit the      
,king4 ,the ,cat promises  to supply    
coach1 horses and clothes1 not by       
craft--their source is not  given--but  
they are furnished on the condition that
 ,peter must obey to  say always1 when  
he sees fine things in the ,castle1 that
 he has far  finer things of his own4   
,in the ,norse tale ,peter and the ,cat 
work  together1 ,peter is in the secret2
 while in the ,perrault tale ,puss does 
all the managing1 ,carabas is simply    
being entertained by the ,king4 ,in  the
 ,norse tale1 on the way home the coach 
meets a flock of sheep1 a  herd of fine 
kine1 and a drove of horses4 ,the ,cat  
does not threaten  that the caretakers  
shall be chopped as fine as herbs for   
the pot1  if they do not say all belongs
 to ,lord ,peter1 but he cunningly      
bribes  the shepherd with a silver      
spoon1 the neat-herd with a silver      
ladle1  and the drover with a silver    

stoop4 ,in place of the ,ogre's ,castle1
  there is a ,troll's ,castle with three
 gates--one of tin1 one of silver1  and 
one of gold4 ,the ,norse ,cat wins the  
victory by craftily playing  upon the   
troll-nature4 ,he gains the ,troll's    
attention by meeting him  at the gate   
and telling him about the secrets of    
agriculture1 one of  the secrets of men 
the trolls wanted to learn4 ,then at the
 height of  interest1 he plays upon his 
curiosity by getting him to look round4 
,whereupon1 the ,troll1 meeting the     
glare of the full sun1 burst2 for       
trolls cannot bear the sight of the sun1
 and live4 ,in the ,norse tale1  the    
,cat1 after ,lord ,peter at her request 
cuts off her head1 becomes  the         
,princess and marries ,lord ,peter4 ,in 
,perrault's tale1 the ,king1  with      
,french etiquette and diplomacy1 invites
 the ,marquis to be his  son-in-law4    
,the ,story of ,puss-in-,boots appeared 
in ,straparola1 #aa1 #a1 and in         
,basile1 #b1 #d4 ,laboulaye1 in his     

,last ,fairy ,tales1 has retold the     
,pentamerone tale1 ,gagliuso1 in which  
the ,cat is a crafty advocate of  his   
,master's interests1 but the ,master is 
ungrateful and forgets the  ,cat4 ,the  
effect of the tale is not pleasing1 it  
is a satire on  gratitude4    ,the      
,story of ,puss-in-,boots is also told  
by ,ludwig ,tieck1 with twelve  etchings
 by ,otto ,speckter1 published in       
,leipzig1 in #ahdc4 ,a critic1  writing 
for the ,quarterly ,review in #ahdd1 ,an
 ,article on ,children's  ,books1#ag    
recommended this edition of             
,puss-in-,boots as the beau  ideal of   
nursery books4 ,puss-in-,boots appeared 
also in the ,swedish  of ,cavallius4 ,a 
monograph on the ,carabas tale has been 
written by  ,andrew ,lang4      ,tom    
,thumb and ,little ,thumb    ,tom       
,thumb1 another romantic tale suited to 
the first grade1 is one  of the most    
entertaining of tales4 ,the germ of ,tom
 ,thumb exists in  various forms in the 
books of the far ,east1 among ,american 

,indians1  and among the ,zulus of      
,south ,africa4 ,tom ,thumb is one of   
the oldest  characters in ,english      
nursery literature4 ,in #afaa1 the      
ancient tales  of ,tom ,thumb were said 
to have been in the olde time the only  
survivors of drouzy age at midnight4    
,old and young1 with his tales  chim'd  
mattens till the cock's crow in the     
morning4 ,batchelors and  maids have    
with his tales compassed the ,christmas 
fireblocke till the  curfew bell rings  
candle out4 ,the old shepheard and the  
young plowboy1  after a days' labour1   
have carol'ed out a ,tale of ,tom ,thumb
 to make  them merry with1 and who but  
little ,tom hath made long nights seem  
short and heavy toyles easie4    ,tom   
,thumb1 as has been previously          
mentioned1 most probably was            
transmitted to ,england by the early    
,norsemen4 ,the ,tale of ,tom ,thumb1   
as told by ,jacobs1 was taken from the  
chap-book version in  ,halliwell4 ,the  
first mention of ,tom is in ,scot's     

,discoverie of  ,witchcraft1 in #aehd4  
,tradition says that ,tom died at       
,lincoln1 which  was one of the five    
,danish towns of ,england4 ,a little    
blue flagstone  in the cathedral1 said  
to be his tombstone1 was lost and has   
never  been replaced during recent      
repairs early in the nineteenth century4
  ,tom ,thumb was first written in prose
 by ,richard ,johnson1 in #afba4 ,in    
,ashton's ,chap-,books of the           
,eighteenth ,century we have a facsimile
 of  the chap-book1 ,the ,famous        
,history of ,tom ,thumb4 ,the tale is in
 three  parts4 ,the first part1 which is
 much superior to the rest of the tale1 
was taken from a copy printed for ,john 
,wright1 in #afcj4 ,the second and      
third parts were written about #agjj4   
,the first part closes with the  death  
of ,tom from knightly feats4 ,he was    
buried in great pomp1 but the  fairies  
carried him to ,fairy ,land4 ,the first 
part closed with a  promise of the      
second3--         ,the ,fairy ,queen1   

she lov'd him so       ,as you shall    
understand1       ,that once again she  
let him go       ,down to the ,fairy    
,land4         ,the very time that he   
return'd       ,unto the court again1   
,it was as we are well inform'd         
,in good ,king ,arthur's reign4         
,when in the presence of the ,king1     
,he many wonders wrought1       ,recited
 in the ,second ,part       ,which now  
is to be bought         ,in ,bow ,church
 ,yard1 where is sold       ,diverting  
,histories many2       ,and pleasant    
tales as e'er was told       ,for       
purchase of ,one ,penny4    ,the second 
part opens with ,tom's return to ,fairy 
,land4 ,his second  death is caused by a
 combat with a cat4 ,again he is taken  
to ,fairy  ,land4 ,in the third part the
 ,fairy ,queen sends ,tom to earth in   
,king  ,thunston's reign4 ,his final    
death occurred from the bite of a       
spider4    ,the ,life and ,adventures of
 ,tom ,thumb appeared in the ,tabart    
,collection of ,fairy ,tales1 noted     

before1 and a version entirely in  verse
 was included in ,halliwell4 ,a         
monograph on ,tom ,thumb was  written by
 ,m4 ,gaston ,paris4 ,little ,thumb as  
it appeared in  ,perrault and in        
,basile1 was a tale similar to the      
,german ,hansel  and ,grethel4          
,thumbling1 and ,thumbling as           
,journeyman are ,german  variants4      
,andersen's ,thumbelina is a feminine   
counterpart to ,tom  ,thumb1 and in     
,laboulaye's ,poucinet we have a tale of
 the successful  younger brother1       
similarly diminutive4    ,there were    
current many old stories of characters  
similar to ,tom  ,thumb4 ,a certain man 
was so thin that he could jump through  
the eye of  a needle4 ,another crept    
nimbly to a spider's web which was      
hanging in  the air1 and danced         
skillfully upon it until a spider came1 
which spun  a thread round his neck and 
throttled him4 ,a third was able to     
pierce  a sunmote with his head and pass
 his whole body through it4 ,a fourth   

was in the habit of riding an ant1 but  
the ant threw him off and  trampled him4
 ,in a work written in #afja1 referred  
to in ,grimm's  ,household ,tales a     
spider relates3--         ,once did ,i  
catch a tailor proud       ,heavy he was
 as elder wood1       ,from ,heaven     
above he'd run a race1       ,with an   
old straw hat to this place1       ,in  
,heaven he might have stayed no doubt1  
,for no one wished to turn him out4     
,he fell in my web1 hung in a knot1     
,could not get out1 ,i liked it not1    
,that e'en the straw hat1 safe and      
sound1       ,nine days ere him came to 
the ground4    ,a delightful little     
rhyme1 ,tom ,thumb1 is among            
,halliwell's ,nursery  ,rhymes4 ,it may 
refer to the ,danish ,history of ,tom   
,thumb3         ,i had a little husband 
,no bigger than my thumb2       ,i put  
him in a pint pot       ,and there ,i   
bade him drum3       ,i bridled him and 
saddled him1       ,and sent him out of 
town2       ,i gave him a pair of       

garters       ,to tie up his little     
hose2       ,and a little handkerchief  
,to wipe his little nose4    ,the       
,english version of ,tom ,thumb as we   
know it today1 opens with a  visit of   
the magician ,merlin at the cottage of  
an honest and  hospitable ploughman4    
,merlin rewarded the ,goodman and his   
,wife for  their hospitality by calling 
on the ,queen of the fairies1 who       
brought  to the home1 ,tom ,thumb1 a boy
 no bigger than a man's thumb4    ,the  
time of the tale is in the days of      
,merlin and ,king ,arthur's court4  ,the
 tale is marked by a number of distinct 
,english elements4 ,the  introduction of
 the ,queen of the ,fairies1 of ,fairy  
,land and the visit  there1 and of the  
fairy clothes they make for ,tom1 are   
all decidedly  ,english4 ,the sly ways  
of ,tom1 his tricks and his cleverness  
are  distinctly ,english humor4 ,he     
played with the boys for cherry-stones1 
and took theirs4 ,he had so much        
curiosity that he fell into his         

mother's pudding4 ,he was so light that 
on a windy day he had to be  tied to a  
thistle when his mother went to milk the
 cow2 and so1 with  his oak-leaf hat1 he
 got caught in the cow's one mouthful4  
,after other  strange adventures he     
arrived at ,king ,arthur's court where  
he became  the favorite4 ,his feats at  
tilts and tournaments give a glimpse of 
,english court life1 with its pastime of
 hunting2 and fighting with the  sword  
brings in the knight element4 ,the story
 has little plot1 being a  succession of
 many episodes and a repetition of some4
 ,it shows little  constructive ability1
 promises to be a perpetual tale1 and is
 ended  only by sudden death at the     
poisonous breath of the spider4 ,tom    
,thumb is one of the tales of pure      
fancy1 with no underlying meaning1      
created for pure entertainment1 to      
please children and grown-ups by  its   
little people and little things4 ,the   
moral is in the effect of  ,tom's       
character4    ,perrault's ,little ,thumb

 tells how a poor ,fagot-maker and his  
,wife  sat by the hearth1 sad with      
famine1 and ,little ,thumb overheard    
their  words4 ,when they started to the 
wood to gather fagots1 ,little ,thumb1  
like ,hansel1 scattered pebbles4 ,the   
parents left the seven children in  the 
wood but little ,thumb guided them home 
by his pebbles4 ,they set  out a second 
time1 when ,little ,thumb scattered     
bread-crumbs2 and as  the birds ate     
them1 the children were lost4 ,little   
,thumb climbed a  tree and saw the light
 of the ,ogre's cottage afar off4 ,the  
children  reached the ,ogre's cottage   
where ,little ,thumb changed the golden 
crowns of the seven little ,ogresses1   
and putting them on his brothers1  saved
 their lives4 ,then they all fled       
through the wood and hid in a  rock1    
while the ,ogre in his seven-league     
boots1 pursued them and lay  down to    
rest at the rock in which they were     
hidden4 ,little ,thumb sent  his        
brothers home1 stole the fairy boots1   

and through craft1 persuaded  the       
,ogre's ,wife to give him all the       
,ogre's gold4 ,so1 rich and happy1  he  
returned to his father's home4    ,this 
tale shows a number of common motifs    
that appear in other tales3         7#a7
 ,the design of distressed parents to   
expose children to the           forest4
         7#b7 ,the discovery and        
prevention of the scheme by a child4    
7#c7 ,the repetition of incident2 the   
clew spoiled by the birds4              
,the trail motif1 similar to the one in 
,hansel and ,grethel4         7#d7 ,the 
arrival of children at the home of the  
,ogre4         7#e7 ,the shifting of    
crowns to the heads of his brothers4    
7#f7 ,the flight of the brothers pursued
 by the ,ogre in           seven-league 
boots4         7#g7 ,little ,thumb1     
stealing the boots and winning court    
favor1 or           the ,ogre's         
treasure4    ,some say that in this     
tale1 symbolically1 the forest          
represents night2  the crumbs and       

