,this etext was created by ,doug ,levy1 literra scripta manet4 ,,art ,,of ,,the ,,story-,,teller1 by ,,marie ,l4 ,,shedlock ,,preface4 ,some day we shall have a science of education comparable to the science of medicine2 but even when that day arrives the art of education will still remain the inspiration and the guide of all wise teachers4 ,the laws that regulate our physical and mental development will be reduced to order2 but the impulses which lead each new generation to play its way into possession of all that is best in life will still have to be interpreted for us by the artists who1 with the wisdom of years1 have not lost the direct vision of children4 ,some years ago ,i heard ,miss ,shedlock tell stories in ,england4 ,her fine sense of literary and dramatic values1 her power in sympathetic interpretation1 always restrained within the limits of the art she was using1 and her understanding of educational values1 based on a wide experience of teaching1 all marked her as an artist in story-telling4 ,she was equally at home in interpreting the subtle blending of wit and wisdom in ,daudet1 the folk lore philosophy of ,grimm1 or the deeper world philosophy and poignant human appeal of ,hans ,christian ,andersen4 ,then she came to ,america and for two or three years she taught us the difference between the nightingale that sings in the tree tops and the artificial bird that goes with a spring4 ,cities like ,new ,york1 ,boston1 ,pittsburgh and ,chicago listened and heard1 if sometimes indistinctly1 the notes of universal appeal1 and children saw the ,arabian ,nights come true4 ,yielding to the appeals of her friends in ,america and ,england1 ,miss ,shedlock has put together in this little book such observations and suggestions on story-telling as can be put in words4 ,those who have the artist's spirit will find their sense of values quickened by her words1 and they will be led to escape some of the errors into which even the greatest artists fall4 ,and even those who tell stories with their minds will find in these papers wise generalizations and suggestions born of wide experience and extended study which well go far towards making even an artificial nightingale's song less mechanical4 ,to those who know1 the book is a revelation of the intimate relation between a child's instincts and the finished art of dramatic presentation4 ,to those who do not know it will bring echoes of reality4 ,earl ,barnes4 ,,contents4 ,,part ,i4 ,,the ,,art ,,of ,,story-,,telling4 ,,chapter4 ,i4 ,,the ,,difficulties ,,of ,,the ,,story4 ,,ii4 ,,the ,,essentials ,,of ,,the ,,story4 ,,iii4 ,,the ,,artifices ,,of ,,story-,,telling4 ,,iv4 ,,elements ,,to ,,avoid ,,in ,,selection ,,of ,,material4 ,v4 ,,elements ,,to ,,seek ,,in ,,the ,,choice ,,of ,,material4 ,,vi4 ,,how ,,to ,,obtain ,,and ,,maintain ,,the ,,effect ,,of ,,the ,,story4 ,,vii4 ,,questions ,,asked ,,by ,,teachers4 ,,part ,,ii4 ,,the ,,stories4 ,,sturla1 ,,the ,,historian4 ,a ,,saga4 ,,the ,,legend ,,of ,,st4 ,,christopher4 ,,arthur ,,in ,,the ,,cave4 ,,hafiz1 ,,the ,,stone-,,cutter4 ,,to ,,your ,,good ,,health4 ,,the ,,proud ,,cock4 ,,snegourka4 ,,the ,,water ,,nixie4 ,,the ,,blue ,,rose4 ,,the ,,two ,,frogs4 ,,the ,,wise ,,old ,,shepherd4 ,,the ,,folly ,,of ,,panic4 ,,the ,,true ,,spirit ,,of ,a ,,festival ,,day4 ,,filial ,,piety4 ,,three ,,stories ,,from ,,hans ,,christian ,,andersen4 ,,the ,,swineherd4 ,,the ,,nightingale4 ,,the ,,princess ,,and ,,the ,,pea4 ,,part ,,iii4 ,,list ,,of ,,stories4 ,,books ,,suggested ,,to ,,the ,,story-,,teller ,,and ,,books ,,referred ,,to ,,in ,,the ,,list ,,of ,,stories4 ,,introduction4 ,story-telling is almost the oldest art in the world--the first conscious form of literary communication4 ,in the ,east it still survives1 and it is not an uncommon thing to see a crowd at a street corner held by the simple narration of a story4 ,there are signs in the ,west of a growing interest in this ancient art1 and we may yet live to see the renaissance of the troubadours and the minstrels whose appeal will then rival that of the mob orator or itinerant politician4 ,one of the surest signs of a belief in the educational power of the story is its introduction into the curriculum of the training-college and the classes of the elementary and secondary schools4 ,it is just at the time when the imagination is most keen1 the mind being unhampered by accumulation of facts1 that stories appeal most vividly and are retained for all time4 ,it is to be hoped that some day stories will be told to school groups only by experts who have devoted special time and preparation to the art of telling them4 ,it is a great fallacy to suppose that the systematic study of story-telling destroys the spontaneity of narrative4 ,after a long experience1 ,i find the exact converse to be true1 namely1 that it is only when one has overcome the mechanical difficulties that one can let one's self go in the dramatic interest of the story4 ,by the expert story-teller ,i do not mean the professional elocutionist4 ,the name1 wrongly enough1 has become associated in the mind of the public with persons who beat their breast1 tear their hair1 and declaim blood-curdling episodes4 ,a decade or more ago1 the drawing-room reciter was of this type1 and was rapidly becoming the bugbear of social gatherings4 ,the difference between the stilted reciter and the simple story-teller is perhaps best illustrated by an episode in ,hans ,christian ,andersen's immortal ,story of the ,nightingale4 ,the real ,nightingale and the artificial ,nightingale have been bidden by the ,emperor to unite their forces and to sing a duet at a ,court function4 ,the duet turns out most disastrously1 and while the artificial ,nightingale is singing his one solo for the thirty-third time1 the real ,nightingale flies out of the window back to the green wood--a true artist1 instinctively choosing his right atmosphere4 ,but the bandmaster--symbol of the pompous pedagogue--in trying to soothe the outraged feelings of the courtiers1 says1 ,because1 you see1 ,ladies and ,gentlemen1 and above all1 ,your ,imperial ,majesty1 with the real nightingale you never can tell what you will hear1 but in the artificial nightingale everything is decided beforehand4 ,so it is1 and so it must remain4 ,it cannot be otherwise4 ,and as in the case of the two nightingales1 so it is with the stilted reciter and the simple narrator3 one is busy displaying the machinery1 showing how the tunes go2 the other is anxious to conceal the art4 ,simplicity should be the keynote of story-telling1 but 7and her the comparison with the nightingale breaks down7 it is a simplicity which comes after much training in self-control1 and much hard work in overcoming the difficulties which beset the presentation4 ,i do not mean that there are not born story-tellers who could hold an audience without preparation1 but they are so rare in number that we can afford to neglect them in our general consideration1 for this work is dedicated to the average story-tellers anxious to make the best use of their dramatic ability1 and it is to them that ,i present my plea for special study and preparation before telling a story to a group of children--that is1 if they wish for the far-reaching effects ,i shall speak of later on4 ,only the preparation must be of a much less stereotyped nature than that by which the ordinary reciters are trained for their career4 ,some years ago1 when ,i was in ,america1 ,i was asked to put into the form of lectures my views as to the educational value of telling stories4 ,a sudden inspiration seized me4 ,i began to cherish a dream of long hours to be spent in the ,british ,museum1 the ,congressional ,library in ,washington and the ,public ,library in ,boston--and this is the only portion of the dream which has been realized4 ,i planned an elaborate scheme of research work which was to result in a magnificent 7if musty7 philological treatise4 ,i thought of trying to discover by long and patient researches what species of lullaby were crooned by ,egyptian mothers to their babes1 and what were the elementary dramatic poems in vogue among ,assyrian nursemaids which were the prototypes of ,little ,jack ,horner1 ,dickory1 ,dickory ,dock and other nursery classics4 ,i intended to follow up the study of these ancient documents by making an appendix of modern variants1 showing what progress we had made--if any--among modern nations4 ,but there came to me suddenly one day the remembrance of a scene from ,racine's ,plaideurs1 in which the counsel for the defence1 eager to show how fundamental his knowledge1 begins his speech3 ,before the ,creation of the ,world--,and the ,judge 7with a touch of weariness tempered by humor7 suggests3 ,let us pass on to the ,deluge4 ,and thus ,i1 too1 have passed on to the ,deluge4 ,i have abandoned an account of the origin and past of stories which at best would only have displayed a little recently acquired book knowledge4 ,when ,i thought of the number of scholars who could treat this part of the question infinitely better than myself1 ,i realized how much wiser it would be--though the task is more humdrum--to deal with the present possibilities of story-telling for our generation of parents and teachers4 ,my objects in urging the use of stories in the education of children are at least fivefold3 ,first1 to give them dramatic joy1 for which they have a natural craving2 to develop a sense of humor1 which is really a sense of proportion2 to correct certain tendencies by showing the consequences in the career of the hero in the story ,of this motive the children must be quite unconscious and there should be no didactic emphasis2 to present by means of example1 not precept1 such ideals as will sooner or later be translated into action2 and finally1 to develop the imagination1 which really includes all the other points4 ,but the art of story-telling appeals not only to the educational world and to parents as parents1 but also to a wider public interested in the subject from a purely human point of view4 ,in contrast to the lofty scheme ,i had originally proposed to myself1 ,i now simply place before all those who are interested in the art of story-telling in any form the practical experiences ,i have had in my travels in ,america and ,england4 ,i hope that my readers may profit by my errors1 improve on my methods1 and thus help to bring about the revival of an almost lost art4 ,in ,sir ,philip ,sydney's ,defence of ,poesie3 we find these words3 ,forsooth he cometh to you with a tale1 which holdeth children from play1 and old men from the chimney-corner1 and pretending no more1 doth intend the winning of the mind from wickedness to virtue even as the child is often brought to take most wholesome things by hiding them in such other as have a pleasant taste4 ,,marie ,l4 ,,shedlock1 ,,london4 ,,part ,i4 ,,the ,,art ,,of ,,the ,,story-,,teller4 ,,chapter ,i4 ,,the ,,difficulties ,,of ,,the ,,story4 ,i propose to deal in this chapter with the difficulties or dangers which beset the path of the story-teller1 because1 until we have overcome these1 we cannot hope to bring out the full value of the story4 ,the difficulties are many1 and yet they ought not to discourage the would-be narrators1 but only show them how all-important is the preparation for the story1 if it is to have the desired effect4 ,i propose to illustrate by concrete examples1 thereby serving a twofold purpose3 one to fix the subject more clearly in the mind of the student1 the other to use the art of story-telling to explain itself4 ,i have chosen one or two instances from my own personal experience4 ,the grave mistakes made in my own case may serve as a warning to others who will find1 however1 that experience is the best teacher4 ,for positive work1 in the long run1 we generally find out our own method4 ,on the negative side1 however1 it is useful to have certain pitfalls pointed out to us1 in order that we may save time by avoiding them4 ,it is for this reason that ,i sound a note of warning4 #a4 ,there is the danger of side issues4 ,an inexperienced story-teller is exposed to the temptation of breaking off from the main dramatic interest in a short exciting story in order to introduce a side issue which is often interesting and helpful but which must be left for a longer and less dramatic story4 ,if the interest turns on some dramatic moment1 the action must be quick and uninterrupted1 or it will lose half its effect4 ,i had been telling a class of young children the story of ,polyphemus and ,ulysses1 and just at the most dramatic moment in the story some impulse for which ,i cannot account prompted me to go off on a side issue to describe the personal appearance of ,ulysses4 ,the children were visibly bored1 but with polite indifference they listened to my elaborate description of the hero4 ,if ,i had given them an actual description from ,homer1 ,i believe that the strength of the language would have appealed to their imagination 7all the more strongly because the might not have understood the individual words7 and have lessened their disappointment at the dramatic issue being postponed2 but ,i trusted to my own lame verbal efforts1 and signally failed4 ,attention flagged1 fidgeting began1 the atmosphere was rapidly becoming spoiled in spit of the patience and toleration still shown by the children4 ,at last1 however1 one little girl in the front row1 as spokeswoman for the class1 suddenly said3 ,if you please1 before you go on any further1 do you mind telling us whether1 after all1 that ,poly 4 4 4 slight pause 4 4 4 that 4 4 4 final attempt 4 4 4 ,polyanthus died8 ,now1 the remembrance of this question has been of extreme use to me in my career as a story-teller4 ,i have realized that in a short dramatic story the mind of the listeners must be set at ease with regard to the ultimate fate of the special ,polyanthus who takes the center of the stage4 ,i remember1 too1 the despair of a little boy at a dramatic representation of ,little ,red ,riding-,hood1 when that little person delayed the thrilling catastrophe with the ,wolf1 by singing a pleasant song on her way through the wood4 ,oh1 why1 said the little boy1 does she not get on8 ,and ,i quite shared his impatience4 ,this warning is necessary only in connection with the short dramatic narrative4 ,there are occasions when we can well afford to offer short descriptions for the sake of literary style1 and for the purpose of enlarging the vocabulary of the child4 ,i have found1 however1 in these cases1 it is well to take the children into your confidence1 warning them that they are to expect nothing particularly exciting in the way of dramatic event4 ,they will then settle down with a freer mind 7though the mood may include a touch of resignation7 to the description you are about to offer them4 #b4 ,altering the story to suit special occasions is done sometimes from extreme conscientiousness1 sometimes from sheer ignorance of the ways of children4 ,it is the desire to protect them from knowledge which they already possess and with which they1 equally conscientious1 are apt to turn and rend the narrator4 ,i remember once when ,i was telling the story of the ,siege of ,troy to very young children1 ,i suddenly felt anxious lest there should be anything in the story of the rape of ,helen not altogether suitable for the average age of the class1 namely1 nine years4 ,i threw1 therefore1 a domestic coloring over the whole subject and presented an imaginary conversation between ,paris and ,helen1 in which ,paris tried to persuade ,helen that she was strong-minded woman thrown away on a limited society in ,sparta1 and that she should come away and visit some of the institutions of the world with him1 which would doubtless prove a mutually instructive journey4#a ,i then gave the children the view taken by ,herodotus that ,helen never went to ,troy1 but was detained in ,egypt4 ,the children were much thrilled by the story1 and responded most eagerly when1 in my inexperience1 ,i invited them to reproduce in writing for the next day the story ,i had just told them4 ,a small child presented me1 as you will see1 with the ethical problem from which ,i had so laboriously protected her4 ,the essay ran3 ,once upon a time the ,king of ,troy's son was called ,paris4 ,and he went over to ,greace to see what it was like4 ,and here he saw the beautiful ,helener1 and likewise her husband ,menelayus4 ,and one day1 ,menelayus went out hunting1 and left ,paris and ,helener alone1 and ,paris said3 ,do you not feel dul in this palis8#b ,and ,helener said3 ,i feel very dull in this pallice1 and ,paris said3 ,come away and see the world with me4 ,so they sliped off together1 and they came to the ,king of ,egypt1 and he said3 ,who is the young lady8 ,so ,paris told him4 ,but1 said the ,king1 it is not propper for you to go off with other people's wifes4 ,so ,helener shall stop here4 ,paris stamped his foot4 ,when ,menelayus got home1 he stamped his foot4 ,and he called round him all his soldiers1 and they stood round ,troy for eleven years4 ,at last they thought it was no use standing any longer1 so they built a wooden horse in memory of ,helener and the ,trojans and it was taken into the town4 ,now1 the mistake ,i made in my presentation was to lay any particular stress on the reason for elopement by my careful readjustment1 which really called more attention to the episode than was necessary for the age of my audience2 and evidently caused confusion in the minds of some of the children who knew the story in its more accurate original form4 ,while traveling in ,america1 ,i was provided with a delightful appendix to this story4 ,i had been telling ,miss ,longfellow and her sister the little girl's version of the ,siege of ,troy1 and ,mrs4 ,thorpe made the following comment1 with the ,american humor the dryness of which adds so much to its value3 ,i never realized before1 she said1 how glad the ,greeks must have been to sit down even inside a horse1 when they had been standing for eleven years4 #c4 ,the danger of introducing unfamiliar words is the very opposite danger of the one to which ,i have just alluded2 it is the taking for granted that children are acquainted with the meaning of certain words upon which turns some important point in the story4 ,we must not introduce1 without at least a passing explanation1 words which1 if not rightly understood1 would entirely alter the picture we wish to present4 ,i had once promised to tell stories to an audience of ,irish peasants1 and ,i should like to state here that1 though my travels have brought me in touch with almost every kind of audience1 ,i have never found one where the atmosphere is so self-prepared as in that of a group of ,irish peasants4 ,to speak to them1 especially on the subject of fairy- tales1 is like playing on a delicate harp3 the response is so quick and the sympathy so keen4 ,of course1 the subject of fairy-tales is one which is completely familiar to them and comes into their everyday life4 ,they have a feeling of awe with regard to fairies1 which is very deep in some parts of ,ireland4 ,on this particular occasion ,i had been warned by an artist friend who had kindly promised to sing songs between the stories1 that my audience would be of varying age and almost entirely illiterate4 ,many of the older men and women1 who could neither read nor write1 had never been beyond their native village4 ,i was warned to be very simple in my language and to explain any difficult words which might occur in the particular ,indian story ,i had chosen for that night1 namely1 ,the ,tiger1 the ,jackal and the ,brahman4#c--;at a proper distance1 however1 lest the audience should class him with the wild animals4 ,i then went on with my story1 in the course of which ,i mentioned a buffalo4 ,in spite of the warning ,i had received1 ,i found it impossible not to believe that the name of this animal would be familiar to any audience4 ,i1 therefore1 went on with the sentence containing this word1 and ended it thus3 ,and then the ,brahman went a little further and met an old buffalo turning a wheel4 ,the next day1 while walking down the village street1 ,i entered into conversation with a thirteen-year-old girl who had been in my audience the night before and who began at once to repeat in her own words the ,indian story in questions4 ,when she came to the particular sentence ,i have just quoted1 ,i was greatly startled to hear her version1 which ran thus3 ,and the priest went on a little further1 and he met another old gentleman pushing a wheelbarrow4 ,i stopped her at once1 and not being able to identify the sentence as part of the story ,i had told1 ,i questioned her a little more closely4 ,i found that the word buffalo1 had evidently conveyed to her mind an old buffer whose name was ,lo1 probably taken to be an ,indian form of appellation1 to be treated with tolerance though it might not be ,irish in sound4 ,then1 not knowing of any wheel more familiarly than that attached to a barrow1 the young narrator completed the picture in her own mind--but which1 one must admit1 had lost something of the ,indian atmosphere which ,i had intended to gather about4 #d4 ,the danger of claiming cooperation of the class by means of questions is more serious for the teacher than the child1 who rather enjoys the process and displays a fatal readiness to give any sort of answer if only he can play a part in the conversation4 ,if we could in any way depend on the children giving the kind of answer we expect1 all might go well and the danger would be lessened2 but children have a perpetual way of frustrating our hopes in this direction1 and of landing us in unexpected bypaths from which it is not always easy to return to the main road without a very violent reaction4 ,as illustrative of this1 ,i quote from the ,the ,madness of ,philip1 by ,josephine ,daskam ,bacon1 a truly delightful essay on child psychology in the guise of the lightest of stories4 ,the scene takes place in a kindergarten1 where a bold and fearless visitor has undertaken to tell a story on the spur of the moment to a group of restless children4 ,she opens thus3 ,yesterday1 children1 as ,i came out of my yard1 what do you think ,i saw8 ,the elaborately concealed surprise in store was so obvious that ,marantha rose to the occasion