pebbles1 stars2 and the ,ogre1 the sun4 
,little ,thumb1  because of his cunning 
and invention1 has been called the      
,ulysses of  the fairy tales4 ,his      
adventure with the ,ogre at the rock1   
while not a  parallel one1 reminds one  
of ,ulysses and ,polyphemus4 ,both      
succeeded in  getting the better of the 
giant4 ,an ,english edition of this tale
 was  illustrated by ,william ,blake4   
,snow ,white and ,rose ,red    ,snow    
,white and ,rose ,red1 besides blending 
the romantic and the  realistic1        
illustrates rather completely how the   
old tale may stand  the tests which have
 been emphasized here4 ,as a romantic   
type1 it  contains adventure and the    
picturesque4 ,it arouses emotion4 ,it   
contains objects of beauty2 and the     
strange ,bear and the stranger  ,dwarf1 
about both of whom there is a sense of  
mystery4 ,it exaggerates  character and 
incidents beyond the normal1--the       
,mother and ,daughters  were more lovely
 than mortals usually are1--and the     

harmony between  man and beast may      
belong to the millennium rather than to 
this common  earth4 ,this is one of the 
most romantic of fairy tales in that it 
is a  highly idealized type4    ,the    
story was current in ,germany before the
 time of the ,grimms1 and  appeared in  
the collection of ,caroline ,stahl4 ,the
 rhyme1--         ,snowy-white1         
rosy-red1       ,will ye strike your    
lover dead8    was taken from a popular 
song1 and is found in a child's story in
  ,taschenbuch ,minerva for #ahac4      
,snow ,white and ,rose ,red is full of  
many beauties2 the characters are       
beautiful1 the setting is beautiful1 and
 the spirit of the whole is  full of    
beauty4 ,there is sister-love2 and      
mother-love--not the selfish  kind that 
loves but its own1 but that similar to  
the rich growth of  our modern times1   
when mother-love seeks to include those 
without the  home4 ,there is genuine    
kindness that pours its sweetness on the
 ,bear  or on the ,dwarf1 that falls    

like the rain on the deserving and on   
the  ungrateful2 there is devotion to   
animals and a lack of enmity between    
man and beast2 and there is a portrayal 
of the beauty of domestic life  and of  
the charms of childhood in simple       
life--its play1 its pleasure1  and its  
tasks4 ,this is all set as in two       
pictures whose sky is the  golden glow  
of passion for the sun and the          
spring-time and summer it  brings4 ,in  
the first picture1 on the edge of the   
forest stands a  little cottage before  
whose gate grow two rose-trees1 a red   
rose-tree  and a white rose-tree1 not   
only symbols of the beauty of the       
spring-time and of the rich fruitage of 
summer1 but also symbols  typifying the 
more wondrous beauty of the character of
 the two  children1 ,snow ,white and    
,rose ,red4 ,in the second picture1 a   
tall  palace rears itself1 before whose 
gate grow two rose-trees also1 a red    
rose-tree and a white rose-tree1 not    
only symbols of the same beauty  of     

spring-time and fruitage of summer1 but 
also symbols typifying the  beauty of   
loveliness and the fairness of happiness
 and prosperity that  guarded from harm 
the lives of the deserving ,snow ,white 
and ,rose ,red1  and continued to bless 
them to the close4    ,first1 looking at
 the characters in this tale1 we see a  
,mother who  illustrates the richness of
 womanhood4 ,she managed her own home   
and  kept it a place of beauty and      
cheer4 ,she had two daughters1 both     
lovely1 but very different4 ,she        
recognized this difference and          
respected it1 and permitted each child  
to enjoy a delightful freedom  to grow  
as was her nature4 ,she permitted the   
children to play but she  also commanded
 willing obedience4 ,she arranged their 
work with  fairness so that each had her
 share and each seemed free in doing    
that  work to use her individual taste  
and judgment4 ,she taught her children  
to spin and to sew1 and she read to     
them4 ,she told them about the  guardian

 ,angel who watched over them to keep   
them from harm4 ,she was  not anxious   
when they were out of sight1 for even   
when ,snow ,white and  ,rose ,red stayed
 in the wood all night and slept on the 
leaves1 she had  no fear1 for no        
accident ever happened to them4 ,as a   
strong1 noble  woman1 without fear1 and 
full of love1 pity1 and                 
fairness1--,george  ,eliot's ideal of   
highest character1--the ,mother of ,snow
 ,white and ,rose  ,red has no equal in 
the fairy tales4    ,the two ,children1 
beautiful as the roses that grew outside
 the  cottage1 were both industrious1   
good1 amiable little girls1 who in      
their natural sweetness showed the      
spirit of the ,golden ,age when peace   
and good-will dwelt among men4 ,they    
were natural children and they  loved to
 play4 ,they gathered berries in the    
forest1 they played  hide-and-seek among
 the trees1 they waded in the river1    
went fishing1  made wreaths of flowers1 
and played with their animal friends4   

,they  fed the hares cauliflower1 or    
watched the fawns grazing and the goats 
frisking2 and even the birds loved them 
and did not fly away when they  were    
near4 ,in the home they kept things not 
only clean but beautiful2  they not only
 did work but took pleasure in doing    
that work4 ,now at a  time when domestic
 life in the home is being threatened1  
,snow ,white  and ,rose ,red gives a    
realistic picture of the beauty of      
domestic  life1 its simple joys and     
charm4 ,in summer there was always a    
nose-gay  for the ,mother1 and in winter
 there was a cheery fire with a copper  
kettle over it1 shining like gold4 ,and 
in the evening when the snow  fell fast 
outside1 inside was warmth and comfort4 
,the ,children sat  sewing and the      
,mother reading1 while a lamb and a     
white dove beside  them enjoyed their   
protection and care4    ,the entrance of
 the ,bear gave the ,children a natural 
thrill of fear4  ,but the ,mother1 with 
beautiful hospitality1 gave the ,bear   

protection  and kindness and led them to
 overcome that fear4 ,to the ,bear they 
showed that good nature which willingly 
serves2 and in the tricks they  played  
with their comrade they showed a great  
strength of vitality and  that freedom  
which grows where there is no           
repression4    ,the ,bear departed at   
spring-time2 and as he left ,snow ,white
 thought  she saw glittering gold under 
his coat4 ,this seems to hint that the  
tale is symbolic1 typifying the change  
of seasons4 ,spring1 the ,bear1  took   
refuge in the cottage during the cold   
winter months2 but in the  spring he had
 to go abroad into the forest1 to guard 
his treasures  from the evil ,dwarf of  
winter4    ,the ,children again showed  
their sweetness and good nature when1   
while  gathering sticks1 they came upon 
the ,dwarf1 with his wrinkled face and  
snow-white beard1 the end of which was  
caught in a split of a tree4  ,the      
contrast is delightful1 between the     
cross and impatient ,dwarf and  ,rose   

,red who offered to fetch help1 and     
,snow ,white who politely tried  to     
soothe his impatience by cutting off the
 end of his beard with her  scissors4   
,this time the ,dwarf snatched a sack of
 gold which lay at the  foot of the     
tree1 and fled1 most ungrateful1 not    
even thanking the  ,children4 ,the      
,children had two other adventures with 
the ,dwarf2 and  these1 together with   
their adventure with the ,bear1 make up 
the plot  of the story4 ,they met the   
,dwarf a second time1 one day when they 
went  fishing4 ,then ,rose ,red told him
 to be careful or he'd fall into the    
water1 because a great fish was pulling 
on the bait and his beard  became       
entangled in the fishing-line4 ,snow    
,white again cut off the end  of his    
beard to free him and again he snatched 
his bag--this time of  pearls1 lying    
among the rushes--and fled4 ,one day1 on
 going to town to  buy thread1 needles1 
laces1 and ribbons1 they met the ,dwarf 
a third  time4 ,this time an eagle had  

caught him and was about to carry him   
off4 ,the ,children1 with compassion1   
held on and freed him2 but again  he    
scolded1 seized his bag of precious     
stones1 and slipped away to his  cave4  
,on their return from town1 the         
,children again met the ,dwarf1 in  the 
wood1 counting his treasure4 ,again he  
was very angry1 but just  then the ,bear
 arrived out of the forest and demanded 
the life of the  ,dwarf4 ,the ,dwarf    
offered up in his stead1 ,snow ,white   
and ,rose ,red4 ,but  the ,bear1        
faithful to his old comrades1 slew the  
,dwarf1 and then  becoming a beautiful  
,prince1 went home with the ,sisters4   
,snow ,white  married the ,prince and   
,rose ,red his ,brother1 and they all   
lived with  their ,mother happily in the
 beautiful palace4    ,when the ,bear   
slew the ,dwarf spring returned to the  
land4 ,the ,dwarf  with his snow-white  
beard seems to typify winter4 ,each time
 the  ,dwarf's beard was cut the beard  
of winter became shorter1 another       

winter month was gone1 and there        
remained a shorter season4 ,the bag of  
gold which the ,dwarf first took might  
signify the golden fruit of  autumn1 and
 the pearls and diamonds which he next  
took1 the ice and  snow of winter4 ,the 
,dwarf's beard became entangled in the  
fishing-line  when the icy winds of     
winter began to give the pond its frozen
 coat2  and then the animals of the wood
 were compelled to seek a refuge4 ,when 
the ,bear came out of the wood to meet  
the ,dwarf and slew him1 the time  for  
the departure of winter was at hand1 and
 spring returned to the  land4    ,this 
fairy tale evidently shows a good1      
interesting plot1 with  something       
happening all the time4 ,the climax is  
very distinctly  marked1 everything     
leads up to the meeting of the ,bear and
 the ,dwarf  in the forest4 ,the        
characters present interesting variety  
and strong  contrasts4 ,the setting is  
unusually beautiful3 the cottage1 the   
wood1  the lake1 the town1 the hillside1

 the palace1 and the two symbolic       
rose-trees4 ,the tale appeals to the    
emotions of love1 kindness1  compassion1
 and gratitude4 ,it presents to the     
imagination distinct  episodes3 the     
home-life of the ,children in the       
cottage1 their life in  the wood1 their 
adventure with the ,bear1 their three   
adventures with  the ,dwarf1 and the    
meeting of the ,bear and the ,dwarf4    
,the conclusion  follows closely upon   
the climax1--the ,bear1 grateful to the 
kind  ,children1 saved their lives and  
re-transformed1 became a ,prince4 ,the  
happy marriage brings the tale to a     
close1 with the palace home  guarded by 
the two rose-trees4 ,the message of the 
tale is the possible  beauty of woman's 
love and character1 and the loveliness  
of spring and  of summer4    ,a ,modern 
,tale#ah    ,the ,elephant's ,child     
,the ,elephant's ,child might be        
examined here more particularly  because
 it is unusually interesting as an      
example of the complete test  applied to

 the child's fairy tale4 ,one need not  
test it as to interest  for it was      
written especially for children by one  
who could play with  them4 ,as to       
literature it certainly has mind and    
soul2 there is no  doubt about its      
structure or its appeal to the          
sympathies4 ,the  quantity of good humor
 and fun it bestows upon childhood is a 
permanent enrichment2 for even a child's
 world has need of all the  good cheer  
and fun that can be given to it4        
,this tale is especially interesting    
also because it might be classed  as    
almost any one of the types of tales4   
,it is not accumulative though  it      
possesses to a marked degree three      
characteristics of the  accumulative    
tale1 repetition1 alliteration1 and all 
sorts of phonic  effects4 ,and it is not
 an old tale4 ,but it is not only one of
 the most  pleasing animal tales we     
possess but one of the best humorous    
tales  having the rare quality of       
freshness4 ,it is realistic in its      

portrayal  of animal life2 and it is    
highly romantic in its sense of         
adventure1  the heroic1 the strange1 and
 the remote4    ,as a short-story it    
shows the essentials1 originality1      
ingenuity1 and  compression4 ,the single
 interest is how the ,elephant got his  
trunk1  and everything points to the    
climax of his getting it4 ,the plot is  
entertaining1 novel1 comical and        
thrilling4 ,the structure is very       
easily seen in these ten episodes3--    
#a4 ,the introduction2 the family2 the  
,child2 his home2 his                   
questions2 the new1 fine question4      
#b4 ,the ,elephant's ,child set out to  
answer his own question4       #c4 ,the 
,elephant's ,child met ,kolokolo ,bird4 
#d4 ,the ,elephant's ,child journeyed to
 the ,limpopo4       #e4 ,the           
,elephant's ,child met the ,python4     
#f4 ,the ,elephant's ,child met the     
,crocodile4 ,he got his trunk4          
7,climax47       #g4 ,the ,elephant's   
,child gained experience from the       

,python4       #h4 ,the ,elephant's     
,child's journey home4       #i4 ,the   
,elephant's ,child's return home4       
#aj4 ,conclusion4 ,how all elephants got
 trunks4 ,peace4    ,the characters are 
unique and interesting4 ,they are usual 
animals but  unusual in what they say4  
,they exhibit animal traits and motives 
but  they also show us a hidden meaning 
in their actions and words4 ,they  seem 
living1 they speak directly2 yet they   
preserve the idea of the  fable for they
 are symbolic4 ,the ,elephant's ,child  
typifies human  innocence1 the          
inexperience of youth2 the ,kolokolo    
,bird1 a friend2 the  ,python1          
experience or wisdom2 and the           
,crocodile1 guile or evil4 ,all  the    
animals become very interesting because 
we are concerned to know  their         
particular reason for spanking the      
'satiable ,elephant's ,child4  ,what    
they say is so humorous and what they do
 is consistent1 in  harmony with their  
natural animal traits4 ,the ,child is   

the hero4 ,he is  a very attractive     
character because he has that rare charm
 we call  temperament4 ,he is curious1  
polite1 and sweet1 and follows his own  
nose in spite of everything4 ,he wins   
out with strength1 experience1  and a   
new nose2 and we are rejoiced at his    
triumphs4 ,his questions are  so funny  
and yet they seem quite what any        
elephant with a bump of  curiosity might
 ask4 ,to the ,giraffe--,what made his  
skin spotty8 ,to  the                   
,hippopotamus--,why her eyes were red8  
,to the ,baboon--,why melons  tasted    
just so8 ,and at last1 ,what does the   
,crocodile have for  dinner8    ,the    
setting of the tale is suggested        
continually in expressions which  show  
visual imagination of a high order3 such
 as1 ,and he lived in  ,africa2 dragged 
him through a thorn bush2 blew bubbles  
into her  ear2 hove him into a hornet's 
nest2 and from ,graham's ,town to       
,kimberley and from ,kimberley to       
,khama's ,country1 and from ,khama's    

,country east by north to the ,limpopo4 
,the tale possesses most delightful     
humor4 ,a verbal magic which fairly     
scintillates with the comic spirit1 and 
clinging epithets of which  ,kipling is 
a master1 suggest the exact picture     
needed4 ,humor is  secured largely      
through the use of the unique word2 as1 
spanked1  precisely as ,kolokolo ,bird  
had said1 and for he was a ,tidy        
,pachyderm4 ,often it is increased by   
the use of newly coined words2  as1     
hijjus1 curtiosity1 scalesome1          
flailsome1 tail1  fever-trees1          
self-propelling man-of-war1 and schloop 
of mud4  ,another element of humor in   
the tale is the artistic use of         
repetition1 which has been previously   
referred to as one of the  child's      
interests4 ,sometimes one meaning is    
expressed in several  different ways2   
as1 immediately and directly1 without   
stopping1 for a  long time4 ,or we are  
given contrasted terms2 as1 a little    
warm but  not at all astonished1 and    

then later1 very warm and greatly       
astonished4 ,one main element of humor  
is this way in which  expressions       
reflect back on preceding ones4         
,sometimes we are given  very           
surprising1 startling1 expressions2 as1 
wait-a-bit-thorn-bush  --which reminds  
us of the all-alone-stone in ,water     
,babies--and  he sang to himself down   
his trunk4    ,as to imagination1 ,the  
,elephant's ,child is a delightful      
illustration  of the appeal to the      
associative1 the penetrative1 and the   
contemplative imagination4 ,while its   
philosophy may be understood in  part by
 the child it has a deeper meaning for  
the adult4 ,it seems to  imply that it  
is the way of life to spank somebody    
else4 ,it is the  stronger who spank the
 weaker until they become strong enough 
to stand  up for themselves4 ,then      
nobody spanks anybody any more and there
 is  peace4 ,when the ,child asked a    
question that no one would answer he set
  out to find his own answer just as in 

life it often is best to work to  answer
 one's own questions4 ,when the         
,elephant trusted the ,crocodile he  got
 something to keep just as in life the  
innocent may bear the marks  of a       
contest though in no sense responsible  
for the contest4  ,experience in the    
guise of the ,python helped the ,child  
in his contest  for life with the advice
 his own common sense would have        
offered4 ,as  an allegory of ,experience
 ,the ,elephant's ,child does not view  
life as  a whole2 it gives but a glimpse
 of life4 ,it would say3 ,experience    
teaches us to make the best with what we
 have4 ,the way to get  experience is to
 try a new power1 just as the ,child    
with his trunk  tried to kill the fly   
and eat grass4 ,as soon as he had       
received his  new power he tested it on 
the ,hippopotamous4 ,he won the respect 
of his  kind by beating them at their   
own game4    ,the emotional appeal in   
,the ,elephant's ,child would repay     
study4 ,the  dominant emotional tone is 

that of the adventurous hero with his   
'satiable curtiosity4 ,there is         
vividness of emotion1 steadiness of     
emotion1 and a rich variety in the      
contrasts of feeling4 ,emotion of a     
moral quality is characteristic of its  
implied message of worldly  wisdom but  
it does not leave one exactly satisfied4
    ,the form of the story is a splendid
 example of a literary classic  style4  
,a pleasing humorous touch is given to  
the unity of the tale by  making the    
,elephant's ,child pick up with his new 
trunk1 on his way  home1 the melon-rinds
 he had scattered on his journey to the 
,limpopo4  ,the coherence in the tale is
 unusually fine and is secured largely  
by  expressions which look backward or  
forwards2 as1 ,by and by when that  was 
finished1 or ,one fine morning1 or ,that
 very next morning4 ,any  study will    
show that the tale possesses the general
 qualities of form  and has its parts   
controlled by the principles of         
composition4          ,,outline         

,i4 ,,the ,,worth ,,of ,,fairy ,,tales  
,i4 ,two public tributes                
#a          ,,ii4 ,the value of fairy   
tales in education                  #c  
#a4 ,they bring joy into child-life     
#c              #b4 ,they satisfy the   
play-spirit of childhood           #d   
#c4 ,they give a power of accurate      
observation           #f                
#d4 ,they strengthen the power of       
emotion1 develop the               power
 of imagination1 train the memory and   
exercise the reason                     
#f              #e4 ,they extend and    
intensify the child's social            
relations                               
#g              #f4 ,in school they     
unify the child's work or play       #h 
#g4 ,in the home they employ leisure    
time profitably     #i              #h4 
,they afford a vital basis for          
language-training    #aj         ,,iii4 
,references                             
#ab    ,,ii4 ,,principles ,,of          
,,selection ,,for ,,fairy ,,tales       

,i4 ,the interests of children          
#ac              #a4 ,fairy tales must  
follow the law of composition           
and must contain the interests of       
children         #ac                 a4 
,a sense of life                        
#ad                 b4 ,the familiar    
#ad                 c4 ,the surprise    
#ae                 d4 ,sense impression
                                #ag     
e4 ,the beautiful                       
#ah                 f4 ,wonder1 mystery1
 magic                          #ai     
g4 ,adventure                           
#ai                 h4 ,success         
#bj                 i4 ,action          
#bj                 j4 ,humor           
#ba                 k4 ,poetic justice  
#bb                 l4 ,the imaginative 
#bc                 m4 ,animals         
#bd                 n4 ,a portrayal of  
human relations1 especially             
with children                           
#bd                 o4 ,the diminutive  
#be                 p4 ,rhythm and      

repetition                           #bf
                 q4 ,the simple and     
sincere                          #bh    
r4 ,unity of effect                     
#bi              #b4 ,fairy tales must  
follow the law of the emotions          
and avoid elements opposed to the       
interests of               the very     
young child                             
#cj                 a4  ,the tale of the
 witch                          #ca     
b4  ,the tale of the dragon             
#ca                 c4  ,giant tales    
#ca                 d4  ,some tales of  
transformation                   #cb    
e4  ,the tale of strange animal         
relations and                   strange 
creatures                               
#cc                 f4 ,unhappy tales   
#cd                 g4 ,the tale of     
capture                             #cd 
h4 ,the very long tale                  
#ce                 i4 ,the complicated 
or the insincere tale           #cf     
,,ii4 ,the fairy tale as literature     

#cg              #a4 ,the fairy tale    
must be a true classic              #ch 
#b4 ,the fairy tale must have mind and  
soul             #ci              #c4   
,the fairy tale must have the           
distinguishing               marks of   
literature                              
#dj                 a4  ,a power to     
appeal to the emotions              #da 
#a7 ,literary emotion is not personal   
#da                     #b7 ,literary   
emotion must have justness         #da  
#c7 ,literary emotion must have         
vividness        #da                    
#d7 ,literary emotion must have         
steadiness       #da                    
#e7 ,literary emotion must have variety 
#da                     #f7 ,literary   
emotion must have moral quality    #da  
#g7 ,application of the test of emotion 
to the                      ,fairy tales
                                 #da    
#h7 ,the value of fairy tales in the    
development                      of     
emotion                                 

#dd                 b4  ,a power to     
appeal to the imagination           #de 
#a7 ,appeal to the creative imagination 
#de                     #b7 ,appeal to  
the associative imagination       #df   
a7 ,appeal to fancy                     
#df                     #c7 ,appeal to  
the penetrative imagination       #dg   
#d7 ,appeal to the contemplative        
imagination     #dg                     
a7 ,philosophy in the fairy tales       
#dh                        b7 ,proverbs 
in the fairy tales              #ej     
c7 ,relation of the contemplative       
imagination to science                  
#eb                 c4  ,a basis of     
truth1 or appeal to the intellect   #ec 
#a7 ,the truth must be idealistic       
#ec                        a7 ,it may be
 realistic                      #ec     
b7 ,it may be romantic                  
#ec                     #b7 ,value of   
the appeal of literature to the         
intellect                               
#ec                 d4  ,a form more or 

less perfect                    #ed     
#a7 ,the elements of form3 words1       
sentences1                              
paragraphs1 and wholes                  
#eh                        a7 ,words1   
the medium of language must             
have two powers                         
#ed                          7#a7       
,denotation1 to name what they          
mean                                    
#ed                          7#b7       
,connotation1 to suggest what they      
imply                                   
#ed                       b7 ,suggestive
 power of words illustrated     #ee     
#b7 ,general qualities characteristic of
 perfect                     form       
#eg                       a7 ,precision 
or clearness                    #eg     
7#a7 ,precision demands that words have 
denotation                              
#eg                          7#b7       
,precision appeals to the intellect     
#eg                       b7 ,energy or 
force                           #eg     