and suggested1 ,an el'phunt4 ,why1 no4 ,why should ,i see an elephant in my yard8 ,it was not nearly so big as that--it was a little thing4 ,a fish1 ventured ,eddy ,brown1 whose eye fell upon the aquarium in the corner4 ,the raconteuse smiled patiently4 ,now1 how could a fish1 a live fish1 get into my front yard8 ,a dead fish1 says ,eddy4 ,he had never been known to relinquish voluntarily an idea4 ,no2 it was a little kitten1 said the story-teller decidedly4 ,a little white kitten4 ,she was standing right near a big puddle of water4 ,now1 what else do you think ,i saw8 ,another kitten1 suggests ,marantha1 conservatively4 ,no2 it was a big ,newfoundland dog4 ,he saw the little kitten near the water4 ,now1 cats don't like water1 do they8 ,what do they like8 ,mice1 said ,joseph ,zukoffsky abruptly4 ,well1 yes1 they do2 but there were no mice in my yard4 ,i'm sure you know what ,i mean4 ,if they don't like water1 what do they like8 ,milk1 cried ,sarah ,fuller confidently4 ,they like a dry place1 said ,mrs4 ,r4 ,b4 ,smith4 ,now1 what do you suppose the dog did8 ,it may be that successive failures had disheartened the listeners4 ,itmay be that the very range of choice presented to them and the dog alike dazzled their imagination4 ,at all events1 they made no answer4 ,nobody knows what the dog did8 repeated the story-teller encouragingly4 ,what would you do if you saw a little kitten like that8 ,and ,philip remarked gloomily3 ,i'd pull its tail4 ,and what do the rest of you think8 ,i hope you are not as cruel as that little boy4 ,a jealous desire to share ,philip's success prompted the quick response3 ,i'd pull it too4 ,now1 the reason of the total failure of this story was the inability to draw any real response from the children1 partly because of the hopeless vagueness of the questions1 partly because1 there being no time for reflection1 children say the first thing that comes into their heads without any reference to their real thoughts on the subject4 ,i cannot imagine anything less like the enlightened methods of the best kindergarten teaching4 ,had ,mrs4 ,r4 ,b4 ,smith been a real1 and not a fictional1 person1 it would certainly have been her last appearance as a raconteuse in this educational institution4 #e4 ,the difficulty of gauging the effect of a story upon the audience rises from lack of observation and experience2 it is the want of these qualities which leads to the adoption of such a method as ,i have just presented4 ,we learn in time that want of expression on the faces of the audience and want of any kind of external response do not always mean either lack of interest or attention4 ,there is often real interest deep down1 but no power1 or perhaps no wish1 to display that interest1 which is deliberately concealed at times so as to protect oneself from questions which may be put4 #f4 ,the danger of overillustration4 ,after long experience1 and after considering the effect produced on children when pictures are shown to them during the narration1 ,i have come to the conclusion that the appeal to the eye and the ear at the same time is of doubtful value1 and has1 generally speaking1 a distracting effect3 the concentration on one channel of communication attracts and holds the attention more completely4 ,i was confirmed in this theory when ,i addressed an audience of blind people#d for the first time1 and noticed how closely they attended1 and how much easier it seemed to them because they were so completely undistracted by the sights around them4 ,i have often suggested to young teachers two experiments in support of this theory4 ,they are not practical experiments1 nor could they be repeated often with the same audience1 but they are intensely interesting1 and they serve to show the actual effect of appealing to one sense at a time4 ,the first of these experiments is to take a small group of children and suggest that they should close their eyes while you tell them a story4 ,you will then notice how much more attention is given to the intonation and inflection of the voice4 ,the reason is obvious4 ,with nothing to distract the attention1 it is concentrated on the only thing offered the listeners1 that is1 sound1 to enable them to seize the dramatic interest of the story4 ,we find an example of the dramatic power of the voice in its appeal to the imagination in one of the tributes brought by an old pupil to ,thomas ,edward ,brown1 ,master at ,clifton ,college3 ,my earliest recollection is that his was the most vivid teaching ,i ever received2 great width of view and poetical1 almost passionate1 power of presentment4 ,we were reading ,froude's ,history1 and ,i shall never forget how it was ,brown's words1 ,brown's voice1 not the historian's1 that made me feel the great democratic function which the monasteries performed in ,england2 the view became alive in his mouth4 ,and in another passage3 ,all set forth with such dramatic force and aided by such a splendid voice1 left an indelible impression on my mind4#e ,a second experiment1 and a much more subtle and difficult one1 is to take the same group of children on another occasion1 telling them a story in pantomime form1 giving them first the briefest outline of the story4 ,in this case it must be of the simplest construction1 until the children are able1 if you continue the experiment1 to look for something more subtle4 ,i have never forgotten the marvelous performance of a play given in ,london many years ago entirely in pantomime form4 ,the play was called ,l',enfant ,prodigue1 and was presented by a company of ,french artists4 ,it would be almost impossible to exaggerate the strength of that silent appeal to the public4 ,one was so unaccustomed to reading meaning and development of character into gesture and facial expression that it was really a revelation to most of those present--certainly to all ,anglo-,saxons4 ,i cannot touch on this subject without admitting the enormous dramatic value connected with the cinematograph4 ,though it can never take the place of an actual performance1 whether in story form or on the stage1 it has a real educational value in its possibilities of representation which it is difficult to overestimate1 and ,i believe that its introduction into the school curriculum1 under the strictest supervision1 will be of extraordinary benefit4 ,the movement1 in its present chaotic condition1 and in the hands of commercial management1 is more likely to stifle than to awaken or stimulate the imagination1 but the educational world is fully alive to the danger1 and ,i am convinced that in the future of the movement good will predominate4 ,the real value of the cinematograph in connection with stories is that it provides the background that is wanting to the inner vision of the average child1 and does not prevent its imagination from filling in the details later4 ,for instance1 it would be quite impossible for the average child to get an idea from mere word-painting of the atmosphere of the polar regions as represented lately on the film in connection with ,captain ,scott's expedition1 but any stories told later on about these regions would have an infinitely greater interest4 ,there is1 however1 a real danger in using pictures to illustrate the story1 especially if it be one which contains a direct appeal to the imagination of the child and one quite distinct from the stories which deal with facts1 namely1 that you force the whole audience of children to see the same picture1 instead of giving each individual child the chance of making his own mental picture4 ,that is of far greater joy1 and of much great educational value1 since by this process the child cooperates with you instead of having all the work done for him4 ,queyrat1 in his works on ,la ,logique chez l',enfant1 quotes ,madame ,necker de ,saussure3#f ,to children and animals actual objects present themselves1 not the terms of their manifestations4 ,for them thinking is seeing over again1 it is going through the sensations that the real object would have produced4 ,everything which goes on within them is in the form of pictures1 or rather1 inanimate scenes in which life is partially reproduced4 4 4 4 ,since the child has1 as yet1 no capacity for abstraction1 he finds a stimulating power in words and a suggestive inspiration which holds him enchanted4 ,they awaken vividly colored images1 pictures far more brilliant than would be called into being by the objects themselves4 ,surely1 if this be true1 we are taking from children that rare power of mental visualization by offering to their outward vision an actual picture4 ,i was struck with the following note by a critic of the ,outlook1 referring to a ,japanese play but which bears quite directly on the subject in hand4 ,first1 we should be inclined to put insistence upon appeal by imagination4 ,nothing is built up by lath and canvas2 everything has to be created by the poet's speech4 ,he alludes to the decoration of one of the scenes which consists of three pines1 showing what can be conjured up in the mind of the spectator4 ,ah1 yes4 ,unfolding now before my eyes ,the views ,i know3 the ,forest1 ,river1 ,sea ,and ,mist--the scenes of ,ono now expand4 ,i have often heard objections raised to this theory by teachers dealing with children whose knowledge of objects outside their own circle is so scanty that words we use without a suspicion that they are unfamiliar are really foreign expressions to them4 ,such words as sea1 woods1 fields1 mountains1 would mean nothing to them1 unless some explanation were offered4 ,to these objections ,i have replied that where we are dealing with objects that can actually be seen with the bodily eyes1 then it is quite legitimate to show pictures before you begin the story1 so that the distraction between the actual and mental presentation may not cause confusion2 but1 as the foregoing example shows1 we should endeavor to accustom the children to seeing much more than mere objects themselves1 and in dealing with abstract qualities we must rely solely on the power and choice of words and dramatic qualities of presentation1 and we need not feel anxious if the response is not immediate1 nor even if it is not quick and eager4#g #g4 ,the danger of obscuring the point of the story with too many details is not peculiar to teachers1 nor is it shown only in the narrative form4 ,i have often heard really brilliant after-dinner stories marred by this defect4 ,one remembers the attempt made by ,sancho ,panza to tell a story to ,don ,quixote4 ,i have always felt a keen sympathy with the latter in his impatience over the recital4 ,in a village of ,estramadura there was a shepherd--no1 ,i mean a goatherd--which shepherd or goatherd as my story says1 was called ,lope ,ruiz--and this ,lope ,ruiz was in love with a shepherdess called ,torralva1 who was daughter to a rich herdsman1 and this rich herdsman--- ,if this be thy story1 ,sancho1 said ,don ,quixote1 thou wilt not have done these two days4 ,tell it concisely1 like a man of sense1 or else say no more4 ,i tell it in the manner they tell all stories in my country1 answered ,sancho1 and ,i cannot tell it otherwise1 nor ought your ,worship to require me to make new customs4 ,tell it as thou wilt1 then1 said ,don ,quixote1 since it is the will of fate that ,i should here it1 go on4 ,sancho continued3 ,he looked about him until he espied a fisherman with a boat near him1 but so small that it could only hold one person and one goat4 ,the fisherman got into the boat and carried over on goat2 he returned and carried another2 he came back again and carried another4 ,pray1 sir1 keep an account of the goats which the fisherman is carrying over1 for if you lose count of a single one1 the story ends1 and it will be impossible to tell a word more4 4 4 4 ,i go on1 then4 4 4 4 ,he returned for another goat1 and another1 and another and another--- ,suppose them all carried over1 said ,don ,quixote1 or thou wilt not have finished carrying them this twelve months6 ,tell me1 how many have passed already8 said ,sancho4 ,how should ,i know8 answered ,don ,quixote4 ,see there1 now6 ,did ,i not tell thee to keep an exact account8 ,there is an end of the story4 ,i can go no further4 ,how can this be8 said ,don ,quixote4 ,is it so essential to the story to know the exact number of goats that passed over1 that if one error be made the story can proceed no further8 ,even so1 said ,sancho ,panza4 #h4 ,the danger of overexplanation is fatal to the artistic success of any story1 but it is even more serious in connection with stories told from an educational point of view1 because it hampers the imagination of the listener1 and since the development of that faculty is one of our chief aims in telling these stories1 we must leave free play1 we must not test the effect1 as ,i have said before1 by the material method of asking questions4 ,my own experience is that the fewer explanations you offer1 provided you have been careful with the choice of your material and artistic in the presentation1 the more the child will supplement by his own thinking power what is necessary for the understanding of the story4 ,queyrat says3 ,a child has no need of seizing on the exact meaning of words2 on the contrary1 a certain lack of precision seems to stimulate his imagination only the more vigorously1 since it gives him a broader liberty and firmer independence4#h #i4 ,the danger of lowering the standard of the story in order to appeal to the undeveloped taste of the child is a special one4 ,i am alluding here only to the story which is presented from the educational point of view4 ,there are moments of relaxation in a child's life1 as in that of an adult1 when a lighter taste can be gratified4 ,i allude now to the standard of story for school purposes4 ,there is one development of story-telling which seems to have been very little considered1 either in ,america or in our own country1 namely1 the telling of stories to old people1 and that not only in institutions or in quiet country villages1 but in the heart of the busy cities and in the homes of these old people4 ,how often1 when the young people are able to enjoy outside amusements1 the old people1 necessarily confined to the chimney-corner and many unable to read much for themselves1 might return to the joy of their childhood by hearing some of the old stories told them in dramatic form4 ,here is a delightful occupation for those of the leisured class who have the gift1 and a much more effective way of reading aloud4 ,lady ,gregory1 in talking to the workhouse folk in ,ireland1 was moved by the strange contrast between the poverty of the tellers and the splendors of the tale4 ,she says3 ,the stories they love are of quite visionary things2 of swans that turn into kings' daughters1 and of castles with crowns over the doors1 and of lovers' flights on the backs of eagles1 and music-loving witches1 and journeys to the other world1 and sleeps that last for seven hundred years4 ,i fear it is only the ,celtic imagination that will glory in such romantic material2 but ,i am sure the men and women of the poorhouse are much more interested than we are apt to think in stories outside the small circle of their lives4 ,,chapter ,,ii4 ,,the ,,essentials ,,of ,,the ,,story4 ,it would be a truism to suggest that dramatic instinct and dramatic power of expression are naturally the first essentials for success in the art of story-telling1 and that1 without these1 no story-teller would go very far2 but ,i maintain that1 even with these gifts1 no high standard of performance will be reached without certain other qualities1 among the first of which ,i place apparent simplicity1 which is really the art of concealing the art4 ,i am speaking here of the public story-teller1 or of the teacher with a group of children1 not the spontaneous 7and most rare7 power of telling stories such as ,beranger gives us in his poem1 ,souvenirs du ,peuple3 ,mes enfants1 dans ce village1 ,suivi de rois1 il passa2 ,voila2 bien longtemps de cela6 ,je venais d'entrer en menage1 ,a pied grimpant le coteau1 ,ou pour voir je m'tais mise4 ,il avait petit chapeau et redingote grise4 ,il me dit3 ,bon jour1 ma chere4 ,il vous a parle1 grand mere8 ,il vous a parle8 ,i am skeptical enough to think that it is not the spontaneity of the grandmother but the art of ,beranger which enhances the effect of the story told in the poem4 ,this intimate form of narration1 which is delightful in its special surroundings1 would fail to reach1 much less hold1 a large audience1 not because of its simplicity1 but often because of the want of skill in arranging material and of the artistic sense of selection which brings the interest to a focus and arranges the side lights4 ,in short1 the simplicity we need for the ordinary purpose is that which comes from ease and produces a sense of being able to let ourselves go1 because we have thought out our effects4 ,it is when we translate our instinct into art that the story becomes finished and complete4 ,i find it necessary to emphasize this point because people are apt to confuse simplicity of delivery with carelessness of utterance1 loose stringing of sentences of which the only connections seem to be the ever-recurring use of and and so1 and er 4 4 41 this latter inarticulate sound having done more to ruin a story and distract the audience than many more glaring errors of dramatic form4 ,real simplicity holds the audience because the lack of apparent effort in the artist has the most comforting effect upon the listener4 ,it is like turning from the whirring machinery of process to the finished article1 which bears no traces of the making except the harmony and beauty of the whole1 which make one realize that the individual parts have received all proper attention4 ,what really brings about this apparent simplicity which insures the success of the story8 ,it has been admirably expressed in a passage from ,henry ,james' lecture on ,balzac3 ,the fault in the artist which amounts most completely to a failure of dignity is the absence of saturation with his idea4 ,when saturation fails1 no other real presence avails1 as when1 on the other hand1 it operates1 no failure of method fatally interferes4 ,i now offer two illustrations of the effect of this saturation1 one to show that the failure of method does not prevent successful effect1 the other to show that when it is combined with the necessary secondary qualities the perfection of the art is reached4 ,in illustration of the first point1 ,i recall an experience in the north of ,england when the head mistress of an elementary school asked me to hear a young inexperienced girl tell a story to a group of very small children4 ,when she began1 ,i felt somewhat hopeless1 because of the complete failure of method4 ,she seemed to have all the faults most damaging to the success of a speaker4 ,her voice was harsh1 her gestures awkward1 her manner was restless and melodramatic2 but1 as she went on ,i soon began to discount all these faults and1 in truth1 ,i soon forgot about them1 for so absorbed was she in her story1 so saturated with her subject1 that she quickly communicated her own interest to her audience1 and the children were absolutely spellbound4 ,the other illustration is connected with a memorable peep behind the stage1 when the late ,m4 ,coquelin had invited me to see him in the greenroom between the first and second acts of ,l'abbe ,constantin1 one of the plays given during his last season in ,london1 the year before his death4 ,the last time ,i had met ,m4 ,coquelin was at a dinner party1 where ,i had been dazzled by the brilliant conversation of this great artist in the role of a man of the world4 ,but on this occasion ,i met the simple1 kindly priest1 so absorbed in his role that he inspired me with the wish to offer a donation for his poor1 and1 on taking leave1 to ask for his blessing for myself4 ,while talking to him1 ,i had felt puzzled4 ,it was only when ,i had left him that ,i realized what had happened1 namely1 that he was too thoroughly saturated with his subject to be able to drop his role during the interval1 in order to assume the more ordinary one of host and man of the world4 ,now1 it is this spirit ,i would wish to inculcate into the would-be story-tellers4 ,if they would apply themselves in this manner to their work1 it would bring about a revolution in the art of presentation1 that is1 in the art of teaching4 ,the difficulty of the practical application of this theory is the constant plea1 on the part of teachers1 that there is not the time to work for such a standard in an art which is so apparently simple that the work expended on it would never be appreciated4 ,my answer to this objection is that1 though the counsel of perfection would be to devote a great deal of time to the story1 so as to prepare the atmosphere quite as much as the mere action of the little drama 7just as photographers use time exposure to obtain sky effects1 as well as the more definite objects in the picture71 yet it is not so much a question of time as concentration on the subject1 which is one of the chief factors in the preparation of the story4 ,so many story-tellers are satisfied with cheap results1 and most audiences are not critical enough to encourage a high standard4#i ,the method of showing the machinery has more immediate results1 and it is easy to become discouraged over the drudgery which is not necessary to secure the approbation of the largest number4 ,but1 since ,i am dealing with the essentials of really good story-telling1 ,i may be pardoned for suggesting the highest standard and the means for reaching it4 ,therefore1 ,i maintain that capacity for work1 and even drudgery1 is among the essentials of story-telling4 ,personally1 ,i know of nothing more interesting than watching the story grow gradually from mere outline into a dramatic whole4 ,it is the same pleasure1 ,i imagine1 which is felt over the gradual development of a beautiful design on a loom4 ,i do not mean machine-made work1 which has to be done under adverse conditions in a certain time and which is similar to thousands of other pieces of work2 but that work1 upon which we can bestow unlimited time and concentrated thought4 ,the special joy in the slowly-prepared story comes in the exciting moment when the persons1 or even the