7#a7 ,energy demands that words have    
connotation                             
#eh                          7#b7       
,energy appeals to the emotions and     
holds the attention                     
#eh                       c7 ,delicacy  
or emotional harmony             #eh    
7#a7 ,delicacy demands that words have  
the power of adaptation                 
#eh                          7#b7       
,delicacy demands that form appeal      
to the sthetic sense                 #eh
                          7#c7 ,delicacy
 is secured by selection and            
arrangement of words according to       
emotional associations                  
#eh                       d7            
,personality                            
#eh                           7#a7      
,personality gives the charm of         
individuality                        #eh
                           7#b7         
,personality suggests the character     
of the writer                        #eh
                    #c7 ,principles     

controlling the elements                
of form1 principles of composition   #eh
                       a7 ,the principle
 of sincerity                #eh        
7#a7 ,sincerity demands a just          
expression   #eh                        
b7 ,the principle of unity              
#ei                          7#a7 ,unity
 demands a central idea          #ei    
7#b7 ,unity demands completeness        
#ei                          7#c7 ,unity
 demands no irrelevant material  #ei    
7#d7 ,unity demands method1 sequence    
and climax                              
#ei                       c7 ,the       
principle of mass                       
#ei                          7#a7 ,mass 
demands that the chief parts            
readily catch the eye                #ei
                          7#b7 ,mass    
demands harmonious proportion           
of parts                             #ei
                       d7 ,the principle
 of coherence                #ei        
7#a7 ,coherence demands unmistakable    

relation of parts                       
#ei                          7#b7       
,coherence demands this unmistakable    
relation be preserved by the            
order1 forms and connections            
#ei                    #d7 ,form        
characterized by perfect adaptation     
of words to thought and feeling is      
called                     style        
#ei                       a7 ,style     
demands that form possess the           
four general qualities of form in       
perfection3 precision1 energy1 delicacy1
                        and personality 
#ei                       b7 ,style     
demands that form have its              
elements controlled by the four general 
principles3 sincerity1 unity1 mass1 and 
coherence                               
#ei                       c7 ,oeyvind   
and ,marit1 a modern tale               
illustrating style                      
#fj                       d7 ,three     
,billy-,goats ,gruff1 a folk-tale       
illustrating style                      

#fd                       e7 ,the       
folk-tale generally considered as to    
literary form                           
#fe                       f7 ,the tale  
by ,grimm1 ,perrault1 ,dasent1          
,harris1 ,jacobs1 ,lang1 and ,andersen  
considered as to literary form          
#fg                       g7 ,the tale  
of to-day considered as to              
literary form                           
#fi         ,,iii4 ,the fairy tale as a 
short-story                       #gj   
#a4 ,characters                         
#ga                 a4 ,characters must 
be unique1 original1 and                
striking                                
#gb                 b4 ,characters of   
the fairy tales                   #gb   
#b4 ,plot                               
#gc                 a4 ,plot must be    
entertaining1 comical1 novel1 or        
thrilling                               
#gc                 b4 ,plot must show a
 beginning1 a middle1 and               
an end                                  

#gc                 c4 ,plot must have a
 distinct climax                #gd     
d4 ,introduction must be simple         
#gd                 e4 ,conclusion must 
show poetic justice             #gd     
f4 ,plot must be good narration and     
description     #gd                     
#a7 ,narration must have truth1         
interest1 and                           
consistency                             
#gd                    #b7 ,description 
must have aptness and                   
concreteness                            
#ge                 g4 ,structure       
illustrated by ,three ,pigs and         
,briar ,rose                            
#gf              #c4 ,setting           
#gg                 a4 ,setting must    
give the time and place1 the            
background of the tale                  
#gg                 b4 ,setting must    
arouse sensation and feeling       #gg  
c4 ,effect of transformation of setting 
#gg                    #a7 ,story       
sequence preserved by setting           

illustrated by ,robin's ,christmas ,song
      #gh                 d4 ,setting   
and phonics1 illustrated4 ,the          
,spider and the ,flea                   
#gi                 e4 ,setting         
illustrated4 ,chanticleer and           
,partlet                                
#ha              #d4 ,a blending of     
characters1 plot1 and setting           
illustrated by ,the ,elves and the      
,shoemaker       #hb              #e4   
,tests to be applied to fairy tales     
#hd              #f4 ,tales examined and
 tested by the complete test            
of interests1 classic1 literature1      
short-story1               narration1   
and description                         
#hd                 a4 ,how the ,sun1   
,moon1 and ,west ,wind ,went to         
,dinner 7,indian7                       
#hd                 b4 ,the ,straw ,ox  
7,cossack7                          #hf 
,,iv4 ,references                       
#hg      ,,iii4 ,,the ,,telling ,,of    
,,fairy ,,tales         ,story-telling  

as an ,art4 ,introductory               
#ij         #a4 ,story-telling as an    
ancient art                         #ij 
#b4 ,the place of the story in the home1
 library1 and            the school     
#ic         #c4 ,principles of          
story-telling                           
#id            ,i4 ,the teacher's       
preparation4 ,rules                     
#id               #a4 ,select the tale  
for some purpose                  #id   
a4 ,the teacher's problem of selecting  
the tale                                
psychologically or logically            
#ie               #b4 ,know the tale    
historically as folk-lore1 as           
literature1 and as a short-story        
#if                  a4 ,the various    
motives contained in the fairy          
tales listed                            
#ig               #c4 ,master the       
structure of the tale                   
#ii               #d4 ,dwell upon the   
life of the story                  #ii  
#e4 ,secure the message                 

#ajj               #f4 ,master the form 
#ajj           ,,ii4 ,the presentation  
of the tale                        #ajb 
#a4 ,training of the voice              
#ajc                  a4 ,study of      
phonetics                               
#ajc               #b4 ,exercises in    
breathing                           #ajd
               #c4 ,a knowledge of      
gesture                           #aje  
a4 ,gesture precedes speech             
#ajf                  b4 ,gesture begins
 in the face                    #ajf    
c4 ,hands and arms lie close to the body
 in                   controlled emotion
                            #ajf        
#d4 ,a power of personality             
#ajf               #e4 ,suggestions for 
telling                          #ajg   
a4 ,the establishment of the personal   
relation                   between the  
teacher and the listener          #ajh  
b4 ,the placing of the story in a       
concrete                   situation for
 the child                       #aaj   

c4 ,the consideration of the child's aim
 in                   listening1 by the 
teacher in her preparation  #aab        
#f4 ,the telling of the tale            
#aab                  a4 ,the           
re-creative method of story-telling4    
,illustrated by a criticism of the      
telling of                   ,the       
,princess and the ,pea                  
#aad                  b4 ,the           
re-creative method illustrated by ,the  
,foolish1 ,timid ,rabbit                
#aaf               #g4 ,adaptation of   
the fairy tale4 ,illustrated by         
,thumbelina and by ,the ,snow ,man      
#aah          ,,iii4 ,the return from   
the child                           #aai
               ,story-telling as one    
phase of the art of teaching4           
,introductory                           
#aai               #a4 ,teaching as good
 art and as great art2 and              
fairy tales as subject-matter suited to 
accomplish high purposes in teaching    
#abj               #b4 ,the part the    

child has to play in story-telling  #aba
               #c4 ,the child's return1 
the expression of his                   
natural instincts or general interests  
#abe               #a4 ,the instinct of 
conversation                     #abe   
a4 ,language expression1 oral re-telling
          #abe                  b4 ,the 
formation of original little stories    
#abf                  c4 ,reading of the
 tale a form of creative                
reaction                                
#abg               #b4 ,the instinct of 
inquiry                          #abg   
a4 ,appeal of the folk-tale to this     
instinct      #abh                  b4  
,the instinct of inquiry united to the  
instinct                   of           
conversation1 of construction1 and of   
artistic expression1 illustrated        
#abh               #c4 ,the instinct of 
construction                     #abi   
a4 ,clay-modelling                      
#abi                  b4 ,construction  
of objects                       #abi   

#d4 ,the instinct of artistic expression
              #acj                  a4  
,cutting of free silhouette pictures4   
,illustrated                            
#acj                  b4 ,drawing and   
crayon-sketching4 ,illustrated     #acb 
c4 ,painting4 ,illustrated              
#acb                  d4 ,song4         
,illustrated                            
#acc                  e4 ,dance1 rhythm 
plays4 ,illustrated              #acd   
f4 ,game4 ,illustrated                  
#ace                  g4 ,representation
 of the fairy tale4 ,illustrated        
by ,the ,steadfast ,tin ,soldier        
#ace                  h4 ,free play and 
dramatization                   #ach    
#a7 ,virtues of dramatization           
#ach                        a7 ,it      
develops voice                          
#ach                        b7 ,it gives
 grace of movement              #ach    
c7 ,it develops control and poise       
#ach                        d7 ,it      
strengthens attention and power of      

visualization                           
#ach                        e7 ,it      
combines intellectual1 emotional1       
artistic1 and physical action           
#ach                        f7 ,it      
impresses many pieces of literature     
effectively                             
#ach                        g7 ,it is   
the true ,direct ,moral ,method and     
may establish a habit                   
#adc                     #b7 ,dangers of
 dramatization                   #aci   
a7 ,dramatization often is in very poor 
form                                    
#aci                        b7          
,dramatization may develop boldness     
in a child                              
#ada                        c7          
,dramatization may spoil some           
literature                              
#adb                        d7          
,dramatization has lacked sequence in   
tales used from year to year            
#adb                  i4 ,illustrations 
of creative return              #add    

#a7 ,the ,country ,mouse and the ,city  
,mouse as                               
expression in language1 dramatization1  
drawing1 and crayon-sketching           
#add                     #b7 ,the ,elves
 and the ,shoemaker as                  
expression in the dramatic game         
#ade                     #c7 ,little    
,two-,eyes as expression in             
dramatization4 ,a fairy-play outline4   
7,see ,appendix7                        
#ade                     #d7 ,snow      
,white as expression in                 
dramatization4 7,see ,appendix7         
#ade                     #e7 ,sleeping  
,beauty as expression of partial        
narration1 dramatic game1 and           
dramatization combined                  
#adf                     #f7 ,the       
,little ,lamb and the ,little ,fish1 an 
original tale developed from a ,grimm   
fragmentary tale1 illustrating          
expression                      in      
folk-game and dramatization4 7,see      
,appendix7                              

#adg                     #g7 ,the ,bird 
and the ,trees1 an original play        
illustrating expression in rhythm play  
and                      dramatization  
#adi                     #h7 ,how the   
,birds came to ,have ,different         
,nests1 an original play illustrating   
language expression and dramatization4  
7,see ,appendix7                        
#aea                     #i7 ,andersen's
 ,fir ,tree as expression in            
dramatization1 illustrating organization
                      of ideas through a
 play                    #aeb           
,,iv4 ,references                       
#aed          ,,iv4 ,,the ,,history ,,of
 ,,fairy ,,tales            ,i4 ,the    
origin of fairy tales                   
#aeh               #a4 ,the fairy tale  
defined                           #aei  
#b4 ,the derivation and history of the  
name1 fairy  #aei                  a4   
,four senses in which fairy has been    
used    #afj               #c4 ,the     
theories concerning the origin of fairy 

tales                                   
#afa                  a4 ,fairy tales   
are detritus of myth              #afa  
#a7 ,the evolution of the tale          
#afa                  b4 ,fairy tales   
are myths of ,sun1 ,rain1 ,dawn1        
,thunder1 etc41 the ,aryan ,theory      
#afb                  c4 ,fairy tales   
all arose in ,india1 the                
,philological theory                    
#afe                  d4 ,fairy tales   
owe their origin to the identity        
of early fancy                          
#afg                  e4 ,fairy tales   
owe their origin to a combination       
of all these theories                   
#afg        ,,ii4 ,the transmission of  
fairy tales                        #afg 
#a4 ,the oral transmission of fairy     
tales                #afg               
a4 ,examples of transmission of fairy   
tales3 ,jack                the         
,giant-,killer1 ,dick ,whittington1 etc4
      #afh            #b4 ,literary     
transmission of fairy tales             