inanimate objects1 become alive and move as of themselves4 ,i remember spending two or three discouraging weeks with ,andersen's story of the ,adventures of a ,beetle4 ,i passed through times of great depression1 because all the little creatures1 beetles1 ear-wigs1 frogs1 etc41 behaved in such a conventional way1 instead of displaying the strong individuality which ,andersen had bestowed upon them that ,i began to despair of presenting a live company at all4 ,but one day1 the ,beetle1 so to speak1 took the stage1 and at once there was life and animation among the minor characters4 ,then the main work was done1 and there remained only the comparatively easy task of guiding the movement of the little drama1 suggesting side issues and polishing the details1 always keeping a careful eye on the ,beetle1 that he might gang his ain gait and preserve to the full his own individuality4 ,there is a tendency in preparing stories to begin with detail work1 often a gesture or side issue which one has remembered from hearing a story told1 but if this is done before the contemplative period1 only scrappy1 jerky and ineffective results are obtained1 on which one cannot count for dramatic effects4 ,this kind of preparation reminds one of a young peasant woman who was taken to see a performance of ,wilhelm ,tell1 and when questioned as to the plot could only sum it up saying1 ,i know some fruit was shot at4#aj ,i realize the extreme difficulty teachers have to devote the necessary time to perfecting the stories they tell in school1 because this is only one of the subjects they have to teach in an already over-crowded curriculum4 ,to them ,i would offer this practical advice3 ,do not be afraid to repeat your stories4#aa ,if you do not undertake more than seven stories a year1 chosen with infinite care1 and if you repeated these stories six times during the year of forty-two weeks1 you would be able to do artistic and1 therefore1 lasting work2 you would also be able to avoid the direct moral application1 for each time a child hears a story artistically told1 a little more of the meaning underlying the simple story will come to him without any explanation on your part4 ,the habit of doing one's best instead of one's second- best means1 in the long run1 that one has no interest except in the preparation of the best1 and the stories1 few in number1 polished and finished in style1 will have an effect of which one can scarcely overstate the importance4 ,in the story of the ,swineherd1 ,hans ,andersen says3 ,on the grave of the ,prince's father there grew a rose-tree4 ,it only bloomed once in five years1 and only bore one rose4 ,but what a rose6 ,its perfume was so exquisite that whoever smelt it forgot at once all his cares and sorrows4 ,lafcadio ,hearn says3 ,time weeds out the errors and stupidities of cheap success1 and presents the ,truth4 ,it takes1 like the aloe1 a long time to flower1 but the blossom is all the more precious when it appears4 ,,chapter ,,iii4 ,,the ,,artifices ,,of ,,story-,,telling4 ,by this term ,i do not mean anything against the gospel of simplicity which ,i am so constantly preaching1 but1 for want of a better term1 ,i use the word artifice to express the mechanical devices by which we endeavor to attract and hold the attention of the audience4 ,the art of telling stories is1 in truth1 much more difficult than acting a part on the stage3 ,first1 because the narrator is responsible for the whole drama and the whole atmosphere which surrounds it4 ,he has to live the life of each character and understand the relation which each bears to the whole4 ,secondly1 because the stage is a miniature one1 gestures and movements must all be so adjusted as not to destroy the sense of proportion4 ,i have often noticed that actors1 accustomed to the more roomy public stage1 are apt to be too broad in their gestures and movements when they tell a story4 ,the special training for the story-teller should consist not only in the training of the voice and in choice of language1 but above all in power of delicate suggestion1 which cannot always be used on the stage because this is hampered by the presence of actual things4 ,the story-teller has to present these things to the more delicate organism of the inward eye4 ,so deeply convinced am ,i of the miniature character of the story- telling art that ,i believe one never gets a perfectly artistic presentation of this kind in a very large hall or before a very large audience4 ,i have made experiments along this line1 having twice told a story to an audience in ,america#ab exceeding five thousand1 but on both occasions1 though the dramatic reaction upon oneself from the response of so large an audience was both gratifying and stimulating1 ,i was forced to sacrifice the delicacy of the story and to take from its artistic value by the necessity of emphasis1 in order to be heard by all present4 ,emphasis is the bane of all story-telling1 for it destroys the delicacy1 and the whole performance suggests a struggle in conveying the message4 ,the indecision of the victory leaves the audience restless and unsatisfied4 ,then1 again1 as compared with acting on the stage1 in telling a story one misses the help of effective entrances and exits1 the footlights1 the costume1 the facial expression of your fellow-actor which interprets so much of what you yourself say without further elaboration on your part2 for1 in the story1 in case of a dialogue which necessitates great subtlety and quickness in facial expression and gesture1 one has to be both speaker and listener4 ,now1 of what artifices can we make use to take the place of all the extraneous help offered to actors on the stage8 ,first and foremost1 as a means of suddenly pulling up the attention of the audience1 is the judicious art of pausing4 ,for those who have not actually had experience in the matter1 this advice will seem trite and unnecessary1 but those who have even a little experience will realize with me the extraordinary efficacy of this very simple means4 ,it is really what ,coquelin spoke of as a high light1 where the interest is focused1 as it were1 to a point4 ,i have tried this simple art of pausing with every kind of audience1 and ,i have rarely know it to fail4 ,it is very difficult to offer a concrete example of this1 unless one is giving a live representation1 but ,i shall make an attempt1 and at least ,i shall hope to make myself understood by those who have heard me tell stories4 ,in ,hans ,andersen's ,princess and the ,pea1 the ,king goes down to open the door himself4 ,now1 one may make this point in two ways4 ,one may either say3 ,and then the ,king went to the door1 and at the door there stood a real ,princess1 or1 ,and then the ,king went to the door1 and at the door there stood--7pause7--a real ,princess4 ,it is difficult to exaggerate the difference of effect produced by so slight a pause4#ac ,with children it means an unconscious curiosity which expresses itself in a sudden muscular tension4 ,there is just time during that instant's pause to feel1 though not to formulate1 the question3 ,what is standing at the door8 ,by this means1 half your work of holding the attention is accomplished4 ,it is not necessary for me to enter into the psychological reason of this1 but ,i strongly recommend those who are interested in the question to read the chapter in ,ribot's work on this subject1 ,essai sur ,l',imagination ,creatrice1 as well as ,mr4 ,keatinge's work on ,suggestion4 ,i would advise all teachers to revise their stories with a view to introducing the judicious pause1 and to vary its use according to the age1 the number1 and1 above all1 the mood of the audience4 ,experience alone can insure success in this matter4 ,it has taken me many years to realize the importance of this artifice4 ,among other means for holding the attention of the audience and helping to bring out the points of the story is the use of gesture4 ,i consider1 however1 that it must be a sparing use1 and not of a broad or definite character4 ,we shall never improve on the advice given by ,hamlet to the actors on this subject3 ,see that ye o'erstep not the modesty of ,nature4 ,and yet1 perhaps it is not necessary to warn story-tellers against abuse of gesture4 ,it is more helpful to encourage them in the use of it1 especially in ,anglo-,saxon countries1 where we are fearful of expressing ourselves in this way1 and when we do the gesture often lacks subtlety4 ,the ,anglo-,saxon1 when he does move at all1 moves in solid blocks--a whole arm1 a whole leg1 the whole body but if one watches a ,frenchman or an ,italian in conversation1 one suddenly realizes how varied and subtle are the things which can be suggested by the mere turn of the wrist or the movement of a finger4 ,the power of the hand has been so wonderfully summed up in a passage from ,quintillian that ,i am justified in offering it to all those who wish to realize what can be done by a gesture3 ,as to the hands1 without the aid of which all delivery would be deficient and weak1 it can scarcely be told of what a variety of motions they are susceptible1 since they almost equal in expression the power of language itself4 ,for other parts of the body assist the speaker1 but these1 ,i may almost say1 speak themselves4 ,with our hands we ask1 promise1 call persons to us and send them away1 threaten1 supplicate1 intimate dislike or fear2 with out hands we signify joy1 grief1 doubt1 acknowledgement1 penitence1 and indicate measure1 quantity1 number and time4 ,have not our hands the power of inciting1 of restraining1 or beseeching1 of testifying approbation8 4 4 4 ,so that amidst the great diversity of tongues pervading all nations and people1 the language of the hands appears to be a language common to all men4#ad ,one of the most effective of artifices in telling stories to young children is the use of mimicry--the imitation of animals' voices and sound in general is of never-ending joy to the listeners4 ,however1 ,i should wish to introduce a note of grave warning in connection with this subject4 ,this special artifice can only be used by such narrators as have special aptitude and gifts in this direction4 ,there are many people with good imaginative power but who are wholly lacking in the power of mimicry1 and their efforts in this direction1 however painstaking1 remain grotesque and therefore ineffective4 ,when listening to such performances1 of which children are strangely critical1 one is reminded of the ,french story in which the amateur animal painter is showing her picture to an undiscriminating friend3 ,ah6 says the friend1 this is surely meant for a lion8 ,no1 says the artist 7871 with some slight show of temper1 it is my little lap-dog4 ,another artifice which is particularly successful with very small children is to insure their attention by inviting their cooperation before one actually begins the story4 ,the following has proved quite effective as a short introduction to my stories when ,i was addressing large audiences of children3 ,do you know that last night ,i had a very strange dream1 which ,i am going to tell you before ,i begin the stories8 ,i dreamed that ,i was walking along the streets of---here would follow the town in which ,i happened to be speaking1 with a large bundle on my shoulders1 and this bundle was full of stories which ,i had been collecting all over the world in different countries2 and ,i was shouting at the top of my voice3 ',stories6 ,stories6 ,stories6 ,who will listen to my stories8' ,and the children came flocking round me in my dream1 saying3 ',tell us your stories4 ,we will listen to your stories4' ,so ,i pulled out a story from my big bundle and ,i began in a most excited way1 ,once upon a time there lived a ,king and a ,queen who had no children1 and they---' ,here a little boy1 very much like that little boy ,i see sitting in the front row1 stopped me1 saying3 ',oh1 ,i know that old story3 it's ,sleeping ,beauty4' ,so ,i pulled out a second story1 and began3 ',once upon a time there was a little girl who was sent by her mother to visit her grandmother ---' ,then a little girl1 so much like the one sitting at the end of the second row1 said3 ',oh6 everybody knows that story6 ,it's---' ,here ,i would like to make a judicious pause1 and then the children in the audience would shout in chorus1 with joyful superiority3 ,little ,red ,riding-,hood6 before ,i had time to explain that the children in my dream had done the same4 ,this method ,i repeated two or three times1 being careful to choose very well-known stories4 ,by this time the children were all encouraged and stimulated4 ,i usually finished with congratulations on the number of stories they knew1 expressing a hope that some of those ,i was going to tell that afternoon would be new to them4 ,i have rarely found this plan to fail to establish a friendly relation between oneself and the juvenile audience4 ,it is often a matter of great difficulty1 not to win the attention of an audience but to keep it1 and one of the most subtle artifices is to let the audience down 7without their perceiving it7 after a dramatic situation1 so that the reaction may prepare them for the interest of the next situation4 ,an excellent instance of this is to be found in ,rudyard ,kipling's story of ,the ,cat ,that ,walked 4 4 4 where the repetition of words acts as a sort of sedative until one realizes the beginning of a fresh situation4 ,the great point is never to let the audience quite down1 that is1 in stories which depend on dramatic situations4 ,it is just a question of shade and color in the language4 ,if you are telling a story in sections1 and one spread over two or three occasions1 you should always stop at an exciting moment4 ,it encourages speculation in the children's minds1 which increases their interest when the story is taken up again4 ,another very necessary quality in the mere artifice of story-telling is to watch your audience1 so as to be able to know whether its mood is for action or reaction1 and to alter your story accordingly4 ,the moods of reaction are rarer1 and you must use them for presenting a different kind of material4 ,here is your opportunity for introducing a piece of poetic description1 given in beautiful language1 to which the children cannot listen when they are eager for action and dramatic excitement4 ,perhaps one of the greatest artifices is to take a quick hold of your audience by a striking beginning which will enlist their attention from the start4 ,you can then relax somewhat1 but you must be careful also of the end because that is what remains most vivid to the children4 ,if you question them as to which story they like best in a program1 you will constantly find it to be the last one you have told1 which has for the moment blurred out the others4 ,here are a few specimens of beginnings which seldom fail to arrest the attention of the child3 ,there was once a giant ogre1 and he lived in a cave by himself4 ,from ,the ,giant and ,jack-straws1 ,david ,starr ,jordan4 ,there were once twenty-five tin soldiers1 who were all brothers1 for they had been made out of the same old tin spoon4 ,from ,the ,tin ,soldier1 ,hans ,christian ,andersen4 ,there was once an ,emperor who had a horse shod with gold4 ,from ,the ,beetle1 ,hans ,christian ,andersen4 ,there was once a merchant who was so rich that he could have paved the whole street with gold1 and even then he would have had enough for a small alley4 ,from the ,the ,flying ,trunk1 ,hans ,christian ,andersen4 ,there was once a shilling which came forth from the mint springing and shouting1 ',hurrah6 ,now ,i am going out into the wide world4' ,from ,the ,silver ,shilling1 ,hans ,christian ,andersen4 ,in the ,high and ,far ,off ,times the ,elephant1 ,o ,best ,beloved1 had no trunk4 ,from ,the ,elephant's ,child3 ,just ,so ,stories1 ,rudyard ,kipling4 ,not always was the ,kangaroo as now we behold him1 but a ,different ,animal with four short legs4 ,from ,old ,man ,kangaroo3 ,just ,so ,stories1 ,rudyard ,kipling4 ,whichever way ,i turn1 said the weather-cock on a high steeple1 no one is satisfied4 ,from ,fire-side ,fables1 ,edwin ,barrow4 ,a set of chessmen1 left standing on their board1 resolved to alter the rules of the game4 ,from the same source4 ,the ,pink ,parasol had tender whalebone ribs and a slender stick of cherry-wood4 ,from ,very ,short ,stories1 ,mrs4 ,w4 ,k4 ,clifford4 ,there was once a poor little ,donkey on ,wheels3 it had never wagged its tail1 or tossed its head1 or said ',hee-haw1' or tasted a tender thistle4 ,from the same source4 ,now1 some of these beginnings are1 of course1 for very young children1 but they all have the same advantage1 that of plunging in medias res1 and1 therefore1 arrest attention at once1 contrary to the stories which open on a leisurely note of description4 ,in the same way we must be careful about the endings of stories4 ,they must impress themselves either in a very dramatic climax to which the whole story has worked up1 as in the following3 ,then he goes out the ,wet ,wild ,woods1 or up the ,wet ,wild ,trees1 or on the ,wet ,wild ,roofs1 waving his ,wild ,tail1 and walking by his ,wild ,lone4 ,from ,just ,so ,stories1 ,rudyard ,kipling4 ,or by an anti-climax for effect3 ,we have all this straight from the alderman's newspaper1 but it is not to be depended on4 ,from ,jack the ,dullard1 ,hans ,christian ,andersen4 ,or by evading the point3 ,whoever does not believe this must buy shares in the ,tanner's yard4 ,from ,a ,great ,grief1 ,hans ,christian ,andersen4 ,or by some striking general comment3 ,he has never caught up with the three days he missed at the beginning of the world1 and he has never learnt how to behave4 ,from ,how the ,camel got his ,hump3 ,just ,so ,stories1 ,rudyard ,kipling4 ,i have only suggested in this chapter a few of the artifices which ,i have found useful in my own experience1 but ,i am sure that many more might be added4 ,,chapter ,,iv4 ,,elements ,,to ,,avoid ,,in ,,the ,,selection ,,of ,,material4 ,i am confronted in this portion of my work with a great difficulty1 because ,i cannot afford to be as catholic as ,i could wish 7this rejection or selection of material being primarily intended for those story-tellers dealing with normal children72 but ,i do wish from the outset to distinguish between a story told to an individual child in the home circle or by a personal friend1 and a story told to a group of children as part of the school curriculum4 ,and if ,i seem to reiterate this difference1 it is because ,i wish to show very clearly that the recital of parents and friends may be quite separate in content and manner from that offered by the teaching world4 ,in the former case1 almost any subject can be treated1 because1 knowing the individual temperament of the child1 a wise parent or friend knows also what can be presented or not presented to the child2 but in dealing with a group of normal children in school much has to be eliminated that could be given fearlessly to the abnormal child2 ,i mean the child who1 by circumstances or temperament1 is developed beyond his years4 ,i shall now mention some of the elements which experience has shown me to be unsuitable for class stories4 ,i4 ,stories dealing with analysis of motive and feeling4 ,this warning is specially necessary today1 because this is1 above all1 an age of introspection and analysis4 ,we have only to glance at the principal novels and plays during the last quarter of a century1 more especially during the last ten years1 to see how this spirit has crept into our literature and life4 ,now1 this tendency to analyze is obviously more dangerous for children than for adults1 because1 from lack of experience and knowledge of psychology1 the child's analysis is incomplete4 ,it cannot see all the causes of the action1 nor can it make that philosophical allowance for mood which brings the adult to truer conclusions4 ,therefore1 we should discourage the child who shows a tendency to analyze too closely the motives of its action1 and refrain from presenting to them in our stories any example which might encourage them to persist in this course4 ,i remember1 on one occasion1 when ,i went to say good night to a little girl of my acquaintance1 ,i found her sitting up in bed1 very wide- awake4 ,her eyes were shining1 her cheeks were flushed1 and when ,i asked her what had excited her so much1 she said3 ,i know ,i have done something wrong today1 but ,i cannot quite remember what it was4 ,i said3 ,but1 ,phyllis1 if you put your hand1 which is really quite small1 in front of your eyes1 you could not see the shape of anything else1 however large it might be4 ,now1 what you have done today appears very large because it is so close1 but when it is a little further off1 you will be able to see better and know more about it4 ,so let us wait till tomorrow morning4 ,i am happy to say that she took my advice4 ,she was soon fast asleep1 and the next morning she had forgotten the wrong over which she had been unhealthily brooding the night before4 #b4 ,stories dealing too much with sarcasm and satire4 ,these are weapons which are too sharply polished1 and therefore too dangerous1 to place in the hands of children4 ,for here again1 as in the case of analysis1 they can only have a very incomplete conception of the case4 ,they do not know the real cause which produces the apparently ridiculous appearance1 and it is only the abnormally gifted child or grown-up person who discovers this by instinct4 ,it takes a lifetime to arrive at the position described in ,sterne's words3 ,i would not have let fallen an unseasonable pleasantry in the venerable presence of misery to be entitled to all the with which ,rabelais has ever scattered4 ,i will hasten to add that ,i should not wish children to have their sympathy too much drawn out1 of their emotions kindled too much to pity1 because this would be neither healthy nor helpful to themselves or others4 ,i only want to protect children from the dangerous critical attitude induced by the use of satire which sacrifices too much of the atmosphere of trust and belief in human beings which ought to be an essential of child life4 ,by indulging in satire1 the sense of kindness in children would become perverted1 their sympathy cramped1 and they themselves would be old before their time4 ,we have an excellent example of this in ,hans ,christian ,andersen's ,snow ,queen4 ,when ,kay gets the piece of broken mirror into his eye1 he no longer sees the world from the normal child's point of view2 he can no longer see anything but the foibles of those about him1 a condition usually reached by a course of pessimistic experience4 ,andersen sums up the unnatural point of view in these words3 ,when ,kay tried to repeat the ,lord's ,prayer1 he could only remember the multiplication table4 ,now1 without taking these words in any literal sense1 we can admit that they represent the development of the head at the expense of the heart4 ,an example of this kind of story to avoid is ,andersen's ,story of the ,butterfly4 ,the bitterness of the ,anemones1 the sentimentality of the ,violets1 the schoolgirlishness of the ,snowdrops1 the domesticity of the ,sweetpeas--all this tickles the palate of the adult1 but does not belong to the place of the normal child4 ,again1 ,i repeat1 that the unusual child may take all this in and even preserve his kindly attitude towards the world1 but it is dangerous atmosphere for the ordinary child4 #c4 ,stories of a sentimental character4 ,strange to say1 this element of sentimentality appeals more to the young teachers than to the children themselves4 ,it is difficult to define the difference between real sentiment and sentimentality1 but the healthy normal boy or girl of1 let us say1 ten or eleven years old1 seems to feel it unconsciously1 though the distinction is not so clear a few years later4 ,mrs4 ,elisabeth ,mc,cracken contributed an excellent article some years ago to the ,outlook on the subject of literature for the young1 in which we find a good illustration of this power of discrimination on the part of a child4 ,a young teacher was telling her pupils the story of the emotional lady who1 to put her lover to the test1 bade him pick up the glove which she had thrown down into the arena between the tiger and the lion4 ,the lover does her bidding in order to vindicate his character as a brave knight4 ,one boy after hearing the story at once states his contempt for the knight's acquiescence1 which he declares to be unworthy4 ,but1 says the teacher1 you see he really did it to show the lady how foolish she was4 ,the answer of the boy sums up what ,i have been trying to show3 ,there was no sense in his being sillier than she was1 to show her she was silly4 ,if the boy had stopped there1 we might have concluded that he was lacking in imagination or romance1 but his next remark proves what a balanced and discriminating person he was1 for he added3 ,now1 if she had fallen in1 and he had leapt after her to rescue her1 that would have been splendid and of some use4 ,given the character of the lady1 we might1 as adults1 question the last part of the boy's statement1 but this is pure cynicism and fortunately does not enter into the child's calculations4 ,in my own personal experience1 and ,i have told this story often in the ,german ballad form to girls of ten and twelve in the high schools in ,england1 ,i have never found one girl who sympathized with the lady or who failed to appreciate the poetic justice meted out to her in the end by the dignified renunciation of the knight4 ,chesterton defines sentimentality as a tame1 cold1 or small and inadequate manner of speaking about certain matters which demand very large and beautiful expression4 ,i would strongly urge upon young teachers to revise1 by this definition1 some of the stories they have included in their repertories1 and see whether they would stand the test or not4 #d4 ,stories containing strong sensational episodes4 ,the danger of this kind of story is all the greater because many children delight in it and some crave for it in the abstract1 but fear it in the concrete4#ae ,an affectionate aunt1 on one occasion1 anxious to curry favor with a four-year-old nephew1 was taxing her imagination to find a story suitable for his tender years4 ,she was greatly startled when he suddenly said1 in a most imperative tone3 ,tell me the story of a bear eating a small boy4 ,this was so remote from her own choice of subject that she hesitated at first1 but coming to the conclusion that as the child had chosen the situation he would feel no terror in the working up of its details1 she a most thrilling and blood-curdling story1 leading up to the final catastrophe4 ,but just as she reached the great dramatic moment1 the child raised his hands in terror and said3 ,oh6 ,auntie1 don't let the bear really eat the boy6 ,don't you know1 said an impatient boy who had been listening to a mild adventure story considered suitable to his years1 that ,i don't take any interest in the story until the decks are dripping with gore8 ,here we have no opportunity of deciding whether or not the actual description demanded would be more alarming than the listener had realized4 ,here is a poem of ,james ,stephens1 showing a child's taste for sensational things3 ,a man was sitting underneath a tree ,outside the village1 and he asked me ,what name was upon this place1 and said he ,was never here before4 ,he told a ,lot of stories to me too4 ,his nose was flat4 ,i asked him how it happened1 and he said1 ,the first mate of the ,mary ,ann done that ,with a marling-spike one day1 but he was dead1 ,and a jolly job too1 but he'd have gone a long way to have killed him4 ,a gold ring in one ear1 and the other was bit off by a crocodile1 bedad1 ,that's what he said3 ,he taught me how to chew4 ,he was a real nice man4 ,he liked me too4 ,the taste that is fed by the sensational contents of the newspapers and the dramatic excitement of street life1 and some of the lurid representations of the cinematograph1 is so much stimulated that the interest in normal stories is difficult to rouse4 ,i will not here dwell on the deleterious effects of over-dramatic stimulation1 which has been known to lead to crime1 since ,i am keener to prevent the telling of too many sensational stories than to suggest a cure when the mischief is done4 ,kate ,douglas ,wiggin has said3 ,let us be realistic1 by all means1 but beware1 ,o story-teller1 of being too realistic4 ,avoid the shuddering tale of 'the wicked boy who stoned the birds1' lest some hearer should be inspired to try the dreadful experiment and see if it really does kill4 ,i must emphasize the fact1 however1 that it is only the excess of this dramatic element which ,i deplore4 ,a certain amount of excitement is necessary1 but this question belongs to the positive side of the subject1 and ,i shall deal with it later on4 #e4 ,stories presenting matters quite outside the plane of a child's interests1 unless they are wrapped in mystery4 ,experience with children ought to teach us to avoid stories which contain too much allusion to matters of which the hearers are entirely ignorant4 ,but judging from the written stories of today1 supposed to be for children1 it is still a matter of difficulty to realize that this form of allusion to foreign matters1 or making a joke1 the appreciation of which depends solely on a special and inside knowledge1 is always bewildering and fatal to sustained dramatic interest4 ,it is a matter of intense regret that so very few people have sufficiently clear remembrance of their own childhood to help them to understand the taste and point of view of the normal child4 ,there is a passage in the ,brownies1 by ,mrs4 ,ewing1 which illustrates the confusion created in the child mind by a facetious allusion in a dramatic moment which needed a more direct treatment4 ,when the nursery toys have all gone astray1 one little child exclaims joyfully3 ,why1 the old ,rocking-,horse's nose has turned up in the oven6 ,it couldn't1 remarks a tiresome1 facetious doctor1 far more anxious to be funny than to sympathized with the child1 it was the purest ,grecian1 modeled from the ,elgin marbles4 ,now1 for grownup people this is an excellent joke1 but for a child has not yet become acquainted with these ,grecian masterpieces1 the whole remark is pointless and hampering4#af #f4 ,stories which appeal to fear or priggishness4 ,this is a class of story which scarcely counts today and against which the teacher does not need a warning1 but ,i wish to make a passing allusion to these stories1 partly to round off my subject and partly to show that we have made some improvement in choice of subject4 ,when ,i study the evolution of the story from the crude recitals offered to our children within the last hundred years1 ,i feel that1 though our progress may be slow1 it is real and sure4 ,one has only to take some examples from the ,chaps ,books of the beginning of last century to realize the difference of appeal4 ,everything offered then was either an appeal to fear or to priggishness1 and one wonders how it is that our grandparents and their parents every recovered from the effects of such stories as were offered to them4 ,but there is the consoling thought that no lasting impression was made upon them1 such as ,i believe may be possible by the right kind of story4 ,i offer a few examples of the old type of story3 ,here is an encouraging address offered to children by a certain ,mr4 ,janeway about the year #ahbh3 ,dare you do anything which your parents forbid you1 and neglect to do what they command8 ,dare you to run up and down on the ,lord's ,day1 or do you keep in to read your book1 and learn what your good parents command8 ,such an address would have almost tempted children to envy the lot of orphans1 except that the guardians and less close relations might have been equally1 if not more1 severe4 ,from ,the ,curious ,girl1 published about #ahji3 ,oh6 papa1 ,i hope you will have no reason to be dissatisfied with me1 for ,i love my studies very much1 and ,i am never so happy at my play as when ,i have been assiduous at my lessons all day4 ,adolphus3 ,how strange it is1 papa1 you should believe it possible for me to act so like a child1 now that ,i am twelve years old6 ,here is a specimen taken from a ,chap ,book about #ahce3 ,edward refuses hot bread at breakfast4 ,his hostess asks whether he likes it4 ,yes1 ,i am extremely fond of it4 ,why did you refuse it8 ,because ,i know that my papa does not approve of my eating it4 ,am ,i to disobey a ,father and ,mother ,i love so well1 and forget my duty1 because they are a long way off8 ,i would not touch the cake1 were ,i sure nobody would see me4 ,i myself should know it1 and that would be sufficient4 ,nobly replied6 exclaimed ,mrs4 ,c4 ,act always thus1 and you must be happy1 for although the whole world should refuse the praise that is due1 you must enjoy the approbation of your conscience1 which is beyond anything else4 ,here is a quotation of the same kind from ,mrs4 ,sherwood3 ,tender-souled little creatures1 desolated by a sense of sin1 if they did but eat a spoonful of cupboard jam without ,mamma's express permission4 4 4 4 ,would a modern ,lucy1 jealous of her sister ,emily's doll1 break out thus easily into tearful apology for her guilt3 ',i know it is wicked in me to be sorry that ,emily is happy1 but ,i feel that ,i cannot help it'8 ,and would a modern mother retort with heartfelt joy3 ',my dear child1 ,i am glad you have confessed4 ,now ,i shall tell you why you feel this wicked sorrow'8--proceeding to an account of the depravity of human nature so unredeemed by comfort for a childish mind of common intelligence that one can scarcely imagine the interview ending in anything less tragic than a fit of juvenile hysteria4 ,description of a good boy3 ,a good boy is dutiful to his ,father and ,mother1 obedient to his master and loving to his playfellows4 ,he is diligent in learning his book and takes a pleasure in improving himself in everything that is worthy of praise4 ,he rises early in the morning1 makes himself clean and decent1 and says his prayers4 ,he loves to hear good advice1 is thankful to those who give it and always follows it4 ,he never swears#ag or calls names or uses ill words to companions4 ,he is never peevish and fretful1 always cheerful and good-tempered4 #g4 ,stories of exaggerated and coarse fun4 ,in the chapter on the positive side of this subject ,i shall speak more in detail of the educational value of robust and virile representation of fun and of sheer nonsense1 but as a preparation to these statements1 ,i should like to strike a note of warning against the element of exaggerated and coarse fun being encouraged in our school stories1 partly1 because of the lack of humor in such presentations 7a natural product of stifling imagination7 and partly1 because the strain of the abnormal has the same effect as the too frequent use of the melodramatic4 ,in an article in ,macmillans's ,magazine1 ,december1 #ahfi1 ,miss ,yonge writes3 ,a taste for buffoonery is much to be discouraged1 an exclusive taste for extravagance most unwholesome and even perverting4 ,it becomes destructive of reverence and soon degenerates into coarseness4 ,it permits nothing poetical or imaginative1 nothing sweet or pathetic to exist1 and there is a certain self-satisfaction and superiority in making game of what others regard with enthusiasm and sentiment which absolutely bars the way against a higher or softer tone4 ,although these words were written nearly half a century ago1 they are so specially applicable today that they seem quite up-to-date4 ,indeed1 ,i think they will hold equally good fifty years hence4 ,in spite of a strong taste on the part of children for what is ugly and brutal1 ,i am sure that we ought to eliminate this element as far as possible from the school stories1 especially among poor children4 ,not because ,i think children should be protected from all knowledge of evil1 but because so much of this knowledge comes into their life outside school that we can well afford to ignore it during school hours4 ,at the same time1 however1 as ,i shall show by example when ,i come to the positive side1 it would be well to show children by story illustration the difference between brutal ugliness without anything to redeem it and surface ugliness1 which may be only a veil over the beauty that lies underneath4 ,it might be possible1 for instance1 to show children the difference between the real ugliness in the priest's face of the ,laocoon group1 because of the motive of courage and endurance behind the suffering4 ,many stories in everyday life could be found to illustrate this4 #h4 ,stories of infant piety and death-bed scenes4 ,the stories for children forty years ago contained much of this element1 and the following examples will illustrate this point3 ,notes from poems written by a child between six and eight years of age1 by name ,philip ,freeman1 afterwards ,archdeacon of ,exeter3 ,poor ,robin1 thou canst fly no more1 ,thy joys and sorrows all are o'er4 ,through ,life's tempestuous storms thou'st trod1 ,but now art sunk beneath the sod4 ,here lost and gone poor ,robin lies1 ,he trembles1 lingers1 falls and dies4 ,he's gone1 he's gone1 forever lost1 ,no more of him they now can boast4 ,poor ,robin's dangers all are past1 ,he struggled to the very last4 ,perhaps he spent a happy ,life1 ,without much struggle and much strife4#ah ,the prolonged gloom of the main theme is somewhat lightened by the speculative optimism of the last verse4 ,life1 transient ,life1 is but a dream1 ,like ,sleep which short doth lengthened seem ,till dawn of day1 when the bird's lay ,doth charm the soul's first peeping gleam4 ,then farewell to the parting year1 ,another's come to ,nature dear4 ,in every place1 thy brightening face ,does welcome winter's snowy drear4 ,alas6 our time is much mis-spent4 ,then we must haste and now repent4 ,we have a book in which to look1 ,for we on ,wisdom should be bent4 ,should ,god1 the ,almighty1 ,king of all1 ,before ,his judgment-seat now call ,us to that place of ,joy and ,grace ,prepared for us since ,adam's fall4 ,i think there is no doubt that we have made considerable progress in this matter4 ,not only do we refrain from telling these highly moral 7sic7 stories but we have reached the point of parodying them1 in sign of ridicule1 as1 for instance1 in such writing as ,belloc's ,cautionary ,tales4 ,these would be a trifle too grim for a timid child1 but excellent fun for adults4 ,it should be our study today to prove to children that the immediate importance to them is not to think of dying and going to ,heaven1 but of living and--shall we say8--of going to college1 which is a far better preparation for the life to come than the morbid dwelling upon the possibility of an early death4 ,in an article signed ,muriel ,harris1 ,i think1 from a copy of the ,tribune1 appeared a delightful article on ,sunday books1 from which ,i quote the following3 ,all very good little children died young in the storybooks1 so that unusual goodness must have been the source of considerable anxiety to affectionate parents4 ,i came across a little old book the other day called ',examples for ,youth4' ,on the yellow fly-leaf was written1 in childish1 carefully-sloping hand3 ',presented to ,mary ,palmer ,junior1 by her sister1 to be read on ,sundays1' and was dated #ahbh4 ,the accounts are taken from a work on ,piety ,promoted1 and all of them begin with unusual piety in early youth and end with the death-bed of the little paragon1 and his or her dying words4 #i4 ,stories containing a mixture of fairy tale and science4 ,by this combination one loses what is essential to each1 namely1 the fantastic on the one side1 and accuracy on the other4 ,the true fairy tale should be unhampered by any compromise of probability even2 the scientific representation should be sufficiently marvelous along its own lines to need no supernatural aid4 ,both appeal to the imagination in different ways4 ,as an exception to this kind of mixture1 ,i should quote ,the ,honey ,bee1 and ,other ,stories1 translated from the ,danish of ,evald by ,c4 ,g4 ,moore ,smith4 ,there is a certain robustness in these stories dealing with the inexorable laws of ,nature4 ,some of them will appear hard to the child but they will be of interest to all teachers4 ,perhaps the worst element in the choice of stories is that which insists upon the moral detaching itself and explaining the story4 ,in ,alice in ,wonderland the ,duchess says1 ',and the moral of that is3 ,take care of the sense and the sounds will take care of themselves4' ,how fond she is of finding morals in things1 thought ,alice to herself4 7,this gives the point of view of the child47 ,the following is a case in point1 found in a rare old print in the ,british ,museum3 ,jane ,s4 came home with her clothes soiled and hands badly torn4 ,where have you been8 asked her mother4 ,i fell down the bank near the mill1 said ,jane1 and ,i should have been drowned1 if ,mr4 ,m4 had not seen me and pulled me out4 ,why did you go so near the edge of the brink8 ,there was a pretty flower there that ,i wanted1 and ,i only meant to take one step1 but ,i slipped and fell down4 ,moral3 ,young people often take but one step in sinful indulgence ,poor ,jane61 but they fall into soul-destroying sins4 ,they can do it by a single act of sin4 ,the heinous act of picking a flower6 ,they do it2 but the act leads to another1 and they fall into the gulf of ,perdition1 unless ,god interposes4 ,now1 quite apart from the folly of this story we must condemn it on moral grounds4 ,could we imagine a lower standard of a ,deity than that presented here to the child8 ,today the teacher would commend ,jane for a laudable interest in botany1 but might add a word of caution about choosing inclined planes in the close neighborhood of a body of running water as a hunting ground for specimens and a popular1 lucid explanation of the inexorable law of gravity4 ,here we have an instance of applying a moral when we have finished our story1 but there are many stories where nothing is left to chance in this matter and where there is no means for the child to use ingenuity or imagination in making out the meaning for himself4 ,henry ,morley has condemned the use of this method as applied to fairy stories4 ,he says3 ,moralizing in a fairy story is like the snoring of ,bottom in ,titania's lap4 ,but ,i think this applies to all stories1 and most especially to those by which we do wish to teach something4 ,john ,burroughs says in his article1 ,thou ,shalt ,not ,preach3#ai ,didactic fiction can never rank high4 ,thou shalt not preach or teach2 thou shalt portray and create1 and have ends as universal as nature4 4 4 4 ,what ,art demands is that the artist's personal convictions and notions1 his likes and dislikes1 do not obtrude themselves at all2 that good and evil stand judged in his work by the logic of events1 as they do in nature1 and not by any special pleading on his part4 ,he does non hold a brief for either side2 he exemplifies the working of the creative energy4 4 4 4 ,the great artist works in and through and from moral ideas2 his works are indirectly a criticism of life4 ,he is moral without having a moral4 ,the moment a moral obtrudes itself1 that moment he begins to fall from grace as an artist4 4 4 4 ,the great distinction of ,art is that it aims to see life steadily and to see it whole4 4 4 4 ,it affords the one point of view whence the world appears harmonious and complete4 ,it would seem1 then1 from this passage1 that it is of moral importance to put things dramatically4 ,in ,froebel's ,mother ,play he demonstrates the educational value of stories1 emphasizing that their highest use consists in their ability to enable the child1 through suggestion1 to form a pure and noble idea of what a man may be or do4 ,the sensitiveness of a child's mind is offended if the moral is forced upon him1 but if he absorbs it unconsciously1 he has received its influence for all time4 ,to me the idea of pointing out the moral of the story has always seemed as futile as tying a flower on a stalk instead of letting the flower grow out of the stalk1 as ,nature has intended4 ,in the first case1 the flower1 showy and bright for the moment1 soon fades away4 ,in the second instance1 it develops slowly1 coming to perfection in fullness of time because of the life within4 ,lastly1 the element to avoid is that which rouses emotions which cannot be translated into action4 ,mr4 ,earl ,barnes1 to whom all teachers owe