#agj               a4 ,an enumeration of
 the literary collections and           
books that have handed down the tales2  
as                ,reynard the ,fox1 the
 ,persian ,king-book1 ,the              
,thousand and ,one ,nights1             
,straparola's                ,nights1   
,basile's ,pentamerone1 and ,perrault's 
,tales of ,mother ,goose                
#agj               b4 ,french           
publications of fairy tales             
#agi                  #a7 ,the tales of 
,perrault                         #agi  
#b7 ,tales by followers of ,perrault    
#aha                  #c7 ,a list of    
tales from the time of ,perrault to     
the present time                        
#ahc               c4 ,english and      
,celtic publications of fairy tales     
#ahc                  #a7 ,tales of     
,scotland and ,ireland                  
#ahd                  #b7 ,english tales
 and books                       #ahd   
#c7 ,a list illustrating the history of 
the ,english                   fairy    

tale1 including chap-books3 ,jack the   
,giant-,killer1 ,tom ,hickathrift2      
old collections2 etc4                   
#ahd                  #d7 ,a list       
illustrating the development of         
fairy-tale illustration in ,england     
#ahh               d4 ,german           
publications of fairy tales             
#aib                  #a7 ,a list of    
tales from the time of the ,grimms      
to the present                          
#aic               e4 ,fairy-tale       
publications of other nations           
#aic               f4 ,american         
publications of fairy tales             
#aie                  #a7 ,a list of    
tales from the earliest times to        
#ahgj                                   
#aif               g4 ,recent           
collections of folk-lore                
#bjj      ,,iii4 ,references            
#bja           ,v4 ,,classes ,,of       
,,fairy ,,tales            ,i4          
,available types of tales               
#bjd               #a4 ,the accumulative

 or clock story                  #bje   
a4 ,tales of simple repetition          
#bjf                     #a7 ,the ,house
 that ,jack ,built                  #bjf
                     #b7 ,the ,key of   
the ,kingdom                     #bjg   
b4 ,tales of repetition with an addition
          #bjh                     #a7  
,the ,old ,woman and ,her ,pig          
#bjh                     #b7 ,titty     
,mouse and ,tatty ,mouse                
#bjh                     #c7 ,johnny    
,cake                                   
#bji                     #d7 ,the       
,gingerbread ,man                       
#bji                     #e7 ,the ,straw
 ,ox                               #bji 
c4 ,tales of repetition and variation   
#bji                     #a7 ,the ,three
 ,bears                            #bji 
#b7 ,the ,three ,billy ,goats           
#baa               #b4 ,the animal tale 
#baa                  a4 ,the evolution 
of the animal tale              #baa    
b4 ,the animal tale may be an old beast 

tale      #baa                     #a7  
,henny ,penny                           
#bac                     #b7 ,the       
,foolish ,timid ,rabbit                 
#bad                     #c7 ,the ,sheep
 and the ,pig                      #bae 
#d7 ,medio ,pollito                     
#bae                     #e7 ,the ,three
 ,pigs                             #baf 
c4 ,the animal tale may be an elaborated
 fable1                   illustrated   
#baa                  d4 ,the animal    
tale may be an imaginary creation1      
illustrated                             
#baa                  e4 ,the           
,good-,natured ,bear1 a modern type4    
7,see                   ,appendix7      
#bag               #c4 ,the humorous    
tale                                #bag
                  a4 ,the humorous      
element for children             #bah   
b4 ,the ,musicians of ,bremen1 a        
humorous type      #bai                 
c4 ,humorous tales mentioned previously 
#bba                  d4 ,drakesbill1 a 

humorous type                   #bba    
#d4 ,the realistic tale                 
#bbc                  a4 ,lazy ,jack1 a 
realistic type of common life    #bbd   
b4 ,the ,old ,woman and ,her ,pig1 a    
realistic type   #bbe                   
c4 ,how ,two ,beetles ,took ,lodgings1 a
 realistic                   tale of    
scientific interest                     
#bbf                  d4 ,titty ,mouse  
and ,tatty ,mouse1 a realistic          
theme transformed into a romantic tale  
#bbg               #e4 ,the romantic    
tale                                #bbh
                  a4 ,cinderella        
#bbh                  b4 ,sleeping      
,beauty                                 
#bca                  c4 ,red ,riding   
,hood                               #bcb
                  d4 ,puss-in-,boots4   
7,see ,appendix7               #bcb     
#a7 ,the ,norse ,lord ,peter 7,see      
,appendix7      #bcb                  e4
 ,tom ,thumb1 a romantic tale of fancy4 
7,see                   ,appendix7      

#bcb                     #a7 ,the       
,french ,little ,thumb4 7,see ,appendix7
  #bcb                     #b7 ,the     
,english ,tom ,thumb4 7,see ,appendix7  
#bcb                  f4 ,snow ,white   
and ,rose ,red1 a highly idealized      
romantic type tested by the standards   
included here4 7,see ,appendix7         
#bcb               #f4 ,the old tale and
 the modern tale                 #bcd   
a4 ,the modern tale often lacks the     
great art                   qualities of
 the old tale1 unity and harmony1       
sincerity and simplicity                
#bce                  b4 ,the modern    
tale often fails to use the             
method of suggestion                    
#bce                  c4 ,the modern    
tale often does not stand the           
test of literature                      
#bce                  d4 ,the modern    
tale gives richly to the primary        
and elementary field                    
#bce                  e4 ,criticism of a
 few modern tales               #bcf    

#a7 ,little ,beta and the ,lame ,giant1 
a good                      modern tale 
#bcf                     #b7 ,the ,cock1
 the ,mouse1 and the ,little ,red       
,hen1 a good modern tale                
#bch                     #c7 ,peter     
,rabbit1 a classic2 other animal        
tales                                   
#bci                     #d7 ,the       
,elephant's ,child1 a modern animal     
tale4 7,see ,appendix7                  
#bci                     #e7 ,a         
,quick-,running ,squash1 a good modern  
tale                                    
#bdj                     #f7 ,a few ,st4
 ,nicholas fairy stories           #bda 
#g7 ,the ,hop-,about-,man1 a romantic   
modern                      fairy tale  
#bda                  f4 ,what the      
modern fairy tale is                    
#bdc        ,,vi4 ,,sources ,,of        
,,material ,,for ,,fairy ,,tales3 ,a    
,,list ,,of ,,fairy ,,tales1            
,,folk-,,tales1 ,,pictures1             
,,picture-,,books1 ,,poems1 ,,and       

,,books4            ,basis on which     
lists are made4 ,introductory           
#bde            ,i4 ,a list of fairy    
tales and folk-tales suited to the      
kindergarten and first grade            
#bdf               #a4 ,tales of        
,perrault                               
#bdf               #b4 ,tales of the    
,grimms                                 
#bdf               #c4 ,norse tales     
#bdg               #d4 ,english tales1  
by ,jacobs                         #bdg 
#e4 ,modern fairy tales1 by ,andersen   
#bdh               #f4 ,uncle ,remus    
tales1 by ,harris                       
#bdh               #g4 ,miscellaneous   
tales                              #bdi 
,,ii4 ,bibliography of fairy tales      
#bec          ,,iii4 ,a list of         
picture-books                           
#bed           ,,iv4 ,a list of pictures
                                  #bee  
,v4 ,a list of fairy poems              
#bef           ,,vi4 ,main standard     
fairy-tale books                        

#bef          ,,vii4 ,fairy tales of all
 nations                          #beh  
,,viii4 ,miscellaneous editions of fairy
 tales               #bei               
,,ix4 ,school editions of fairy tales   
#bfb    ,,appendix      ,illustrations  
of creative return                      
#bfe      ,tales suited for             
dramatization                           
#bfe        ,little ,two-,eyes          
#bfe        ,snow ,white                
#bff        ,the ,little ,lamb and the  
,little ,fish                           
#bfg        ,how the ,birds came to     
,have ,different ,nests                 
#bgj      ,types of tales               
#bgb        ,an animal tale             
#bgb          ,the ,good-,natured ,bear 
#bgb        ,a few romantic tales       
#bge          ,puss-in-,boots and ,lord 
,peter                             #bge 
,tom ,thumb and ,little ,thumb          
#bgh          ,snow ,white and ,rose    
,red                                    
#bhb        ,a modern tale              

#bhg          ,the ,elephant's ,child   
#bhg    ,,notes3      #a3 ,mc,loughlin  
edition4    #b3 ,what if we could give  
the child that which is called education
       through his voluntary activities1
 and have him always as eager as        
he is at play6 7,froebel47         ,what
 if we could let the child be free and  
happy1 and yet bring       to him those 
things which he ought to have so that he
 will choose       them freely6         
,what would be the possibilities for a  
future race if we would       give the  
child mind a chance to come out and     
express itself1 if       we would remove
 adult repression1 offer a stimulus1 and
 closely       watch the product1       
untouched by adult skill4 7,unknown47   
,the means by which the higher selective
 interest is aroused1 is       the      
exercise of selected forms of activity4 
7,susan ,blow47    #c3 ,little          
,two-,eyes and ,snow ,white are tales   
also suited to the       first grade for
 dramatization4 ,see ,appendix4    #d3  

,a similar tale is told by ,miss        
,holbrook in ,the ,book of ,nature      
,myths4 ,also by ,mary ,mc,dowell as    
,the ,three ,little ,christmas          
,trees4 ,a simple version of this tale1 
,the ,three ,little       ,christmas    
,trees that ,grew on the ,hill1 is given
 in ,the       ,story-,teller's ,book by
 ,alice ,o',grady and ,frances ,throop4 
#e3 ,joseph ,jacobs1 in his             
,introduction to the ,cranford edition1 
and       ,ashton1 in ,chap-,books of   
the ,eighteenth ,century1 furnish most  
of the facts mentioned here4    #f3     
,this list has been compiled largely    
from ,children's ,books and       ,their
 ,illustrators1 by ,gleeson ,white1 in  
,the ,international       ,studio4      
,special ,winter ,number1 #ahig-ih4     
#g3 ,the following list1 compiled by    
,mr4 ,h4,h4,b4 ,meyer1 the chief        
bibliographer of the ,library of        
,congress1 has been furnished           
through the courtesy of the ,united     
,states ,bureau of ,education4 ,a       

few additional books were inserted by   
the author4 ,the books at       the head
 of the list give information on the    
subject4    #h3 ,the ,woman and ,her    
,kid1 a version of this tale adapted    
from an       ancient ,jewish ,sacred   
,book1 is given in ,boston ,kindergarten
       ,stories1 p4 #aga4    #i3 ,see   
,appendix4    #aj3 ,william ,m4         
,thackeray1 ,miscellanies1 v4 ,boston3  
,james ,osgood        ,co41 #ahgc4      
,titmarsh among ,pictures and ,books2   
,on ,some       ,illustrated ,christmas 
,books1 #ahdf4    #aa3 ,a few romantic  
tales for the first grade are treated in
 the       ,appendix3 ,puss-in-,boots1  
,lord ,peter1 ,tom ,thumb1 ,little      
,thumb1 and ,snow ,white and ,rose ,red4
    #ab3 ,see ,appendix4    #ac3 ,laura 
,f4 ,kready1 ,picture-,books for ,little
 ,children1       ,kindergarten ,review1
 ,sept41 #aiad4    #ad3 ,for ,little    
,two-,eyes and ,snow ,white1 see note on
 p4 #ade2 for       ,the ,little ,lamb  
and the ,little ,fish1 see pp4 #adg-dh2 

and for       ,how the ,birds came to   
have ,different ,nests1 see p4 #aea4    
#ae3 ,see note1 p4 #bag4    #af3 ,see   
note1 p4 #bcb    #ag3 ,reprinted in     
,living ,age1 ,aug4 #ac1 #ahdd1 vol4 #b1
 p4 #a4    #ah3 ,see p4 #bci            
,,index    ,accumulative or clock story1
 #bje-aa4    ,action1 #bj-ba4           
,adaptation of fairy tales1 #aag-ai4    
,adventure1 #ai-bj4    ,adventures of   
,chanticleer and ,partlet1 #ha-hb4      
,american fairy tales1 #aie-ii4         
,andersen1 ,hans ,c43    tales by1      
tested as literary form1 #fi2           
,steadfast ,tin ,soldier1 #df1 #di1     
#ace-ch2    ,fir ,tree1 #aea-ec2    list
 of tales by1 #bdh2    editions1        
#bef-eg4    ,animal tale3    class1     
#baa-ag2    evolution of1 #baa-ac2      
types of1 #bac-ag1 #bgb-ge1 #bhg-ij4    
,animals3    an interest1 #bd2    tale  
of strange1 #cc-cd4    ,appendix1       
#bfe-ij3    ,little ,two-,eyes1 #bfe-ff2
    ,snow ,white1 #bff-fg2    ,the      
,little ,lamb and the ,little ,fish1    