a debt of gratitude for the inspiration of his educational views1 insists strongly on this point4 ,the sole effect of such stories is to produce a form of hysteria1 fortunately short-lived1 but a waste of force which might be directed into a better channel4#bj ,such stories are so easy to recognize that it would be useless to make a formal list1 but ,i make further allusion to them1 in dealing with stories from the lives of the saints4 ,these1 then1 are the main elements to avoid in the selection of material suitable for normal children4 ,much might be added in the way of detail1 and the special tendency of the day may make it necessary to avoid one class of story more than another1 but this care belongs to another generation of teachers and parents4 ,,chapter ,v4 ,,elements ,,to ,,seek ,,in ,,choice ,,of ,,material4 ,in his ,choice of ,books1 ,frederic ,harrison has said3 ,the most useful help to reading is to know what we shall not read1 what we shall keep from that small1 cleared spot in the overgrown jungle of information which we can call our ordered patch of fruit-bearing knowledge4 ,now1 the same statement applies to our stories1 and1 having busied myself during the last chapter with clearing my small spot by cutting away a mass of unfruitful growth1 ,i am no going to suggest what would be the best kind of seed to sow in the patch which ,i have reclaimed from the jungle4 ,again1 ,i repeat1 ,i have no wish to be dogmatic and in offering suggestions as to the stories to be told1 ,i am catering only for a group of normal school children4 ,my list of subjects does not pretend to cover the whole ground of children's needs1 and just as ,i exclude the abnormal or unusual child from the scope of my warning in subjects to avoid1 so do ,i also exclude that child from the limitation in choice of subjects to be sought1 because you can offer almost any subject to the unusual child1 especially if you stand in close relation to him and know his powers of apprehension4 ,in this matter1 age has very little to say2 it is a question of the stage of development4 ,experience has taught me that for the group of normal children1 irrespective of age1 the first kind of story suitable for them will contain an appeal to conditions to which the child is accustomed4 ,the reason for this is obvious3 the child1 having limited experience1 can only be reached by this experience1 until his imagination is awakened and he is enabled to grasp through this faculty what he has not actually passed through4 ,before this awakening has taken place he enters the realm of fiction1 represented in the story1 by comparison with his personal experience4 ,every story and every point in the story mean more as that experience widens1 and the interest varies1 of course1 with temperament1 quickness of perception1 power of visualizing and of concentration4 ,in ,the ,marsh ,king's ,daughter1 ,hans ,christian ,andersen says3 ,the storks have a great many stories which they tell their little ones1 all about the bogs and marshes4 ,they suit them to their age and capacity4 ,the young ones are quite satisfied with kribble1 krabble1 or some such nonsense1 and find it charming2 but the elder ones want something with more meaning4 ,one of the most interesting experiments to be made in connection with this subject is to tell the same story at intervals of a year or six months to an individual child4#ba ,the different incidents in the story which appeal to him 7and one must watch it closely1 to be sure the interest is real and not artificially stimulated by any suggestion on one's own part7 will mark his mental development and the gradual awakening of his imagination4 ,this experiment is a very delicate one and will not be infallible1 because children are secretive and the appreciation is often simulated 7unconsciously7 or concealed through shyness or want of articulation4 ,but it is1 in spite of this1 a deeply interesting and helpful experiment4 ,to take a concrete example3 ,let us suppose the story ,andersen's ,tin ,soldier told to a child of five or six years4 ,at the first recital1 the point which will interest the child most will be the setting up of the tin soldiers on the table1 because he can understand this by means of his own experience1 in his own nursery4 ,it is an appeal to conditions to which he is accustomed and for which no exercise of the imagination is needed1 unless we take the effect of memory to be1 according to ,queyrat1 retrospective imagination4 ,the next incident that appeals is the unfamiliar behavior of the toys1 but still in familiar surroundings2 that is to say1 the unusual activities are carried on in the safe precincts of the nursery--the usual atmosphere of the child4 ,i quote from the text3 ,late in the evening the other soldiers were put in their box1 and the people of the house went to bed4 ,now was the time for the toys to play2 they amused themselves with paying visits1 fighting battles and giving balls4 ,the tin soldiers rustled about in their box1 for they wanted to join the games1 but they could not get the lid off4 ,the nut-crackers turned somersaults1 and the pencil scribbled nonsense on the slate4 ,now1 from this point onwards in the story1 the events will be quite outside the personal experience of the child and there will have to be a real stretch of imagination to appreciate the thrilling and blood- curdling adventures of the tin soldier1 namely1 the terrible sailing down the gutter under the bridge1 the meeting with the fierce rat who demands the soldier's passport1 the horrible sensation in the fish's body1 etc4 ,last of all1 perhaps1 will come the appreciation of the best qualities of the hero3 his modesty1 his dignity1 his reticence1 his courage and his constancy4 ,he seems to combine all the qualities of the best soldier with those of the best civilian1 without the more obvious qualities which generally attract first4 ,as for the love story1 we must expect any child to see its tenderness and beauty1 though the individual child may intuitively appreciate these qualities1 but it is not what we wish for or work for at this period of child life4 ,this method could be applied to various stories4 ,i have chosen the ,tin ,soldier because of its dramatic qualities and because it is marked off1 probably quite unconsciously on the part of ,andersen1 into periods which correspond to the child's development4 ,in ,eugene ,field's exquisite little poem of ,the ,dinkey ,bird1 we find the objects familiar to the child in unusual places1 so that some imagination is needed to realize that big red sugar-plums are clinging to the cliffs beside the sea2 but the introduction of the fantastic bird and the soothing sound of amfalula tree are new and delightful sensations1 quite out of the child's personal experience4 ,another such instance is to be found in ,mrs4 ,w4 ,k4 ,clifford's story of ,master ,willie4 ,the abnormal behavior of familiar objects1 such as a doll1 leads from the ordinary routine to the paths of adventure4 ,this story is to be found in a little book called ,very ,short ,stories1 a most interesting collection for teachers and children4 ,we now come to the second element we should seek in material1 namely1 the element of the unusual1 which we have already anticipated in the story of the ,tin ,soldier4 ,this element is necessary in response to the demand of the child who expressed the needs of his fellow-playmates when he said3 ,i want to go to the place where the shadows are real4 ,this is the true definition of faerie lands and is the first sign of real mental development in the child when he is no longer content with the stories of his own little deeds and experiences1 when his ear begins to appreciate sounds different from the words in his own everyday language1 and when he begins to separate his own personality from the action of the story4 ,george ,goschen says3 ,what ,i want for the young are books and stories which do not simply deal with our daily life4 ,i like the fancy even of little children to have some larger food than images of their own little lives1 and ,i confess ,i am sorry for the children whose imaginations are not sometimes stimulated by beautiful fairy tales which carry them to worlds different from those in which their future will be passed4 4 4 4 ,i hold that what removes them more or less from their daily life is better than what reminds them of it at every step4#bb ,it is because of the great value of leading children to something beyond the limited circle of their own lives that ,i deplore the twaddling boarding-school stories written for girls and the artificially prepared public school stories for boys4 ,why not give them the dramatic interest of a larger stage8 ,no account of a cricket match or a football triumph could present a finer appeal to boys and girls than the description of the ,peacestead in the ,heroes of ,asgaard3 ,this was the playground of the ,aesir1 where they practiced trials of skill one with another and held tournaments and sham fights4 ,these last were always conducted in the gentlest and most honorable manner2 for the strongest law of the ,peacestead was that no angry blow should be struck or spiteful word spoken upon the sacred field4 ,for my part1 ,i would unhesitatingly give to boys and girls an element of strong romance in the stories which are told them even before they are twelve4 ,miss ,sewell says3 ,the system that keeps girls in the schoolroom reading simple stories1 without reading ,scott and ,shakespeare and ,spenser1 and then hands them over to the unexplored recesses of the ,circulating ,library1 has been shown to be the most frivolizing that can be devised4 ,she sets forth as the result of her experience that a good novel1 especially a romantic one1 read at twelve or fourteen1 is really a beneficial thing4 ,at present1 so many of the children from the elementary schools get their first idea of love1 if one can give it such a name from vulgar pictures displayed in the shop windows or jokes on marriage1 culled from the lowest type of paper1 or the proceedings of a divorce court4 ,what an antidote to such representation might be found in the stories of ,hector and ,andromache1 ,siegfried and ,brunnehilde1 ,dido and ,aeneas1 ,orpheus and ,eurydice1 ,st4 ,francis and ,st4 ,clare6 ,one of the strongest elements we should introduce into our stories for children of all ages is that which calls forth love of beauty4 ,and the beauty should stand out1 not only in the delineation of noble qualities in our heroes and heroines1 but in the beauty and strength of language and form4 ,in this latter respect1 the ,bible stories are of such inestimable value2 all the greater because a child is familiar with the subject and the stories gain fresh significance from the spoken or winged word as compared with the mere reading4 ,as to whether we should keep to the actual text is a matter of individual experience4 ,professor ,r4 ,g4 ,moulton1 whose interpretations of the ,bible stories are so well known both in ,england and ,america1 does not always confine himself to the actual text1 but draws the dramatic elements together1 rejecting what seems to him to break the narrative1 but introducing the actual language where it is the most effective4 ,those who have heard him will realize the success of his method4 ,there is one ,bible story which can be told with scarcely any deviation from the text1 if only a few hints are given beforehand1 and that is the story of ,nebuchadnezzar and the ,golden ,image4 ,thus1 ,i think it wise1 if the children are to succeed in partially visualizing the story1 that they should have some idea of the dimensions of the ,golden ,image as it would stand out in a vast plain4 ,it might be well to compare those dimension with some building with which the child is familiar4 ,in ,london1 the matter is easy as the height will compare1 roughly speaking1 with ,westminster ,abbey4 ,the only change in text ,i should adopt is to avoid the constant enumeration of the list of rulers and the musical instruments4 ,in doing this1 ,i am aware that ,i am sacrificing something of beauty in the rhythm1 but1 on the other hand1 for narrative purpose the interest is not broken4 ,the first time the announcement is made1 that is1 by the ,herald1 it should be in a perfectly loud1 clear and toneless voice1 such as you would naturally use when shouting through a trumpet to a vast concourse of people scattered over a wide plain1 reserving all the dramatic tone of voice for the passage where ,nebuchadnezzar is making the announcement to the three men by themselves4 ,i can remember ,professor ,moulton saying that all the dramatic interest of the story is summed up in the words ,but if not 4 4 4 ,this suggestion is a very helpful one1 for it enables us to work up gradually to this point1 and then1 as it were1 unwind1 until we reach the words of ,nebuchadnezzar's dramatic recantation4 ,in this connection1 it is a good plan occasionally during the story hour to introduce really good poetry1 which delivered in a dramatic manner 7far removed1 of course1 from the melodramatic71 might give children their first love of beautiful form in verse4 ,and ,i do not think it necessary to wait for this4 ,even the normal child of seven1 though there is nothing arbitrary in the suggestion of this age1 will appreciate the effect1 if only on the ear1 of beautiful lines well spoken4 ,mahomet has said1 in his teaching advice3 ,teach your children poetry3 it opens the mind1 lends grace to wisdom and makes heroic virtues hereditary4 ,to begin with the youngest children of all1 here is a poem which contains a thread of story1 just enough to give a human interest3 ,,milking-,,time ,when the cows come home1 the milk is coming2 ,honey's made when the bees are humming4 ,duck1 drake on the rushy lake1 ,and the deer live safe in the breezy brake1 ,and timid1 funny1 pert little bunny ,winks his nose1 and sits all sunny4 ,,christina ,,rossetti4 ,now1 in comparing this poem with some of the doggerel verse offered to small children1 one is struck with the literary superiority in the choice of words4 ,here1 in spite of the simplicity of the poem1 there is not the ordinary limited vocabulary1 nor the forced rhyme1 nor the application of a moral1 by which the artist falls from grace4 ,again1 ,eugene ,field's ,hushaby ,lady1 of which the language is most simple1 yet the child is carried away by the beauty of the sound4 ,i remember hearing some poetry repeated by the children in one of the elementary schools in ,sheffield which made me feel that they had realized romantic possibilities which would prevent their lives from ever becoming quite prosaic again1 and ,i wish that this practice were more usual4 ,there is little difficulty with the children4 ,i can remember1 in my own experience as a teacher in ,london1 making the experiment of reading or repeating passages from ,milton and ,shakespeare to children from nine to eleven years of age1 and the enthusiastic way they responded by learning those passages by heart4 ,i have taken with several sets of children such passages from ,milton as the ,echo ,song1 ,sabrina1 ,by the ,rushy-fringed ,bank1 ,back1 ,shepherds1 ,back1 from ,comus2 ,may ,morning1 ,ode to ,shakespeare1 ,samson1 ,on ,his ,blindness1 etc4 ,i even ventured on several passage from ,paradise ,lost1 and found ,now came still evening on a particular favorite with the children4 ,it seemed even easier to interest them in ,shakespeare1 and they learned quite readily and easily many passages from ,as ,you ,like ,it1 ,the ,merchant of ,venice1 ,julius ,caesar1 ,richard ,,ii1 ,henry ,,iv1 and ,henry ,v4 ,the method ,i should recommend in the introduction of both poets occasionally into the story-hour would be threefold4 ,first1 to choose passages which appeal for beauty of sound or beauty of mental vision called up by those sounds2 such as ,tell me where is ,fancy bred1 ,titania's ,lullaby1 ,how sweet the moonlight sleeps upon this bank4 ,secondly1 passages for sheer interest of content1 such as the ,trial ,scene from ,the ,merchant of ,venice1 or the ,forest ,scene in ,as ,you ,like ,it4 ,thirdly1 for dramatic and historical interest1 such as1 ,men at some time are masters of their fates1 the whole of ,mark ,antony's speech1 and the scene with ,imogen and her foster brothers in the ,forest4 ,it may not be wholly out of place to add here that the children learned and repeated these passages themselves1 and that ,i offered them the same advice as ,i do to all story-tellers4 ,i discussed quite openly with them the method ,i considered best1 trying to make them see that simplicity of delivery was not only the most beautiful but the most effective means to use and1 by the end of a few months1 when they had been allowed to experiment and express themselves1 they began to see that mere ranting was not force and that a sense of reserve power is infinitely more impressive and inspiring than mere external presentation4 ,i encouraged them to criticize each other for the common good1 and sometimes ,i read a few lines with overemphasis and too much gesture1 which they were at liberty to point out that they might avoid the same error4 ,excellent collections of poems for this purpose of narrative are3 ,mrs4 ,p4 ,a4 ,barnett's series of ,song and ,story1 published by ,adam ,black1 and ,the ,posy ,ring1 chosen and classified by ,kate ,douglas ,wiggin and ,nora ,archibald ,smith1 published by ,doubleday4 ,for older children1 ,the ,call of the ,homeland1 selected and arranged by ,dr4 ,r4 ,p4 ,scott and ,katharine ,t4 ,wallas1 published by ,houghton1 ,mifflin1 and ,golden ,numbers1 chosen and classified by ,kate ,douglas ,wiggin and ,nora ,archibald ,smith1 published by ,doubleday4 ,i think it is well to have a goodly number of stories illustrating the importance of common-sense and resourcefulness4 ,for this reason1 ,i consider the stories treating of the ultimate success of the youngest son#bc very admirable for the purpose1 because the youngest child who begins by being considered inferior to the older ones triumphs in the end1 either from resourcefulness or from common-sense or from some higher quality1 such as kindness to animals1 courage in overcoming difficulties1 etc4#bd ,thus1 we have the story of ,cinderella4 ,the cynic might imagine that it was the diminutive size of her foot that insured her success4 ,the child does not realize any advantage in this1 but1 though the matter need not be pressed1 the story leaves us with the impression that ,cinderella had been patient and industrious1 and forbearing with her sisters4 ,we know that she was strictly obedient to her godmother1 and in order to be this she makes her dramatic exit from the ball which is the beginning of her triumph4 ,there are many who might say that these qualities do not meet with reward in life and that they end in establishing a habit of drudgery1 but1 after all1 we must have poetic justice in a fairy story1 occasionally1 at any rate1 even if the child is confused by the apparent contradiction4 ,such a story is ,jesper and the ,hares4 ,here1 however1 it is not at first resourcefulness that helps the hero1 but sheer kindness of heart1 which prompts him first to help the ants1 and then to show civility to the old woman1 without for a moment expecting any material benefit from such actions4 ,at the end1 he does win on his own ingenuity and resourcefulness1 and if we regret that his trickery has such wonderful results1 we must remember the aim was to win the princess for herself1 and that there was little choice left him4 ,i consider that the end of this story is one of the most remarkable ,i have found in my long years of browsing among fairy tales4 ,i should suggest stopping at the words3 ,the ,tub is full1 as any addition seems to destroy the subtlety of the story4#be ,another story of this kind1 admirable for children from six years and upwards1 is1 ,what the ,old ,man ,does is ,always ,right4 ,here1 perhaps1 the entire lack of common-sense on the part of the hero would serve rather as a warning than a stimulating example1 but the conduct of the wife in excusing the errors of her foolish husband is a model of resourcefulness4 ,in the story of ,hereafter-this1#bf we have just the converse3 a perfectly foolish wife shielded by a most patient and forbearing husband1 whose tolerance and common-sense save the situation4 ,one of the most important elements to seek in our choice of stories is that which tends to develop1 eventually1 a fine sense of humor in a child4 ,i purposely use the word1 eventually1 because ,i realize1 first1 that humor has various stages1 and that seldom1 if ever1 can one expect an appreciation of fine humor from a normal child1 that is1 from an elemental mind4 ,it seems as if the rough-and-tumble element were almost a necessary stage through which children must pass1 and which is a normal and healthy stage2 but up to now we have quite unnecessarily extended the period of elephantine fun1 and1 though we cannot control the manner in which children are catered to along this line in their homes1 we can restrict the folly of appealing too strongly or too long to this elemental faculty in our schools4 ,of course1 the temptation is strong because the appeal is so easy1 but there is a tacit recognition that horseplay and practical jokes are no longer considered as an essential part of a child's education4 ,we note this in the changed attitude in the schools1 taken by more advanced educators1 towards bullying1 fagging1 hazing1 etc4 ,as a reaction1 then1 from more obvious fun1 there should be a certain number of stories which make appeal to a more subtle element1 and in the chapter on the questions put to me by teachers on various occasions ,i speak more in detail as to the educational value of a finer humor in our stories4 ,at some period there ought to be presented in our stories the superstitions connected with the primitive history of the race1 dealing with the fairy proper1 giants1 dwarfs1 gnomes1 nixies1 brownies and other elemental beings4 ,andrew ,lang says3 ,without our savage ancestors we should have had no poetry4 ,conceive the human race born into the world in its present advanced condition1 weighing1 analyzing1 examining everything4 ,such a race would have been destitute of poetry and flattened by common-sense4 ,barbarians did the dreaming of the world4 ,but it is a question of much debate among educators as to what should be the period of the child's life in which these stories are to be presented4 ,i1 myself1 was formerly of the opinion that they belonged to the very primitive age of the individual1 just as they belong to the primitive age of the race1 but experience in telling stories has taught me to compromise4 ,some people maintain that little children1 who take things with brutal logic1 ought not to be allowed the fairy tale in its more limited form of the supernatural2 whereas1 if presented to older children1 this material can be criticized1 catalogued and 7alas67 rejected as worthless1 or retained with flippant toleration4 ,while realizing a certain value in this point of view1 ,i am bound to admit that if we regulate our stories entirely on this basis1 we lose the real value of the fairy tale element4 ,it is the one element which causes little children to wonder1 simply because no scientific analysis of the story can be presented to them4 ,it is somewhat heartrending to feel that ,jack and the ,bean ,stalk and stories of that ilk are to be handed over to the critical youth who will condemn the quick growth of the tree as being contrary to the order of nature1 and wonder why ,jack was not playing football on the school team instead of climbing trees in search of imaginary adventures4 ,a wonderful plea for the telling of early superstitions to children is to be found in an old ,indian allegory called1 ,the ,blazing ,mansion4 ,an old man owned a large rambling ,mansion4 ,the pillars were rotten1 the galleries tumbling down1 the thatch dry and combustible1 and there was only one door4 ,suddenly1 one day1 there was a smell of fire3 the old man rushed out4 ,to his horror he saw that the thatch was aflame1 the rotten pillars were catching fire one by one1 and the rafters were burning like tinder4 ,but1 inside1 the children went on amusing themselves quite happily4 ,the distracted ,father said3 ,i will run in and save my children4 ,i will seize them in my strong arms1 ,i will bear them harmless through the falling rafters and the blazing beams4 ,then the sad thought came to him that the children were romping and ignorant4 ,if ,i say the house is on fire1 they will not understand me4 ,if ,i try to seize them1 they will romp about and try to escape4 ,alas6 not a moment to be lost6 ,suddenly a bright thought flashed across the old man's mind4 ,my children are ignorant1 he said2 they love toys and glittering playthings4 ,i will promise them playthings of unheard-of beauty4 ,then they will listen4 ,so the old man shouted3 ,children1 come out of the house and see these beautiful toys6 ,chariots with white oxen1 all gold and tinsel4 ,see these exquisite little antelopes4 ,whoever saw such goats as these8 ,children1 children come quickly1 or they will all be gone6 ,forth from the blazing ruin the children came in hot haste4 ,the word1 plaything1 was almost the only word they could understand4 ,then the ,father1 rejoiced that his offspring were freed from peril1 procured for them one of the most beautiful chariots ever seen4 ,the chariot had a canopy like a pagoda2 it had tiny rails and balustrades and rows of jingling bells4 ,milk-white oxen drew the chariot4 ,the children were astonished when they were placed inside4#bg ,perhaps1 as a compromise1 one might give the gentler superstitions to very small children1 and leave such a blood-curdling story as ,bluebeard to a more robust age4 ,there is one modern method which has always seemed to me much to be condemned1 and that is the habit of changing the end of a story1 for fear of alarming the child4 ,this is quite indefensible4 ,in doing this we are tampering with folklore and confusing stages of development4 ,now1 ,i know that there are individual children that1 at a tender age1 might be alarmed at such a story1 for instance1 as ,little ,red ,riding- ,hood2 in which case1 it is better to sacrifice the wonder stage and present the story later on4 ,i live in dread of finding one day a bowdlerized form of ,bluebeard1 prepared for a junior standard1 in which1 to produce a satisfactory finale1 all the wives come to life again1 and live happily ever after with ,bluebeard and each other6 ,and from this point it seems an easy transition to the subject of legends of different kinds4 ,some of the old country legends in connection with flowers are very charming for children1 and so long as we do not tread on the sacred ground of the nature students1 we may indulge in a moderate use of such stories1 of which a few will be found in the ,list of ,stories1 given later4 ,with regard to the introduction of legends connected with saints into the school curriculum1 my chief plea is the element of the unusual which they contain and an appeal to a sense of mysticism and wonder which is a wise antidote to the prosaic and commercial tendencies of today4 ,though many of the actions of the saints may be the result of a morbid strain of self-sacrifice1 at least none of them was engaged in the sole occupation of becoming rich3 their ideals were often lofty and unselfish2 their courage high1 and their deeds noble4 ,we must be careful1 in the choice of our legends1 to show up the virile qualities rather than to dwell on the elements of horror in details of martyrdom1 or on the too-constantly recurring miracles1 lest we should defeat our own ends4 ,for the children might think lightly of the dangers to which the saints were exposed if they found them too often preserved at the last moment from the punishment they were brave enough to undergo4 ,for one or another of these reasons1 ,i should avoid the detailed history of ,st4 ,juliana1 ,st4 ,vincent1 ,st4 ,quintin1 ,st4 ,eustace1 ,st4 ,winifred1 ,st4 ,theodore1 ,st4 ,james the ,more1 ,st4 ,katharine1 ,st4 ,cuthbert1 ,st4 ,alphage1 ,st4 ,peter of ,milan1 ,st4 ,quirine and ,juliet1 ,st4 ,alban and others4 ,the danger of telling stories connected with sudden conversions is that they are apt to place too much emphasis on the process1 rather than on the goal to be reached4 ,we should always insist on the splendid deeds performed after a real conversion1 not the details of the conversion itself2 as1 for instance1 the beautiful and poetical work done by ,st4 ,christopher when he realized what work he could do most effectively4 ,on the other hand1 there are many stories of the saints dealing with actions and motives which would appeal to the imagination and are not only worthy of imitation1 but are not wholly outside the life and experience even of the child4#bh ,having protested against the elephantine joke and the too-frequent use of exaggerated fun1 ,i now endeavor to restore the balance by suggesting the introduction into the school curriculum of a few purely grotesque stories which serve as an antidote to sentimentality or utilitarianism4 ,but they must be presented as nonsense1 so that the children may use them for what they are intended as--pure relaxation4 ,such a story is that of ,the ,wolf and the ,kids1 which ,i present in my own version at the end of the book4 ,i have had serious objections offered to this story by several educational people1 because of the revenge taken by the goat on the wolf1 but ,i am inclined to think that if the story is to be taken as anything but sheer nonsense1 it is surely sentimental to extend our sympathy toward a caller who has devoured six of his hostess' children4 ,with regard to the wolf being cut open1 there is not the slightest need to accentuate the physical side4 ,children accept the deed as they accept the cutting off of a giant's head1 because they do not associate it with pain1 especially if the deed is presented half humorously4 ,the moment in the story where their sympathy is aroused is the swallowing of the kids1 because the children do realize the possibility of being disposed of in the mother's absence4 7,needless to say1 ,i never point out the moral of the kids' disobedience to the mother in opening the door47 ,i have always noticed a moment of breathlessness even in a grown-up audience when the wolf swallows the kids1 and that the recovery of them all safe and sound1 all huddled together is quite as much appreciated by the adult audience as by the children1 and is worth the tremor caused by the wolf's summary action4 ,i have not always been able to impress upon the teachers the fact that this story must be taken lightly4 ,a very earnest young student came to me once after the telling of this story and said in an awe- struck voice3 ,do you cor-relate8 ,having recovered from the effect of this word1 which she carefully explained1 ,i said that1 as a rule1 ,i preferred to keep the story quite apart from the other lessons1 just an undivided whole1 because it had effects of its own which were best brought about by not being connected with other lessons4 ,she frowned her disapproval and said3 ,i am sorry1 because ,i thought ,i would take the ,goat for my nature study lesson and then tell your story at the end4 ,i thought of the terrible struggle in the child's mind between his conscientious wish to be accurate and his dramatic enjoyment of the abnormal habits of a goat who went out with scissors1 needle and thread2 but ,i have been most careful since to repudiate any connection with nature study in this and a few other stories in my repertoire4 ,one might occasionally introduce one of ,edward ,lear's ,nonsense ,rhymes4 ,for instance3 ,there was an ,old ,man of ,cape ,horn ,who wished he had never been born4 ,so he sat in a chair ,till he died of despair1 ,that dolorous ,old ,man of ,cape ,horn4 ,now1 except in case of very young children1 this could not possibly be taken seriously4 ,the least observant normal boy or girl would recognize the hollowness of the pessimism that prevents an old man from at least an attempt to rise from his chair4 ,the following ,i have chosen as repeated with intense appreciation and much dramatic vigor by a little boy just five years old3 ,there was an old man who said3 ,hush6 ,i perceive a young bird in that bush4 ,when they said3 ,is it small8 ,he replied1 ,not at all4 ,it is four times as large as the bush4#bi ,one of the most desirable of all elements to introduce into our stories is that which encourages kinship with animals4 ,with very young children this is easy1 because during those early years when the mind is not clogged with knowledge1 the sympathetic imagination enables them to enter into the feeling of animals4 ,andersen has an illustration of this point in his ,ice ,maiden3 ,children who cannot talk yet can understand the language of fowls and ducks quite well1 and cats and dogs speak to them quite as plainly as ,father and ,mother2 but that is only when the children are very small1 and then even ,grandpapa's stick will become a perfect horse to them that can neigh and1 in their eyes1 is furnished with legs and a tail4 ,with some children this period ends later than with others1 and of such we are accustomed to say that they are very backward1 and that they have remained children for a long time4 ,people are in the habit of saying strange things4 ,felix ,adler says3 ,perhaps the chief attraction of fairy tales is due to their representing the child as living in brotherly friendship with nature and all creatures4 ,trees1 flowers1 animals1 wild and tame1 even the stars are represented as comrades of children4 ,that animals are only human beings in disguise is an axiom in the fairy tales4 ,animals are humanized1 that is1 the kinship between animal and human life is still keenly felt1 and this reminds us of those early animistic interpretations of nature which subsequently led to doctrines of metempsychosis4#cj ,i think that beyond question the finest animal stories are to be found in the ,indian collections1 of which ,i furnish a list in the last chapter4 ,with regard to the development of the love of ,nature through the telling of stories1 we are confronted with a great difficulty in the elementary schools because so many of the children have never been out of the towns1 have never seen a daisy1 a blade of grass and scarcely a tree1 so that in giving1 in the form of a story1 a beautiful description of scenery1 you can make no appeal to the retrospective imagination1 and only the rarely gifted child well be able to make pictures while listening to a style which is beyond his everyday use4 ,nevertheless1 once in a while1 when the children are in a quiet mood1 not eager for action but able to give themselves up to the pure joy of sound1 then it is possible to give them a beautiful piece of writing in praise of ,nature1 such as the following1 taken from ,the ,divine ,adventure1 by ,fiona ,macleod3 ,then he remembered the ancient wisdom of the ,gael and came out of the ,forest ,chapel and went into the woods4 ,he put his lip to the earth1 and lifted a green leaf to his brow1 and held a branch to his ear2 and because he was no longer heavy with the sweet clay of mortality1 though yet of human clan1 he heard that which we do not hear1 and saw that which we do not see1 and knew that which we do not know4 ,all the green life was his4 ,in that new world he saw the lives of trees1 now pale green1 now of woodsmoke blue1 now of amethyst2 the gray lives of stone2 breaths of the grass and reed1 creatures of the air1 delicate and wild as fawns1 or swift and fierce and terrible tigers of that undiscovered wilderness1 with birds almost invisible but for their luminous wings1 and opalescent crests4 ,the value of this particular passage is the mystery pervading the whole picture1 which forms so beautiful an antidote to the eternal explaining of things4 ,i think it of the highest importance for the children to realize that the best and most beautiful things cannot be expressed in everyday language and that they must content themselves with a flash here and there of the beauty which may come later4 ,one does not enhance the beauty of the mountain by pulling to pieces some of the earthy clogs2 one does not increase the impression of a vast ocean by analyzing the single drops of water4 ,but at a reverent distance one gets a clear impression of the whole1 and can afford to leave the details in the shadow4 ,in presenting such passages 7and it must be done very sparingly71 experience has taught me that we should take the children into our confidence by telling them frankly that nothing exciting is going to happen1 so that they well be free to listen to the mere words4 ,a very interesting experiment might occasionally be made by asking the children some weeks afterwards to tell you in their own words what pictures were made on their minds4 ,this is a very different thing from allowing the children to reproduce the passage at once1 the danger of which proceeding ,i speak of later in detail4#ca ,we now come to the question as to what proportion of dramatic excitement we should present in the stories for a normal group of children4 ,personally1 ,i should like1 while the child is very young1 ,i mean in main1 not in years1 to exclude the element of dramatic excitement1 but though this may be possible for the individual child1 it is quite ,utopian to hope that we can keep the average child free from what is in the atmosphere4 ,children crave for excitement1 and unless we give it to them in legitimate form1 they will take it in any riotous form it presents itself1 and if from our experience we can control their mental digestion by a moderate supply of what they demand1 we may save them from devouring too eagerly the raw material they can so easily find for themselves4 ,there is a humorous passage bearing on this question in the story of the small ,scotch boy1 when he asks leave of his parents to present the pious little book--a gift to himself from an aunt to a little sick friend1 hoping probably that the friend's chastened condition will make him more lenient towards this mawkish form of literature4 ,the parents expostulate1 pointing out to their son how ungrateful he is1 and how ungracious it would be to part with his aunt's gift4 ,then the boy can contain himself no longer4 ,he bursts out1 unconsciously expressing the normal attitude of children at a certain stage of development3 ,it's a daft book ony way3 there's naebody gets kilt ent4 ,i like stories about folk gettin' their heids cut off1 or there's nae wile beasts4 ,i ,i like stories about black men gettin' ate up1 an' white men killin' lions and tigers an' bears an'--- ,then1 again1 we have the passage from ,george ,eliot's ,mill on the ,floss3 ,oh1 dear6 ,i wish they would not fight at your school1 ,tom4 ,didn't it hurt you8 ,hurt me8 ,no1 said ,tom1 putting up the hooks again1 taking out a large pocketknife1 and slowly opening the largest blade1 which he looked at meditatively as he rubbed his finger along it4 ,then he added3 ,i gave ,spooner a black eye--that's what he got for wanting to leather me4 ,i wasn't going to go halves because anybody leathered me4 ,oh6 how brave you are1 ,tom4 ,i think you are like ,samson4 ,if there came a lion roaring at men1 ,i think you'd fight him1 wouldn't you1 ,tom8 ,how can a lion come roaring at you1 you silly thing8 ,there's no lions only in the shows4 ,no1 but if we were in the lion countries--,i mean in ,africa where it's very hot1 the lions eat people there4 ,i can show it you in the book where ,i read it4 ,well1 ,i should get a gun and shoot him4 ,but if you hadn't a gun8--we might have gone out1 you know1 not thinking1 just as we go out fishing1 and then a great lion might come towards us roaring1 and we could not get away from him4 ,what should you do1 ,tom8 ,tom paused1 and at last turned away contemptuously1 saying3 ,but the lion isn't coming4 ,what's the use of talking8 ,this passage illustrates also the difference between the highly- developed imagination of the one and the stodgy prosaical temperament of the other4 ,tom could enter into the elementary question of giving his schoolfellow a black eye1 but could not possibly enter into the drama of the imaginary arrival of a lion4 ,he was sorely in need of fairy stories4 ,it is to this element we have to cater1 and we cannot shirk our responsibilities4 ,william ,james says3 ,living things1 moving things or things that savor of danger or blood1 that have a dramatic quality1 these are the things natively interesting to childhood1 to the exclusion of almost everything else1 and the teacher of young children1 until more artificial interests have grown up1 will keep in touch with his pupils by constant appeal to such matters as these4#cb ,of course the savor of danger and blood is only one of the things to which we should appeal1 but ,i give the whole passage to make the point clearer4 ,this is one of the most difficult parts of our selection1 namely1 how to present enough excitement for the child and yet include enough constructive element which will satisfy him when the thirst for blugginess is slaked4 ,and here ,i should like to say that1 while wishing to encourage in children great admiration and reverence for the courage and other fine qualities which have been displayed in times of war and which have mitigated its horrors1 ,i think we should show that some of the finest moments in these heroes' lives had nothing to do with their profession as soldiers4 ,thus1 we have the well-known story of ,sir ,philip ,sydney and the soldier2 the wonderful scene where ,roland drags the bodies of his dead friends to receive the blessing of the ,archbishop after the battle of ,roncesvall2#cc and of ,napoleon sending the sailor back to ,england4 ,there is a moment in the story of ,gunnar when he pauses in the midst of the slaughter of his enemies1 and says1 ,i wonder if ,i am less base than others1 because ,i kill men less willingly than they4 ,and in the ,burning of ,njal1#cd we have the words of the boy1 ,thord1 when his grandmother1 ,bergthora1 urges him to go out of the burning house4 ',you promised me when ,i was little1 grandmother1 that ,i should never go from you till ,i wished it of myself4 ,and ,i would rather die with you than live after you4' ,here the moral courage is so splendidly shown3 none of these heroes feared to die in battle or in open single fight2 but to face death by fire for higher considerations is a point of view worth presenting to the child4 ,in spite of all the dramatic excitement roused by the conduct of our soldiers and sailors1 should we not try to offer also in our stories the romance and excitement of saving as well as taking life8 ,i would have quite a collection dealing with the thrilling adventures of the ,lifeboat and the ,fire ,brigade1 of which ,i shall present examples in the final story list4 ,finally1 we ought to include a certain number of stories dealing with death1 especially with children who are of an age to realize that it must come to all1 and that this is not a calamity but a perfectly natural and simple thing4 ,at present the child in the street invariably connects death with sordid accidents4 ,i think they should have stories of death coming in heroic form1 as when a man or woman dies for a great cause1 in which he has opportunity of admiring courage1 devotion and unselfishness2 or of death coming as a result of treachery1 such as we find in the death of ,baldur1 the death of ,siegfried1 and others1 so that children may learn to abhor such deeds2 but also a fair proportion of stories dealing with death that comes naturally1 when our work is done1 and our strength gone1 which has no more tragedy than the falling of a leaf from the tree4 ,in this way1 we can give children the first idea that the individual is so much less than the whole4 ,little children often take death very naturally4 ,a boy of five met two of his older companions at the school door4 ,they said sadly and solemnly3 ,we have just seen a dead man6 ,well1 said the little philosopher1 that's all right4 ,we've all got to die when our work is done4 ,in one of the ,buddha stories which ,i reproduce at the end of this book1 the little ,hare 7who is1 ,i think1 a symbol of nervous individualism7 constantly says3 ,suppose the ,earth were to fall in1 what would become of me8 ,as an antidote to the ordinary attitude towards death1 ,i commend an episode from a ,german folklore story which is called ,unlucky ,john1 and which is included in the