#bfg-gj2    ,how the ,birds came to     
,have ,different ,nests1 #bgj-gb2       
,the ,good-,natured ,bear1 #bgb-ge2     
,puss-in-,boots and ,lord ,peter1       
#bge-gh2    ,tom ,thumb and ,little     
,thumb1 #bgh-hb2    ,snow ,white and    
,rose ,red1 #bhb-hf2    ,the ,elephant's
 ,child1 #bhg-ij4    ,arabian ,nights1  
,thousand and ,one ,nights1 #agf-gh1    
#aij1 #aif4    ,art3    of teaching1    
#aai-bj2    in teaching1 good1 #abj2    
in teaching1 great1 #abj-ba2    in      
literature1 good1 #ci-dj2    in         
literature1 fine1 #ci-dj2    of         
story-telling1 #ij-ia1 #ic-id2          
ancient1 of story-telling1 #ia-ic4      
,artistic expression1 instinct of1      
#acj-ed4    ,aulnoy1 ,comtesse d'1 tales
 of1 #aha-hb4    ,basile1 #agh-gi4      
,beaumont1 ,madam de1 #ahb4             
,beautiful1 the1 #ah-ai4    ,beauty and 
the ,beast1    dramatization of1        
#adj-da2    editions of1 #ahi1 #aih4    
,bibliography of fairy tales1 #bec-ed4  
,bird and the ,trees1 #adh-ea4          

,books1 main standard fairy tale1 a     
list1 #bef-eh4 ,see ,sources of         
material4    ,breathing1 exercises in1  
#ajd-je4    ,briar ,rose1 #gg4 ,see also
 ,sleeping ,beauty4    ,capture1 tales  
of1 #cd-ce4    ,celtic fairy tales1     
#ahc-hd4    ,chap-books1 #ahe-hg1 #ahh1 
#aif1 #aih4    ,characters1 #ga-gc4     
,child3    his part in story-telling1   
#aba-be2    interests1 #ac-cg2          
instincts1 #abe-ed2    growth3      in  
observation1 #f1 #dg-dh2      in reason1
 #f-g1 #ec-ed2      in language1 #aj2   
in emotion1 #dd-de2      in imagination1
 #de-ec2      in experience1 #ed2       
in intellect1 #ec-ed2      in           
self-activity1 #aba-bb2      in         
consciousness1 #abb-bc2      in         
initiative1 #abb2      in purpose1      
#abc-be2      in creative return        
possible to him1 #abc-ed2      in       
self-expression1 #abd-ed2      in       
organization of ideas1 #aec4    ,child's
 ,own ,book1 ,the1 #aij4    ,cinderella1
    a chap-book1 #ahg1ahh1 #aih2    a   

romantic type1 #bbh-ca4    ,classes of  
tales1 #bjd-dd3    accumulative1        
#bje-aa2    animal1 #baa-ag2            
humorous1 #bag-bc2    realistic1        
#bbc-bh2    romantic1 #bbh-cd2    old   
and modern1 compared1 #bcd-dc2          
references1 #bdc-dd4    ,classic1 fairy 
tale as a1 #ch-ci4    ,cock1 the ,mouse1
 and the ,little ,red ,hen1 #bch-ci4    
,coherence1    principle of1 #eh-ei2    
illustrated1 #fb1 #fe4    ,complicated  
or insincere1 the1 #cf4    ,composition3
    general qualities of1 #eg-eh2       
precision1 #eg2    energy1 #eg-eh2      
delicacy1 #eh2    personality1 #eh2     
principles of1 #eh-ei2    sincerity1    
#eh-ei2    unity1 #ei2    mass1 #ei2    
coherence1 #ei2    style in1 #ei-fj4    
,comte de ,caylus1 #ahb4    ,concrete   
situation1 placing of story in1 #id-ie1 
#aaj-aa4    ,connotation1 #ed-eg4       
,consciousness1 development of1 #abb-bc4
    ,construction1 expression of        
instinct of1 #abi-cj4    ,conversation1 
expression of instinct of1 #abe-bg4     

,country ,mouse and ,city ,mouse1       
#add-de4    ,crayon-sketching1 as       
expression1 #acb4    ,creative return1  
illustrated1 #add-ed4 ,see ,return4     
,criticism3    of life1 teaching1 a1    
#abj-ba2    of ,oeyvind and ,marit1     
#fj-fd2    of ,three ,billy-,goats      
,gruff1 #fd-fe2    of ,how the ,sun1    
,moon1 and ,west ,wind went out to      
,dinner1 #hd-hf2    of ,straw ,ox1      
#hf-hg2    of ,steadfast ,tin ,soldier1 
#ace-ch2    of ,musicians of ,bremen1   
#bai-bj2    of ,drakesbill1 #bba-bc2    
of ,puss-in-,boots and ,norse ,lord     
,peter1 #bge-gh2    of ,tom ,thumb and  
,little ,thumb1 #bgh-hb2    of ,snow    
,white and ,rose ,red1 #bhb-hf2    and  
of ,elephant's ,child1 #bhg-ij4         
,danish tales1 #aid4    ,dasent1 ,sir   
,george ,w41    tales by1 as literary   
form1 #fh-fi2    ,norse tales by1 #aid1 
#bdg1 #beg4    ,delicacy1    or         
emotional harmony1 quality of1 #eg-eh2  
illustrated1 #fj1 #fa1 #fd4             
,denotation1 #ed4    ,description1 #ge4 

,dick ,whittington1    illustrating oral
 transmission of tales1 #afi2    a      
chap-book1 #ahe1 #ahh1 #aif1 #aih4      
,diminutive1 the1 #be-bf4    ,dragon    
tales1 #ca4    ,drakesbill1 #bba-bc4    
,dramatic game3 ,elves and the          
,shoemaker1 #ade2  ,sleeping ,beauty1   
#adf-dg4    ,dramatization1    as       
expression1 #ach-ed2    virtues of1     
#ach1 #adc2    dangers of1 #aci-dc2     
of ,sleeping ,beauty1 #adf-dg2    of    
,bird and the ,trees1 #adi-ea2    of    
,fir ,tree1 #aeb-ec2    of ,little ,two 
,eyes1 #bfe-ff2    of ,snow ,white1     
#bff-fg2    of ,how the ,birds came to  
have ,different ,nests1 #bgj-gb2    and 
of ,puss-in-,boots1 #bgf4    ,drawing1  
as expression1 #acb4    ,dwarf's        
,tailor1 #bcg4    ,editions1    main    
fairy tale1 #bef-eh2    fairy tale1 of  
all nations1 #beh-ei2    illustrated1   
#bed-ee2    miscellaneous1 of fairy     
tales1 #bei-fb2    school1 of fairy     
tales1 #bfb-fd4    ,elements to be      
avoided1 #cj-cf4    ,elephant's ,child1 

illustrating3    repetition1 #bg-bh2    
suggestion1 #ef-eg2    form1 #ajj-ja2   
modern animal tale1 #bci1 #bhg-ij4      
,elves and the ,shoemaker1              
illustrating3 structure and short-story1
 #hb-hd2    story1 #hb-hd2  creative    
return1 #ade4    ,emelyan the ,fool1    
#agj4    ,emotion1    appeal to1        
distinguishing literary trait1 #dj-da2  
qualities of literary1 #da2    literary1
 in fairy tales1 #da-dd2    growth of1  
#dd-de2    comparison of1 in fairy tales
 and ,shakespeare's dramas1 #g1 #dc-dd4 
,energy or force1 quality of1 #eg-eh2   
illustrated1 #fa1 #fd4    ,english fairy
 tales1 #ahd-ib2    collections of1     
#ahd-hh2    illustrating development of 
illustration1 #ahh-ib2    by ,jacobs1   
list1 #bdg-dh2    editions1 #beg4       
,expression in3    language1 #abe-bg2   
reading1 #abg2    inquiry1 #abg-bi2     
construction1 #abi-cj2    art1 #acj-ed2 
paper-cutting1 #acj-ca2    drawing1     
#acb2    painting1 #acb2    rhythm play1
 #acc-cd2    song1 #acb-cc2    game1    

#acd-ce2    representation1 #ace-ch2    
dramatization1 #ach-ed1 #bfe-gb4        
,fairy1    derivation of1 #aei-fj2      
history of the name1 #afj4    ,fairy    
tales3 worth of1 #a-ab2    principles of
 selection for1 #ac-hi2    telling of1  
#ij-aeg2    history of1 #aeh-bjc2       
classes of1 #bjd-dd2    sources of      
material for1 #bde-fd2    tributes to1  
#a-c2    interests in1 #ac-cg2    as    
literature1 #cg-gj2    as classics1     
#ch-ci2    possessing mind and soul1    
#ci-dj2    distinguished by marks of    
literature1 #dj2    as emotion1 #da-de2 
as imagination1 #de-ec2    philosophy   
in1 #dh-eb2    proverbs in1 #ej2    as  
truth1 #ec-ed2    as form1 #ed-gj2      
powers of words in1 #ed-eg2    general  
qualities of form in1 #eg-eh2    general
 principles controlling form in1 #eh-ei2
    style in1 defined1 #ei-fj2    tested
 as literary form1 #fj-gj2    as a form 
of short-story1 #gj-hg2    characters1  
#ga-gc2    plot1 #gc-gg2    narration1  
#gd-ge2    description1 #ge2            

structure1 #gf-gg2    setting1 #gg-hb2  
three elements blended1 #hb-hd2         
tested by complete standards1 #hd-hg2   
teacher's preparation for telling1      
#id-ajb2    presentation of1 by teacher1
 #ajb-ai2    return of child from1      
#aai-ed2    rules for preparation of1   
#id-ajb2    selection of1 #ie-if2       
motifs in1 #if-ih2    re-telling of1    
#aja-jb2    training of voice in        
telling1 #ajc-jd2    breathing in       
telling1 #ajd-je2    gesture in telling1
 #aje-jf2    power of personality1 in   
telling1 #ajf-jg2    suggestions for    
telling1 #ajg-ab2    establishment of   
personal relation in telling1 #ajg-aj2  
placing of1 in a concrete situation1    
#aaj-aa2    conception of child's aim in
 listening to1 #aab2    re-creative     
method of telling1 #aab-ag2             
adaptation of1 #aag-ai2    art of       
teaching1 in telling1 #aai-be2    as    
expression of conversation1 #abe-bg2    
as expression of inquiry1 #abg-bi2    as
 expression of construction1 #abi-cj2   

as expression of art1 #acj-ed2    origin
 of1 #aeh-fg2    transmission of1       
#afg-bjj2    ,french1 #agi-hc2          
,celtic1 #ahc-hd2    ,english1 #ahd-ib2 
,german1 #aib-ic2    tales of other     
nations1 #aic-ie2    ,american1 #aie-ii2
    collections of folklore1 #bjj2      
accumulative1 #bje-aa2    animal1       
#baa-ag2    humorous1 #bag-bc2          
realistic1 #bbc-bh2    romantic1        
#bbh-cd1 #bge-hf2    old and modern1    
#bcd-dc2    of ,perrault1 #bdf2    of   
the ,grimms1 #bdf-dg2    ,norse1 #bdg2  
,english1 by ,jacobs1 #bdg-dh2          
modern1 by ,andersen1 #bdh2    ,uncle   
,remus1 by ,harris1 #bdh-di2            
miscellaneous1 #bdi-ec2    bibliography 
of1 #bec-ed2    in picture-books1       
#bed-ee2    in pictures1 #bee2    in    
poems1 #bee-ef2    in standard books1   
#bef-eh2    of all nations1 #beh-ei2    
in miscellaneous editions1 #bei-fb2     
in school editions1 #bfb-fd2    in      
,appendix1 #bfe-ij4    ,familiar1 the1  
#ad-ae4    ,fancy1 #df1 #dg4    ,fir    

,tree1 #aea-ec4    ,first-grade fairy   
tales1 #bca-cd1 #bfe-hf4    ,folk-game1 
illustrated by ,little ,lamb and the    
,little ,fish1 #adg-dh1    #bfg-gj4     
,folk-tales1    generally1 as literary  
form1 #fe-fg2    tested as literary     
form1 #fj-gj2    characters of1 compared
 with those of ,shakespeare1 #g1 #dc-dd2
    recent collections of1 #bjj4        
,foolish1 ,timid ,rabbit1               
illustrating method in story-telling1   
#aaf-ag2    an animal type1 #bad4       
,form1    a distinguishing literary     
trait1 #dj1 #ed2    perfect1 #eg-fj2    
general qualities of1 #eg-eh2           
precision1 a quality1 #eg2    energy1 a 
quality1 #eg-eh2    delicacy1 a quality1
 #eh2    personality1 a quality1 #eh2   
principles controlling1 #eh-fj3         
sincerity1 #eh-ei2      unity1 #ei2     
mass1 #ei2      coherence1 #ei2         
style in1 #ei-fj2      illustrated3 by  
,oeyvind and ,marit1 #fj-fd2      by    
,three ,billy-,goats ,gruff1 #fd-fe2    
folk-tales as literary1 #fe-gj2         

mastery of tale as1 #ajj-jb4    ,french 
fairy tales1 #agi-hc4    ,game1 as      
expression1 #acd-ce4    ,gardens of the 
,tuileries1 #a4    ,german fairy tales1 
#aib-ic4    ,gesta ,romanorum1 #agd-ge4 
,gesture1    knowledge of1 #aje-jf2     
library pamphlet relating to1 #ajf4     
,giant tales1 #ca-cb4    ,golden ,egg   
and the ,cock of ,gold1 #bcg-ch4        
,good-,natured ,bear1    a modern animal
 type1 #bag1 #bgb-ge2    a book1 #aij4  
,grimm1 ,william and ,jacob1 #fg-fh2    
list of tales by1 #bdf-dg2    editions  
by1 #beg2    tales by1 as literary form1
 #fg4    ,harris1 ,j4,c41    list of    
,uncle ,remus tales by1 #bdh-di2        
tales by1 as literary form1 #fi2        
editions by1 #beg4    ,henny ,penny1    
#bad4    ,history of fairy tales1       
#aeh-bjc2    origin of fairy tales1     
#aeh-fg2    transmission of fairytales1 
#afg-bjj2    oral transmission1 #afg-gj2
    literary transmission1 #agj-bjj2    
references1 #bja-jc4                    
,hop-,about-,man1 #bda-dc4    ,house    

that ,jack ,built1 #bjf-jg4    ,how the 
,birds came to ,have ,different ,nests1 
#aea2 #bgj-gb4    ,how the ,sun1 ,moon1 
and ,west ,wind went out to ,dinner1    
#hd-hf4    ,how ,two ,beetles ,took     
,lodgings1 #bbf4    ,humor in fairy     
tales3 an interest1 #ba-bb2 #bag-ai4    
,humorous tales1 #bag-bc2 types of1     
#bai-bc4    ,imagination1    a          
distinguishing literary mark of fairy   
tales1 #dj1 #de-ec2    creative1 #de2   
associative1 #df2    penetrative1 #dg2  
contemplative1 #dg-ec2    fancy1 #df1   
#dg2    exhibited in child's return1    
#abb1 #abe-ed4    ,imaginative1 the1    
#bc4    ,initiative1 development of1    
#abb1 #abc-be4    ,instincts of child1  
expression of3    conversation1 #abe-bg2
    inquiry1 #abg-bi2    construction1  
#abi-cj2    artistic expression1        
#acj-ed4    ,intellect1 appeal of fairy 
tales to1 #ec-ed4    ,interests of      
children1 #ac-cg2    sense of life1 #ad2
    the familiar1 #ad-ae2    surprise1  
#ae-ag2    sense impression1 #ag-ah2    

the beautiful1 #ah-ai2    wonder1       
mystery1 magic1 #ai2    adventure1      
#ai-bj2    success1 #bj2    action1     
#bj-ba2    humor1 #ba-bb2    poetic     
justice1 #bb-bc2    the imaginative1    
#bc2    animals1 #bd2    portrayal of   
human relations1 #bd-be2    the         
diminutive1 #be-bf2    rhythm and       
repetition1 #bf-bh2    the simple and   
the sincere1 #bh-bi2    unity of effect1
 #bi-cj2    opposed to1 #cj-cf2    witch
 tales1 #ca2    dragon tales1 #ca2      
giant tales1 #ca-cb2    some tales of   
transformation1 #cb-cc2    tales of     
strange creatures1 #cc-cd2    unhappy   
tales1 #cd2    tales of capture1 #cd-ce2
    very long tales1 #ce-cf2            
complicated or insincere tales1 #cf4    
,introduction1 i-iii4    ,inquiry1      
instinct of1 #abg-bi4    ,jack the      
,giant-,killer1 #ahe1 #ahf1 #ahh1 #aij4 
,jacobs1 ,joseph1    list of tales by1  
#bdg-dh2    tales by1 as literary form1 
#fi2    editions by1 #beg4    ,jatakas1 
#agj4    ,key of the ,kingdom1 #bjg-jh4 

,kindergarten3    play in1 #e-f2    work
 in1 unified by the fairy tale1 #h-i2   
language-training in1 #aj-aa2           
interests of child in1 #ac-cg2          
standards for literature in1 #cg-hg2    
standards for composition in1 #ed-fj2   
story-telling in1 #id-aai2    return to 
be expected from child in1 #aai-ed2     
standards of teaching for teacher in1   
#aai-be2    instincts of child in1      
#abe-ed2    history of fairy tales to be
 used in1 #aeh-bjc2    classes of tales 
used in1 #bjd-dd2    sources of material
 for fairy tales to be used in1 #bde-fd4
    ,king-book1 ,persian1 ,the1 #age-gf4
    ,lang1 ,andrew1 tales by1 as        
literary form1 #fi4    ,lambikin1 #ba4  
,language1 expression in1 #abe-bg4      
,lazy ,jack1 #bbd-be4    ,life1    a    
sense of1 #ad2    criticism of1 #abj-ba2
    fairy tale a counterpart to1 #h-i4  
,lists3 of tales1 #bdf-ec2  ,see        
,sources of material4    ,literature1   
mind and soul in1 #ci-dj2    qualities  
of1 #dj2    fairy tale as1 #cg-hg4      

,little ,lamb and the ,little ,fish1    
#adg-dh1 #bfg-gj4    ,little ,two-,eyes1
 #ade1 #bfe-ff4    ,little ,thumb1      
editions1 #ahi2    tale1 #bcb1 #bha-hb4 
,literary collections of tales1         
#agj-bjj4    ,logical method of         
selecting tales1 #ie-if4    ,long tales1
 opposed to child's interests1 #ce-cf4  
,lord ,peter1 #bcb1 #bgg4    ,magpie's  
,nest1 #aea1 #bgj-gb4    ,mrchen        
,brunnen or ,fairy-tale ,fountain1 #b-c4
    ,mass1    principle of1 #eh-ei2     
illustrated in3 ,oeyvind and ,marit1    
#fa-fb2    ,three ,billy-,goats ,gruff1 
#fe4    ,medio ,pollito1 #bae-af4       
,memory1 development of1 #bbf4          
,message1 of the tale1 #ajj2  of this   
book4 ,see ,summaries4    ,method of    
story-telling1    the recreative1       
#aac-ag2    criticism of1 #aad-af2      
illustration of1 #aaf-ag2    direct     
moral1 #adc4    ,mind1 in literature1   
#dj4    ,miscellaneous1    tales1 a     
list1 #bdi-ec2    editions1 #bei-fb4    
,modern tale1    compared with old tale1

 #bcd-dc2    types of1 #bce-dc2    what 
it is1 #bdc2    tales1 by ,andersen1    
#bh-bi1 #bcd1 #bdh1 #bef-eg4    ,motifs 
in folk-tales1 classified1 #ig-ih4      
,mother ,goose1    tales of1 #agi-ha2   
her ,melodies1 #ahg1 #aie1 #aig1 #aih4  
,musicians of ,bremen1 #acj-ca1 #bai-bj4
    ,narration1    in fairy tales1      
#gd-ge2    illustrated by ,sleeping     
,beauty1 #adf-dg4    ,norse tales1 #aid2
  a list of1 #bdg2  editions1 #beg4     
,objectification in fairy tales1        
#ace-ch4    ,oeyvind and ,marit1 #fj-fd4
    ,old ,woman and ,her ,pig1          
accumulative type1 #bjg1 #bjh2          
realistic type1 #bbe-bf2    an exercise 
of memory1 #bbf4    ,organization of    
ideas1    accomplished through ,fir     
,tree1 #aeb-ec2    social1 of tale1     
#aec-ed4    ,origin of fairy tales1     
#aeh-fg4    ,outline1 #bia-cjc4         
,paper-cutting1 #acj-ca4    ,painting1  
as expression1 #acb4    ,panchatantra1  
the ,five ,books1 #aga4    ,pause1 in   
story-telling1 #ajd-je4    ,pentamerone1

 ,the1 #agh-gi4    ,perrault1 ,charles1 
statue of1 #a2    list of tales by1     
#ahj2    tales by1 tested as literary   
form1 #fh2    editions by1 #beg-eh4     
,personality1    quality of1 #eg-eh2    
in ,oeyvind and ,marit1 #fj2    in      
,three ,billy-,goats ,gruff1 #fd2       
power of1 #ajf-jg4    ,personal         
relation1 establishment of1 #ajg-aj4    
,peter ,rabbit1 #bci4    ,philosophy1   
in fairy tales1 #dh-eb2    of ,uncle    
,remus ,tales1 #ea-eb2    of            
,laboulaye's ,tales1 #ea2    of ,cat and
 ,mouse in ,partnership1 #dh2    of     
,emperor's ,new ,suit1 #dh-di2    of    
,ugly ,duckling1 #di-ej2    of          
,elephant's ,child1 #di2    child's1    
#ej-ea4    ,phonics in fairy tales1     
#gi-ha4    ,pictures1 list1 #bee4       
,picture-,books1 list1 #bed-ee4         
,plot1    element of fairy tale as      
short-story1 #gc-gg2    structure       
illustrated1 #gf-gg4    ,poems1 fairy1  
list1 #bee-ef4    ,poetic justice1      
#bb-bc4    ,poetry1 of teaching1 #abj4  

,portrayal of human relations1          
especially with children1 #bd-be4       
,position1 of story-teller1 #ajg4       
,precision1    quality of1 #eg2         
illustrated in3 ,oeyvind and ,marit1    
#fj2    ,three ,billy-,goats ,gruff1    
#fd4    ,preparation1 teacher's1    in  
story-telling1 #id-ajb2    rules for    
telling1 #id-ajb4    ,presentation1     
teacher's1    of tale1 #ajb-ai2         
training of voice1 #ajc-jd2    exercises
 in breathing1 #ajd-je2    gesture1     
#aje-jf2    power of personality1       
#ajf-jg2    suggestions for telling1    
#ajg-ab2    establishment of personal   
relation1 #ajh-aj2    placing of story  
in concrete situation1 #id-ie1 #aaj-aa2 
conception of child's aim1 #aab2        
telling of tale1 #aab-ai2    re-creative
 method of story-telling1 #aac-ag2      
adaptation of fairy tales1 #aag-ai4     
,princess and ,pea1 #aad-af4            
,principles1    of selection for fairy  
tales1 #ac-hi2    interests of children1
 #ac-cg2    fairy tale as literature1   