list of stories recommended at the end of this book4 ,the following sums up in poetic form some of the material necessary for the wants of a child4 ,,the ,,child ,the little new soul has come to earth1 ,he has taken his staff for the pilgrim's way4 ,his sandals are girt on his tender feet1 ,and he carries his scrip for what gifts he may4 ,what will you give to him1 ,fate ,divine8 ,what for his scrip on the winding road8 ,a crown for his head1 or a laurel wreath8 ,a sword to wield1 or is gold his load8 ,what will you give him for weal or woe8 ,what for the journey through day and night8 ,give or withhold from him power and fame1 ,but give to him love of the earth's delight4 ,let him be lover of wind and sun ,and of falling rain2 and the friend of trees2 ,with a singing heart for the pride of noon1 ,and a tender heart for what twilight sees4 ,let him be lover of you and yours-- ,the ,child and ,mary2 but also ,pan ,and the sylvan gods of the woods and hills1 ,and the god that is hid in his fellowman4 ,love and a song and the joy of the earth1 ,these be gifts for his scrip to keep ,till1 the journey ended1 he stands at last ,in the gathering dark1 at the gate of sleep4 ,,ethel ,,clifford ,and so our stories should contain all the essentials for the child's scrip on the road of life1 providing the essentials and holding or withholding the non-essentials4 ,but1 above all1 let us fill the scrip with gifts that the child need never reject1 even when he passes through to the gate of sleep4 ,,chapter ,v4 ,,how ,,to ,,obtain ,,and ,,maintain ,,the ,,effect ,,of ,,the ,,story4 ,we are now come to the most important part of the question of story- telling1 to which all the foregoing remarks have been gradually leading1 and that is the effect of these stories upon the child1 quite apart from the dramatic joy he experiences in listening to them1 which would in itself be quite enough to justify us in the telling4 ,but1 since ,i have urged the extreme importance of giving so much time to the manner of telling and of bestowing so much care in the selection of the material1 it is right that we should expect some permanent results or else those who are not satisfied with the mere enjoyment of the children will seek other methods of appeal--it is to them that ,i most specially dedicate this chapter4 ,i think we are of the threshold of the re-discovery of an old truth1 that dramatic presentation is the quickest and the surest method of appeal1 because it is the only one with which memory plays no tricks4 ,if a thing has appeared before us in a vital form nothing can really destroy it2 it is because things are often given in a blurred1 faint light that they gradually fade out of our memory4 ,a very keen scientist was deploring to me1 on one occasion1 the fact that stories were told so much in the schools1 to the detriment of science1 for which he claimed the same indestructible element that ,i recognize in the best-told stories4 ,being very much interested in her point of view1 ,i asked her to tell me1 looking back on her school days1 what she could remember as standing out from other less clear information4 ,after thinking some little time over the matter1 she said with some embarrassment1 but with candor that did her much honor3 ,well1 now ,i come to think of it1 it was the story of ,cinderella4 ,now1 ,i am not holding any brief for this story in particular4 ,i think the reason it was remembered was because of the dramatic form in which it was presented to her1 which fired her imagination and kept the memory alight4 ,i quite realize that a scientific fact might also have been easily remembered if it had been presented in the form of a successful chemical experiment2 but this also has something of the dramatic appeal and will be remembered on that account4 ,sully says3 ,we cannot understand the fascination of a story for children save in remembering that for their young minds1 quick to imagine1 and unversed in abstract reflection1 words are not dead things but winged1 as the old ,greeks called them4#ce ,the ,red ,queen1 in ,alice ,through the ,looking-,glass1 was more psychological than she was aware of when she made the memorable statement3 ,when once you've said a thing1 that fixes it1 and you must take the consequences4 ,in ,curtin's ,introduction to ,myths and ,folk ,tales of the ,russians1 he says3 ,i remember well the feeling roused in my mind at the mention or sight of the name ,lucifer during the early years of my life4 ,it stood for me as the name of a being stupendous1 dreadful in moral deformity1 lurid1 hideous and mighty4 ,i remember the surprise with which1 when ,i had grown somewhat older and began to study ,latin1 ,i came upon the name in ,virgil where it means light-bringer--the herald of the ,sun4 ,plato has said that the end of education should be the training by suitable habits of the instincts of virtue in the child4 ,about two thousand years later1 ,sir ,philip ,sydney1 in his ,defence of ,poesy1 says3 ,the final end of learning is to draw and lead us to so high a perfection as our degenerate souls1 made worse by their clay lodgings1 can be capable of4 ,and yet it is neither the ,greek philosopher nor the ,elizabethan poet that makes the everyday application of these principles2 but we have a hint of this application from the ,pueblo tribe of ,indians1 of whom ,lummis tells us the following3 ,there is no duty to which a ,pueblo child is trained in which he has to be content with a bare command3 do this4 ,for each1 he learns a fairy-tale designed to explain how children first came to know that it was right to 'do this1' and detailing the sad results that befall those who did otherwise4 ,some tribes have regular story-tellers1 men who have devoted a great deal of time to learning the myths and stories of their people and who possess1 in addition to good memory1 a vivid imagination4 ,the mother sends for one of these1 and having prepared a feast for him1 she and her little brood1 who are curled up near her1 await the fairy stories of the dreamer who after his feast and smoke entertains the company for hours4 ,in modern times1 the nurse1 who is now receiving such complete training for her duties with children1 should be ready to imitate the dreamer of the ,indian tribe4 ,i rejoice to find that regular instruction in story-telling is being given in many of the institutions where the nurses are trained4 ,some years ago there appeared a book by ,dion ,calthrop called ,king ,peter1 which illustrates very fully the effect of story-telling4 ,it is the account of the education of a young prince which is carried on at first by means of stories1 and later he is taken out into the arena of life to show what is happening there--the dramatic appeal being always the means used to awaken his imagination4 ,the fact that only one story a year is told him prevents our seeing the effect from day to day1 but the time matters little4 ,we only need faith to believe that the growth1 though slow1 was sure4 ,there is something of the same idea in the ,adventures of ,telemachus1 written by ,fenelon for his royal pupil1 the young ,duke of ,burgundy1 but whereas ,calthrop trusts to the results of indirect teaching by means of dramatic stories1 ,fenelon1 on the contrary1 makes use of the somewhat heavy1 didactic method1 so that one would think the attention of the young prince must have wandered at times2 and ,i imagine ,telemachus was in the same condition when he was addressed at such length by ,mentor1 who1 being ,minerva1 though in disguise1 should occasionally have displayed that sense of humor which must always temper true wisdom4 ,take1 for instance the heavy reproof conveyed in the following passage3 ,death and shipwreck are less dreadful than the pleasures that attack ,virtue4 4 4 4 ,youth is full of presumption and arrogance1 though nothing in the world is so frail3 it fears nothing1 and vainly relies utmost levity and without any precaution4 ,and on another occasion1 when ,calypso hospitably provides clothes for the shipwrecked men1 and ,telemachus is handling a tunic of the finest wool and white as snow1 with a vest of purple embroidered with gold1 and displaying much pleasure in the magnificence of the clothes1 ,mentor addresses him in a severe voice1 saying3 ,are these1 ,o ,telemachus1 the thoughts that ought to occupy the heart of the son of ,ulysses8 ,a young man who loves to dress vainly1 as a woman does1 is unworthy of wisdom or glory4 ,i remember1 as a school girl of thirteen1 having to commit to memory several books of these adventures1 so as to become familiar with the style4 ,far from being impressed by the wisdom of ,mentor1 ,i was simply bored1 and wondered why ,telemachus did not escape from him4 ,the only part in the book that really interested me was ,calypso's unrequited love for ,telemachus1 but this was always the point where we ceased to learn by heart1 which surprised me greatly1 for it was here that the real human interest seemed to begin4 ,of all the effects which ,i hope for from the telling of stories in the schools1 ,i1 personally1 place first the dramatic joy we bring to the children and to ourselves4 ,but there are many who would consider this result as fantastic1 if not frivolous1 and not to be classed among the educational values connected with the introduction of stories into the school curriculum4 ,i1 therefore1 propose to speak of other effects of story-telling which may seem of more practical value4 ,the first1 which is of a purely negative character1 is that through means of a dramatic story we may counteract some of the sights and sounds of the street which appeal to the melodramatic instinct in children4 ,i am sure that all teachers whose work lies in crowded cities must have realized the effect produced on children by what they see and hear on their way to and from school4 ,if we merely consider the bill boards with their realistic representations1 quite apart from the actual dramatic happenings in the street1 we at once perceive that the ordinary school interests pale before such lurid appeals as these4 ,how can we expect the child who has stood openmouthed before a poster representing a woman chloroformed by a burglar 7while that hero escapes in safety with jewels7 to display any interest in the arid monotony of the multiplication table8 ,the illegitimate excitement created by the sight of the depraved burglar can only be counteracted by something equally exciting along the realistic but legitimate side of appeal2 and this is where the story of the right kind becomes so valuable1 and why the teacher who is artistic enough to undertake the task can find the short path to results which theorists seek for so long in vain4 ,it is not even necessary to have an exceedingly exciting story2 sometimes one which will bring about pure reaction may be just as suitable4 ,i remember in my personal experience an instance of this kind4 ,i had been reading with some children of about ten years old the story from ,cymbeline of ,imogen in the forest scene1 when the brothers strew flowers upon her1 and sing the funeral dirge1 ,fear no more the heat of the sun4 ,just as we had all taken on this tender1 gentle mood1 the door opened and one of the prefects announced in a loud voice the news of the relief of ,mafeking4 ,the children were on their feet at once1 cheering lustily1 and for the moment the joy over the relief of the brave garrison was the predominant feeling4 ,then1 ,i took advantage of a momentary reaction and said3 ,now1 children1 don't you think we can pay ,england the tribute of going back to ,england's greatest poet8 ,in a few minutes we were back in the heart of the forest1 and ,i can still hear the delightful intonation of those subdued voices repeating1 ,golden lads and girls all must ,like chimney-sweepers come to dust4 ,it is interesting to note that the same problem that is exercising us today was a source of difficulty to people in remote times4 ,the following is taken from an old ,chinese document1 and has particular interest for us at this time3 ,the philosopher1 ,mentius 7born #cga ,b4 ,c471 was left fatherless at a very tender age and brought up by his mother1 ,changsi4 ,the care of this prudent and attentive mother has been cited as a model for all virtuous parents4 ,the house she occupied was near that of a butcher2 she observed at the first cry of the animals that were being slaughtered1 the little ,mentius ran to be present at the sight1 and that1 on his return1 he sought to imitate what he had seen4 ,fearful lest his heart might become hardened1 and accustomed to the sights of blood1 she removed to another house which was in the neighborhood of a cemetery4 ,the relations of those who were buried there came often to weep upon their graves1 and make their customary libations4 ,the lad soon took pleasure in their ceremonies and amused himself by imitating them4 ,this was a new subject of uneasiness to his mother3 she feared her son might come to consider as a jest what is of all things the most serious1 and that he might acquire a habit of performing with levity1 and as a matter of routine merely1 ceremonies which demand the most exact attention and respect4 ,again1 therefore1 she anxiously changed the dwelling1 and went to live in the city1 opposite a school1 where her son found examples the most worthy of imitation1 and began to profit by them4 ,this anecdote has become incorporated by the ,chinese into a proverb1 which they constantly quote3 ,the mother of ,mentius seeks a neighborhood4 ,another influence we have to counteract is that of newspaper headings and placards which catch the eye of children in the streets and appeal so powerfully to their imagination4 ,shakespeare has said3 ,tell me where is ,fancy bred1 ,or in the heart1 or in the head8 ,how begot1 how nourished8 ,it is engendered in the eyes ,with gazing fed1 ,and ,fancy dies in the cradle where it lies4 ,let us all ring ,fancy's knell4 ,i'll begin it--ding1 dong1 bell4 ,merchant of ,venice4 ,if this be true1 it is of importance to decide what our children shall look upon as far as we can control the vision1 so that we can form some idea of the effect upon their imagination4 ,having alluded to the dangerous influence of the street1 ,i should hasten to say that this influence is very far from being altogether bad4 ,there are possibilities of romance in street life which may have just the same kind of effect on children as the telling of exciting stories4 ,i am indebted to ,mrs4 ,arnold ,glover1 ,honorary ,secretary of the ,national ,organization of ,girls' ,clubs1#cf one of the most widely informed people on this subject1 for the two following experiences gathered from the streets and which bear indirectly on the subject of story-telling3 ,mrs4 ,glover was visiting a sick woman in a very poor neighborhood1 and found1 sitting on the door-step of the house1 two little children1 holding something tightly grasped in their little hands1 and gazing with much expectancy towards the top of the street4 ,she longed to know what they were doing1 but not being one of those unimaginative and tactless folk who rush headlong into the mysteries of children's doings1 she passed them at first in silence4 ,it was only when she found them still in the same silent and expectant posture half an hour later that she said tentatively3 ,i wonder whether you would tell me what you are doing here8 ,after some hesitation1 one of them said1 in a shy voice3 ,we're waitin' for the barrer4 ,it then transpired that1 once a week1 a vegetable-and-flower-cart was driven through this particular street1 on its way to a more prosperous neighborhood1 and on a few red-letter days1 a flower1 or a sprig1 or even a root sometimes fell out of the back of the cart2 and these two little children were sitting there in hope1 with their hands full of soil1 ready to plant anything which might by some golden chance fall that way1 in their secret garden of oyster shells4 ,this seems to me as charming a fairy tale as any that our books can supply4 ,on another occasion1 ,mrs4 ,glover was collecting the pennies for the ,holiday ,fund ,savings ,bank from the children who came weekly to her house4 ,she noticed on three consecutive ,mondays that one little lad deliberately helped himself to a new envelope from her table4 ,not wishing to frighten or startle him1 she allowed this to continue for some weeks1 and then one day1 having dismissed the other children1 she asked him quite quietly why he was taking the envelopes4 ,at first he was very sulky1 and said3 ,i need them more than you do4 ,she quite agreed this might be1 but reminded him that1 after all1 they belonged to her4 ,she promised1 however1 that if he would tell her for what purpose he wanted the envelopes1 she would endeavor to help him in the matter4 ,then came the astonishing announcement3 ,i am building a navy4 ,after a little more gradual questioning1 ,mrs4 ,glover drew from the boy the information that the ,borough water carts passed through the side street once a week1 flushing the gutter2 that then the envelope ships were made to sail on the water and pass under the covered ways which formed bridges for wayfarers and tunnels for the navy4 ,great was the excitement when the ships passed out of sight and were recognized as they arrived safely at the other end4 ,of course1 the expenses in raw material were greatly diminished by the illicit acquisition of ,mrs4 ,glover's property1 and in this way she had unconsciously provided the neighborhood with a navy and a commander4 ,her first instinct1 after becoming acquainted with the whole story1 was to present the boy with a real boat1 but on second thought she collected and gave him a number of old envelopes with names and addresses upon them1 which added greatly to the excitement of the sailing1 because they could be more easily identified as they came out of the other end of the tunnel1 and had their respective reputations as to speed4 ,here is indeed food for romance1 and ,i give both instances to prove that the advantages of street life are to be taken into consideration as well as the disadvantages1 though ,i think we are bound to admit that the latter outweigh the former4 ,one of the immediate results of dramatic stories is the escape from the commonplace1 to which ,i have already alluded in quoting ,mr4 ,goschen's words4 ,the desire for this escape is a healthy one1 common to adults and children4 ,when we wish to get away from our own surroundings and interests1 we do for ourselves what ,i maintain we ought to do for children3 we step into the land of fiction4 ,it has always been a source of astonishment to me that1 in trying to escape from our own everyday surroundings1 we do not step more boldly into the land of pure romance1 which would form a real contrast to our everyday life1 but1 in nine cases out of ten1 the fiction which is sought after deals with the subjects of our ordinary existence1 namely1 frenzied finance1 sordid poverty1 political corruption1 fast society1 and religious doubts4 ,there is the same danger in the selection of fiction for children3 namely1 a tendency to choose very utilitarian stories1 both in form and substance1 so that we do not lift the children out of the commonplace4 ,i remember once seeing the titles of two little books1 the contents of which were being read or told to children2 one was called1 ,tom the ,bootblack2 the other1 ,dan the ,newsboy4 ,my chief objection to these stories was the fact that neither of the heroes rejoiced in his work for the work's sake4 ,had ,tom even invented a new kind of blacking1 or if ,dan had started a newspaper1 it might have been encouraging for those among the listeners who were thinking of engaging in similar professions4 ,it is true1 both gentlemen amassed large fortunes1 but surely the school age is not to be limited to such dreams and aspirations as these6 ,one wearies of the tales of boys who arrive in a town with one cent in their pocket and leave it as millionaires1 with the added importance of a mayoralty4 ,it is undoubtedly true that the romantic prototype of these worthy youths is ,dick ,whittingon1 for whom we unconsciously cherish the affection which we often bestow on a far-off personage4 ,perhaps--who can say8--it is the picturesque adjunct of the cat1 lacking to modern millionaires4 ,i do not think it ,utopian to present to children a fair share of stories which deal with the importance of things untouched by hand4 ,they1 too1 can learn at an early age that the things which are seen are temporal1 but the things which are unseen are spiritual4 ,to those who wish to try the effect of such stories on children1 ,i present for their encouragement the following lines from ,james ,whitcomb ,riley3 ,,the ,,treasure ,,of ,,the ,,wise ,,man#cg ,oh1 the night was dark and the night was late1 ,when the robbers came to rob him2 ,and they picked the lock of his palace-gate1 ,the robbers who came to rob him--2 ,they picked the lock of the palace-gate1 ,seized his jewels and gems of ,state1 ,his coffers of gold and his priceless plate1-- ,the robbers that came to rob him4 ,but loud laughed he in the morning red6-- ,for of what had the robbers robbed him8 ,ho6 hidden safe1 as he slept in bed1 ,when the robbers came to rob him1-- ,they robbed him not of a golden shred ,of the childish dreams in his wise old head- ,and they're welcome to all things else1 he said1 ,when the robbers came to rob him4 ,there is a great deal of this romantic spirit1 combined with a delightful sense of irresponsibility1 which ,i claim above all things for small children1 to be found in our old nursery rhymes4 ,i quote from the following article written by the ,rev4 ,r4 ,l4 ,gales for the ,nation4 ,after speaking on the subject of fairy stories being eliminated from the school curriculum1 the writer adds3 ,this would be lessening the joy of the world and taking from generations yet unborn the capacity for wonder1 the power to take a large unselfish interest in the spectacle of things1 and putting them forever at the mercy of small private cares4 ,a nursery rhyme is the most sane1 the most unselfish thing in the world4 ,it calls up some delightful image--a little nut-tree with a silver walnut and a golden pear2 some romantic adventure only for the child's delight and liberation from the bondage of