#cg-gj2    fairy tale as short-story1   
#gj-hg2    references1 #hg-hi4          
,principles1    of composition1 #eh-fj2 
of story-telling1 #id2    of teaching1  
#aai-be2    concerning instincts of     
children1 #abd-be4    ,problem1 a means 
of developing consciousness1 #abb-be4   
,proverbs in fairy tales1 #ej4          
,purpose1 growth in child's1 #abc-be4   
,puss-in-,boots1 #bcb1 #bge-gh4         
,psychological method of selecting      
tales1 #ie-if4    ,quick-,running       
,squash1 #bdj4    ,realistic1 tale1     
#bbc-bh2  types of1 #bbd-bh4            
,reading1 as expression1 #abg2  relation
 of1 to literature1 #aj-aa1 #abg4       
,reason1 growth in1 #f-g1 #aj2          
development of1 #ec-ed4    ,re-creative 
method of story-telling1 #aac-ag4       
,red ,riding ,hood1 chap-book1 #ahi2  a 
romantic type1 #bcb-cd4    ,references2 
chapter ,i1 #ab2    chapter ,,ii1       
#hg-hi2    chapter ,,iii1 #aed-eg2      
chapter ,,iv1 #bja-jc2    chapter ,v1   
#bdc-dd4    ,relation1    of            

contemplative imagination to            
language-training1 #dg-dh2    of        
contemplative imagination to power of   
observation1 #dg-dh2    of contemplative
 imagination to science1 #eb-ec2    of  
literature to intellect1 #ec-ed2    of  
sound to sense or meaning1 #ee2    of   
sound to action1 #ee-ef2    of phonics  
and emotional effect1 #ee2    of gesture
 to story-telling1 #aje-jf2    personal1
 between the story-teller and listener1 
#ajg-aj2    of reading to story-telling1
 #abg2    of reading to literature1 #aj1
 #aa1 #ch1 #abg2    of rhyme to meaning1
 #ef2    of fairy tales to nature study1
 #f1 #dg-dh2    of fairy tales to       
industrial education1 #ga-gc2    of     
fairy tales to child1 #c-aa2    of      
dramatization to story-telling1 #ach-ed2
    of fairy tales to literature1       
#cg-gj2    of fairy tales to            
composition1 #ed-gj2    of fairy tales  
to story-telling1 #ij-ia4               
,repetition1 #bf-bh1 #bje-aa4           
,representation1 #ace-ch4    ,re-telling

 of fairy tales1 #aja-jb4    ,return1   
creative1 from child1    in telling of  
fairy tales1 #aai-ed3    in language1   
#abe-bg2    in inquiry1 #abg-bi2    in  
construction1 #abi-cj2    in artistic   
expression1 #acj-ed2    in              
paper-cutting1 #acj-ca2    in drawing1  
#acb2    in painting1 #acb2    in song1 
#acb-cc2    in rhythm1 #acc-cd2    in   
game1 #acd-ce2    in dance1 #acg1 #ade1 
#adg2    in dramatization1 #ach-ed2     
illustrated1 #ade-ed1 #bfe-gb4          
,reynard the ,fox1    place in the      
animal tale1 #bab2    history1 #agb-gd2 
chap-book1 #ahe1 #ahf1 #aij1 #aif4      
,rhyme1 #ef4    ,rhythm1 in fairy tales1
 #bf-bh2    plays1 #acc-cd4    ,robin's 
,christmas song1 #gh-gi4    ,romantic   
tale1 #bbh-cd2  types of1 #bbh-cd1      
#bge-hf4    ,st4 ,nicholas1 ,stories    
retold from1 #bda4    ,sanskrit ,tales1 
#aga4    ,school editions of fairy      
tales1 #bfb-fd4    ,science1 relation of
 contemplative imagination to1 #eb-ec4  
,sea ,fairy and the ,land ,fairy1       

#bcf-cg4    ,selection of fairy tales by
 teacher1 psychological or logical1     
#ie-if4    ,sense impression1 #ag-ah4   
,setting1    element of fairy tale as   
short-story1 #gg-hb2    sequence in1    
#gh-gi2    story told by1 #ha-hb2    and
 phonics1 #gi-ha4    ,sheep and ,pig1   
#bae4    ,short-story1    fairy tale as1
 #gj-hg3    elements of1 #gj-ga2    ways
 of writing1 #ga2    characters1 #ga-gc2
    plot1 #gc-gg2    narration in1      
#gd-ge2    description in1 #ge2         
setting1 #gg-hb2    elements of1        
blended1 #hb-hd2    tales tested as1    
#hd-hg2    telling of1 #ij-aed4         
,silhouette pictures1 cutting of1       
#acj-ca4    ,simple and sincere1 #bh-bi4
    ,sincerity1 principle of1 #eh-ei2   
illustrated in3 ,oeyvind and ,marit1    
#fj1 #fa2    ,three ,billy-,goats       
,gruff1 #fd-fe4    ,sindibad1 ,the ,book
 of1 #agb4    ,sleeping ,beauty1        
romantic type1 #bca-cb2    uniting      
partial narration1 dramatization1 and   
dramatic game1 #adf-dg4    ,snow ,white1

 #ade1 #bff-fg4    ,snow ,white and     
,rose ,red1 #bcb1 #bhb-hf4    ,song1 as 
expression1 #acb-cc4    ,soul1 in       
literature1 #ci-dj4    ,sources of      
material for fairy tales1 #bde-fd3      
list of fairy tales and folk-tales1     
#bdf-ec2    bibliography of fairy tales1
 #bec-ed2    list of picture-books1     
#bed-ee2    list of pictures1 #bee2     
list of fairy poems1 #bee-ef2    main   
standard fairy-tale books1 #bef-eh2     
fairy tales of all nations1 #beh-ei2    
miscellaneous editions of fairy tales1  
#bei-fb2    school editions of fairy    
tales1 #bfb-fd4    ,sparrow and the     
,crow1 as expression1 #abe-bf4          
,spider and the ,flea1 #gi-ha4          
,standards1    for testing fairy tales1 
#hd2    for selecting tales1 #bjd-je2   
for making lists1 #bde-df4 ,see         
,summaries4    ,standard fairy-tale     
books1 a list1 #bef-eh4    ,story1 place
 of1    in home1 library1 and school1   
#ic-id2    formation of original        
stories1 #abf-bg4    ,story-telling1    

an ancient art1 #ia-ic2    principles   
governing1 #id2    teacher's preparation
 for1 #id-ajb2    rules for1 #id-ajb2   
presentation in1 #ajb-aai2    voice in1 
#ajc-jd2    breathing in1 #ajd-je2      
gesture in1 #aje-jf2    re-creative     
method of1 #aac-ag2    return from      
child1 in1 #aai-ed2    child's part in1 
#aba-be4    ,straparola1 #agh4          
,straparola's ,nights1 #agh4    ,straw  
,ox1 #hf-hg4    ,structure1 illustrated1
 #gf-gg2    study of1 in story-telling1 
#ii-ajj4    ,study of tale as folk-lore 
and as literature1 #if-ii4    ,style1   
defined1 #ei-fj2    illustrated1 #fj-fe2
    qualities of1 #ei-fj2    principles 
controlling1 #ei-fj4    ,success1 #bj4  
,suggestion1    illustrated by ,pope1   
#ee2    by ,andersen1 #acf2    by       
,kipling1 #ef-eg2    through gesture and
 sound1 #ee2    through arrangement of  
words and speech-tunes of voice1 #ef-eg4
    ,summaries3 giving message of book1 
#ac1 #cg-ch1 #dj1 #gj-ga1 #hd1 #aeh1    
#bjd-je1 #bce4    ,surprise1 #ae-ag4    

,swedish tales1 #aic4    ,tales3    of  
,mother ,goose1 #agi-ha2    of          
,perrault1 #bdf2    of the ,grimms1     
#bdf-dg2    ,norse1 #bdg2    ,english1  
by ,jacobs1 #bdg-dh2    modern fairy1 by
 ,andersen1 #bdh2    ,uncle ,remus1     
#bdh-di2    miscellaneous1 #bdi-ec2     
fairy1 of all nations1 #beh-ei2         
literary collections of1 #agj-bjj4  ,see
 ,fairy tales4    ,teaching1            
story-telling1 a part of the art of1    
#aai-be2    poetry of1 #abj2    good art
 in1 #abj2    great art in1 #abj-ba2    
a criticism of life1 #abj-ba4           
,telling1 of fairy tales1 #ij-aed2      
art of story-telling1 #ij-id2           
principles controlling1 #id2            
preparation by teacher for1 #id-ajb2    
presentation by teacher1 in1 #ajb-ai2   
suggestions for1 #ajg-ab2    return by  
child1 from1 #aai-ed2    re-creative    
method of1 #aac-ag2    adaptation of    
tales for1 #aag-ai2    references1      
#aed-eg4    ,theories of origin of fairy
 tales3    detritus of myth1 #afa-fc2   

sun-myth theory1 #afc-fd2    common     
,indian heritage1 #afe-fg2    identity  
of early fancy1 #afg4    ,three ,bears1 
illustrating surprise1 #af-ag2    a     
chap-book1 #aij2    accumulative1       
#bji-aa4    ,three ,billy-,goats ,gruff1
 #fd-fe4    ,three ,pigs1               
illustrating structure1 #gf2    animal  
type1 #baf4    ,thumbelina1             
illustrating adaptation1 #aah2          
illustrating rhythm play1 #acd4    ,tin 
,soldier1    ,steadfast1 as emotion1    
#db2    tale of imagination1 #df2    as 
representation1 #ace-ch2    as a game1  
#ace1 #ach4    ,titty ,mouse and ,tatty 
,mouse1 #ha1 #bjh-ji1 #bbg-bh4    ,tom  
,hickathrift1 #ahe1 #ahf1 #ahg1 #aif4   
,tom ,thumb1    chap-book tale1 #ahe1   
#ahh1 #aij1 #aif2    romantic type1     
#bgh-ha4    ,tone-color1 in             
story-telling1 #aje4    ,training of    
voice1 #ajc-jd4    ,transformation1     
tales of1 #cb-cc2  kinds of1 #bgf4      
,transmission1 of tales3    oral1       
#afg-agj2    literary1 #agj2            

illustrated by3 ,dog ,gellert1 #aff2    
,dick ,whittington1 #afi2    ,peruonto1 
#afi-gj4    ,tributes1 two public1 #a-c4
    ,truth1 basis of1 in fairy tales1 a 
distinguishing literary mark1 #dj1      
#ec-ed4    ,tuileries1 gardens of4 ,see 
,gardens4    ,uncle ,remus ,tales1 by   
,harris1 #bdh-di2  editions1 #beg4      
,unhappy tales1 #cd4    ,unity1    of   
effect1 #bi-cj2    principle of         
composition1 #eh-ei2    illustrated in3 
,oeyvind and ,marit1 #fa2    ,three     
,billy-,goats ,gruff1 #fe4    ,value1   
of fairy tales in education1 #c-ab1     
#aai-be2    to give joy1 #c-d2    to    
satisfy the play-spirit1 #d-f2    to    
develop observation1 #f2    to give     
habits of mind1 #f-g2    to strengthen  
emotion1 #f-g1 #dd-de2    to extend     
social relations1 #g-h    in home1      
library1 and school1 #h-i2    to give   
language-training1 #aj-aa2    to develop
 imagination1 #de-ec2    to develop     
reason1 #ec-ed2    to develop power of  
creative return1 #aai-ed2    to develop 

self-activity1 #aba-bb2    to develop   
consciousness1 through problems1        
#abb-bc2    to develop initiative1 #abb2
    to develop purpose1 #abc-be2    to  
develop self-expression1 #abd-ed2    to 
strengthen originality1 #abg-bi2    to  
develop organization of ideas1 #aec2    
and to exercise memory1 #bbf4           
,version1 of tale1 #aja-jb4             
,villeneuve1 ,madam1 #ahb4    ,voice1   
training of1 #ajc-jd4    ,witch tales1  
#ca4    ,wolf and the ,seven ,kids1     
expression in painting1 #acb2    in     
song1 #acb-cc4    ,words1    powers of1 
#ed-ee2    denotation1 #ed2             
connotation1 #ed-ee2    suggestion1     
#ed-eg4    ,wonder1 mystery1 magic1 an  
interest1 #ai4    ,worth of fairy tales1
 #a-ab3    two public tributes1 #a-c2   
value of fairy tales in education1      
#c-ab2    references1 #ab4