unseeing dullness3 it brings before the mind the quintessence of some good thing3 ',the little dog laughed to see such sport'--there is the soul of good humor1 of sanity1 of health in the laughter of that innocently wicked little dog4 ,it is the laughter of pure frolic without unkindness4 ,to have laughed with the little dog as a child is the best preservative against mirthless laughter in later years--the horse laughter of brutality1 the ugly laughter of spite1 the acrid laughter of fanaticism4 ,the world of nursery rhymes1 the old world of ,mrs4 ,slipper-,slopper1 is the world of natural things1 of quick1 healthy motion1 of the joy of living4 ,in nursery rhymes the child is entertained with all the pageant of the world4 ,it walks in fairy gardens1 and for it the singing birds pass4 ,all the ,king's horses and all the ,king's men pass before it in their glorious array4 ,craftsmen of all sorts1 bakers1 confectioners1 silversmiths1 blacksmiths are busy for it with all their arts and mysteries1 as at the court of an eastern ,king4 ,in insisting upon the value of this escape from the commonplace1 ,i cannot prove the importance of it more clearly than by showing what may happen to a child who is deprived of his birthright by having none of the fairy tale element presented to him4 ,in ,father and ,son1 ,mr4 ,edmund ,gosse says3 ,meanwhile1 capable as ,i was of reading1 ,i found my greatest pleasure in the pages of books4 ,the range of these was limited1 for storybooks of every description were sternly excluded4 ,no fiction of any kind1 religious or secular1 was admitted into the house4 ,in this it was to my ,mother1 not to my ,father1 that the prohibition was due4 ,she had a remarkable1 ,i confess1 to me somewhat unaccountable impression that to 'tell a story1' that is1 to compose fictitious narrative of any king1 was a sin4 4 4 4 ,nor would she read the chivalrous tales in the verse of ,sir ,walter ,scott1 obstinately alleging that they were not true4 ,she would nothing but lyrical and subjective poetry4 ,as a child1 however1 she had possessed a passion for making up stories1 and so considerable a skill in it1 that she was constantly being begged to indulge others with its exercise4 4 4 4 ',when ,i was a very little child1' she says1 ',i used to amuse myself and my brothers with inventing stories such as ,i had read4 ,having1 ,i suppose1 a naturally restless mind and busy imagination1 this soon became the chief pleasure of my life4 ,unfortunately1 my brothers were always fond of encouraging this propensity1 and ,i found in ,taylor1 my maid1 a still greater tempter4 ,i had not known there was any harm in it1 until ,miss ,shore1 a ,calvinistic governess1 finding it out1 lectured me severely and told me it was wicked4 ,from that time forth1 ,i considered that to invent a story of any kind was a sin4 4 4 4 ,but the longing to do so grew with violence4 4 4 4 ,the simplicity of ,truth was not enough for me4 ,i must needs embroider imagination upon it1 and the vanity and wickedness which disgraced my heart are more than ,i am able to express4' ,this the author1 her son1 adds is surely a very painful instance of the repression of an instinct4 ,in contrast to the stifling of the imagination1 it is good to recall the story of the great ,hermite who1 having listened to the discussion of the ,monday sitting at the ,academie des ,sciences 7,insitut de ,france7 as to the best way to teach the young idea how to shoot in the direction of mathematical genius1 said3 ,cultivez l'imagination1 messieurs4 ,tout est ,la4 ,si vous voulez des mathematiciens1 donnez a vos enfants a2 lire--des ,contes de ,fees4 ,another important effect of the story is to develop at an early age sympathy for children of other countries where conditions are different from our own4 ,i have so constantly to deal with the question of confusion between truth and fiction in the minds of children that it might be useful to offer here an example of the way they make the distinction for themselves4 ,mrs4 ,ewing says on this subject3 ,if there are young intellects so imperfect as to be incapable of distinguishing between fancy and falsehood1 it is most desirable to develop in them the power to do so1 but1 as a rule1 in childhood1 we appreciate the distinction with a vivacity which as elders our care- clogged memories fail to recall4 ,mr4 ,p4 ,a4 ,barnett1 in his book on the ,common-sense of ,education1 says1 alluding to fairy-tales3 ,children will act them but not act upon them1 and they will not accept the incidents as part of their effectual belief4 ,they will imagine1 to be sure1 grotesque worlds1 full of admirable and interesting personages to whom strange things might have happened4 ,so much the better3 this largeness of imagination is one of the possessions that distinguish the better nurtured child from others less fortunate4 ,the following passage from ,stevenson's essay on ,child ,play#ch will furnish an instance of children's aptitude for creating their own dramatic atmosphere3 ,when my cousin and ,i took our porridge of a morning1 we had a device to enliven the course of a meal4 ,he ate his with sugar1 and explained it to be a country continually buried under snow4 ,i took mine with milk1 and explained it to be country suffering gradual inundation4 ,you can imagine us exchanging bulletins2 how here was an island still unsubmerged1 here a valley not yet covered with snow2 what inventions were made2 how his population lived in cabins on perches and traveled on stilts1 and how mine was always in boats2 how the interest grew furious as the last corner of safe ground was cut off on all sides and grew smaller every moment2 and how1 in fine1 the food was of altogether secondary importance1 and might even have been nauseous1 so long as we seasoned it with these dreams4 ,but perhaps the most exciting moments ,i ever had over a meal were in the case of calf's foot jelly4 ,it was hardly possible not to believe--and you may be quite sure1 so far from trying1 ,i did all ,i could to favor the illusion--that some part of it was hollow and that sooner or later my spoon would lay open the secret tabernacle of the golden rock4 ,there1 might some ,red-,beard await his hour2 there might one find the treasures of the ,forty ,thieves4 ,and so ,i quarried on slowly1 with bated breath1 savoring the interest4 ,believe me1 ,i had little palate left for the jelly2 and though ,i preferred the taste when ,i tool cream with it1 ,i used often to go without because the cream dimmed the transparent fractures4 ,in his work on ,imagination1 ,ribot says3 ,the free initiative of children is always superior to the imitations we pretend to make for them4 ,the passage from ,robert ,louis ,stevenson becomes more clear from a scientific point of view when taken in connection with one from ,karl ,groos' book on the ,psychology of ,animal ,play3 ,the child is wholly absorbed in his play1 and yet under the ebb and flow of thought and feeling like still water under wind-swept waves1 he has the knowledge that it is pretense after all4 ,behind the sham ',i' that takes part in the game1 stands the unchanged ',i' which regards the sham ',i' with quiet superiority4 ,queyrat speaks of play as one of the distinct phases of a child's imagination2 it is essentially a metamorphosis of reality1 a transformation of places and things4 ,now to return to the point which ,mrs4 ,ewing makes1 namely1 that we should develop in normal children the power of distinguishing between truth and falsehood4 ,i should suggest including two or three stories which would test that power in children1 and if they fail to realize the difference between romancing and telling lies1 then it is evident that they need special attention and help along this line4 ,i give the titles of two stories of this kind in the collection at the end of the book4#ci ,thus far we have dealt only with the negative results of stories1 but there are more important effects1 and ,i am persuaded that if we are careful in our choice of stories1 and artistic in our presentation1 so that the truth is framed1 so to speak1 in the memory1 we can unconsciously correct evil tendencies in children which they recognize in themselves only when they have already criticized them in the characters of the story4 ,i have sometimes been misunderstood on this point1 and1 therefore1 ,i should like to make it quite clear4 ,i do not mean that stories should take the place entirely of moral or direct teaching1 but that on many occasions they could supplement and strengthen moral teaching1 because the dramatic appeal to the imagination is quicker than the moral appeal to the conscience4 ,a child will often resist the latter lest it should make him uncomfortable or appeal to his personal sense of responsibility3 it is often not in his power to resist the former1 because it has taken possession of him before he is aware of it4 ,as a concrete example1 ,i offer three verses from a poem entitled1 ,a ,ballad for a ,boy1 written some twelve years ago by ,w4 ,cory1 an ,eton master4 ,the whole poem is to be found in a book of poems known as ,ionica4#dj ,the poem describes a fight between two ships1 the ,french ship1 ,temeraire1 and the ,english ship1 ,quebec4 ,the ,english ship was destroyed by fire2 ,farmer1 the captain1 was killed1 and the officers take prisoners3 ,they dealt with us as brethren1 they mourned for ,farmer dead1 ,and as the wounded captives passed each ,breton bowed the head4 ,then spoke the ,french lieutenant3 ',twas the fire that won1 not we4 ,you never struck your flag to us2 ,you'll go to ,england free4#da ',twas the sixth day of ,october1 seventeen hundred seventy-nine1 ,a year when nations ventured against us to combine1 ,quebec was burned and ,farmer slain1 by us remembered not2 ,but thanks be to the ,french book wherein they're not forgot4 ,and you1 if you've got to fight the ,french1 my youngster1 bear in mind ,those seamen of ,king ,louis so chivalrous and kind2 ,think of the ,breton gentlemen who took our lads to ,brest1 ,and treat some rescued ,breton as a comrade and a guest4 ,but in all our stories1 in order to produce desired effects we must refrain from holding1 as ,burroughs says1 a brief for either side1 and we must let the people in the story be judged by their deeds and leave the decision of the children free in this matter4#db ,in a review of ,ladd's ,psychology in the ,academy1 we find a passage which refers as much to the story as to the novel3 ,the psychological novelist girds up his loins and sets himself to write little essays on each of his characters4 ,if he have the gift of the thing he may analyze motives with a subtlety which is more than their desert1 and exhibit simple folk passing through the most dazzling rotations4 ,if he be a novice1 he is reduced to mere crude invention--the result in both cases is quite beyond the true purpose of ,art4 ,art--when all is said and done--a suggestion1 and it refuses to be explained4 ,make it obvious1 unfold it in detail1 and you reduce it to a dead letter4 ,again1 there is a sentence by ,schopenhauer applied to novels which would apply equally well to stories3 ,skill consists in setting the inner life in motion with the smallest possible array of circumstances1 for it is this inner life that excites our interest4 ,in order to produce an encouraging and lasting effect by means of our stories1 we should be careful to introduce a certain number from fiction where virtue is rewarded and vice punished1 because to appreciate the fact that virtue is its own reward it takes a developed and philosophic mind1 or a born saint1 of whom there will not1 ,i think1 be many among normal children3 a comforting fact1 on the whole1 as the normal teacher is apt to confuse them with prigs4 ,a grande dame visiting an elementary school listened to the telling of an exciting story from fiction1 and was impressed by the thrill of delight which passed through the children4 ,but when the story was finished1 she said3 ,but oh6 what a pity the story was not taken from actual history6 ,now1 not only was this comment quite beside the mark1 but the lady in question did not realize that pure fiction has one quality which history cannot have4 ,the historian1 bound by fact and accuracy1 must often let his hero come to grief4 ,the poet 7or1 in this case we may call him1 in the ,greek sense1 the maker of stories7 strives to show ideal justice4 ,what encouragement to virtue1 except for the abnormal child1 can be offered by the stories of good men coming to grief1 such as we find ,miltiades1 ,phocion1 ,socrates1 ,severus1 ,cicero1 ,cato and ,caesar8 ,sir ,philip ,sydney says in his ,defence of ,poesy3 ,only the poet declining to be held by the limitations of the lawyer1 the historian1 the grammarian1 the rhetorician1 the logician1 the physician1 the metaphysician is lifted up with the vigor of his own imagination2 doth grow in effect into another nature in making things either better than ,nature bringeth forth or quite anew1 as the ,heroes1 ,demi-gods1 ,cyclops1 ,furies and such like so as he goeth hand- in-hand with ,nature1 not inclosed in the narrow range of her gifts but freely ranging within the ,zodiac of his own art--her world is brazen2 the poet only delivers a golden one4 ,the effect of the story need not stop at the negative task of correcting evil tendencies4 ,there is the positive effect of translating the abstract ideal of the story into concrete action4 ,i was told by ,lady ,henry ,somerset that when the first set of children came down from ,london for a fortnight's holiday in the country1 she was much startled and shocked by the obscenity of the games they played amongst themselves4 ,being a sound psychologist1 ,lady ,henry wisely refrained from appearing surprised or from attempting any direct method of reproof4 ,i saw1 she said1 that the 'goody' element would have no effect1 so ,i changed the whole atmosphere by reading to them or telling them the most thrilling medieval tales without any commentary4 ,by the end of the fortnight the activities had all changed4 ,the boys were performing astonishing deeds of prowess1 and the girls were allowing themselves to be rescued from burning towers and fetid dungeons4 ,now1 if these deeds of chivalry appear somewhat stilted to us1 we can at least realize that1 having changed the whole atmosphere of the filthy games1 it is easier to translate the deeds into something a little more in accordance with the spirit of the age1 and boys will more readily wish later on to save their sisters from dangers more sordid and commonplace than fiery towers and dark dungeons1 if they have once performed the deeds in which they had to court danger and self-sacrifice for themselves4 ,and now we come to the question as to how these effects are to be maintained4 ,in what has already been stated as to the danger of introducing the dogmatic and direct appeal into the story1 it is evident that the avoidance of this element is the first means of preserving the story in all its artistic force in the memory of the child4 ,we must be careful1 as ,i point out in the chapter on ,questions1 not to interfere by comment or question with the atmosphere we have made round the story1 or else1 in the future1 that story will become blurred and overlaid with the remembrance1 not of the artistic whole1 as presented by the teller of the story1 but by some unimportant small side issue raised by an irrelevant question or a superfluous comment4 ,many people think that the dramatization of the story by the children themselves helps to maintain the effect produced4 ,personally1 ,i fear there is the same danger as in the immediate reproduction of the story1 but by some unimportant small side issue raised by an irrelevant question or a superfluous comment4 ,many people think that the dramatization of the story by the children themselves helps to maintain the effect produced4 ,personally1 ,i fear there is the same danger as in the immediate reproduction of the story1 namely1 that the general dramatic effect may be weakened4 ,if1 however1 there is to be dramatization 7and ,i do not wish to dogmatize on the subject71 ,i think it should be confined to facts and not fancies1 and this is why ,i realize the futility of the dramatization of fairy tales4 ,horace ,e4 ,scudder says on this subject3 ,nothing has done more to vulgarize the fairy than its introduction on the stage4 ,the charm of the fairy tale is its divorce from human experience3 the charm of the stage is its realization in miniature of human life4 ,if a frog is heard to speak1 if a dog is changed before our eyes into a prince by having cold water dashed over it1 the charm of the fairy tale has fled1 and1 in its place1 we have the perplexing pleasure of legerdemain4 ,since the real life of a fairy is in the imagination1 a wrong is committed when it is dragged from its shadowy hiding-place and made to turn into ashes under the calcium light of the understanding4#dc ,i am bound to admit that the teachers have a case when they plead for this reproducing of the story1 and there are three arguments they use the validity of which ,i admit1 but which have nevertheless not converted me1 because the loss1 to my mind1 would exceed the gain4 ,the first argument they put forward is that the reproduction of the story enables the child to enlarge and improve his vocabulary4 ,now ,i greatly sympathize with this point of view1 but1 as ,i regard the story hour as a very precious and special one1 which ,i think may have a lasting effect on the character of a child1 ,i do not think it important that1 during this hour1 a child should be called upon to improve his vocabulary at the expense of the dramatic whole1 and at the expense of the literary form in which the story has been presented4 ,it would be like using the ,bible for parsing or paraphrase or pronunciation4 ,so far1 ,i believe1 the line has been drawn here1 though there are blasphemers who have laid impious hands on ,milton or ,shakespeare for this purpose4 ,there are surely other lessons1 as ,i have already said in dealing with the reproduction of the story quite apart from the dramatization1 lessons more utilitarian in character1 which can be used for this purpose3 the facts of history 7,i mean the mere facts as compared with the deep truths71 and those of geography4 ,above all1 the grammar lessons are those in which the vocabulary can be enlarged and improved4 ,but ,i am anxious to keep the story hour apart as dedicated to something higher than these excellent but utilitarian considerations4 ,the second argument used by the teachers is the joy felt by the children in being allowed to dramatize the stories4 ,this1 too1 appeals very strongly to me1 but there is a means of satisfying their desire and yet protecting the dramatic whole1 and that is occasionally to allow children to act out their own dramatic inventions2 this1 to my mind1 has great educational significance3 it is original and creative work and1 apart from the joy of the immediate performance1 there is the interesting process of comparison which can be presented to the children1 showing them the difference between their elementary attempts and the finished product of the experienced artist4 ,this difference they can be led to recognize by their own powers of observation if the teachers are not in too great a hurry to point it out themselves4 ,here is a short original story1 quoted by the ,french psychologist1 ,queyrat1 in his ,jeux de l',enfance1 written by a child of five3 ,one day ,i went to sea in a life-boat--all at once ,i saw an enormous whale1 and ,i jumped out of the boat to catch him1 but he was so big that ,i climbed on his back and rode astride1 and all the little fishes laughed to see4 ,here is a complete and exciting drama1 making a wonderful picture and teeming with adventure4 ,we could scarcely offer anything to so small a child for reproduction that would be a greater stimulus to the imagination4 ,here is another1 offered by ,loti1 but the age of the child is not given3 ,once upon a time a little girl out in the ,colonies cut open a huge melon1 and out popped a green beast and stung her1 and the little child died4 ,loti adds3 ,the phrases 'out in the ,colonies' and 'a huge melon' were enough to plunge me suddenly into a dream4 ,as by an apparition1 ,i beheld tropical trees1 forests alive with marvelous birds4 ,oh6 the simple magic of the words 'the ,colonies'6 ,in my childhood they stood for a multitude of distant sun-scorched countries1 with their palm-trees1 their enormous flowers1 their black natives1 their wild beasts1 their endless possibilities of adventure4 ,i quote this in full because it shows so clearly the magic force of words to evoke pictures1 without any material representation4 ,it is just the opposite effect of the pictures presented to the bodily eye without the splendid educational opportunity for the child to form his own mental image4 ,i am more and more convinced that the rare power of visualization is accounted for by the lack of mental practice afforded along these lines4 ,the third argument used by teachers in favor of the dramatization of the stories is that it is a means of discovering how much the child has really learned from the story4 ,now this argument makes absolutely no appeal to me4 ,my experience1 in the first place1 has taught me that a child very seldom gives out any account of a deep impression made upon him3 it is too sacred and personal4 ,but he very soon learns to know what is expected of him1 and he keeps a set of stock sentences which he has found out are acceptable to the teacher4 ,how can we possibly gauge the deep effects of a story in this way1 or how can a child1 by acting out a story1 describe the subtle elements which one has tried to introduce8 ,one might as well try to show with a pint measure how the sun and rain have affected a plant1 instead of rejoicing in the beauty of the sure1 if slow1 growth4 ,then1 again1 why are we in such a hurry to find out what effects have been produced by our stories8 ,does it matter whether we know today or tomorrow how much a child has understood8 ,for my part1 so sure do ,i feel of the effect that ,i am willing to wait indefinitely4 ,only1 ,i must make sure that the first presentation is truly dramatic and artistic4 ,the teachers of general subjects have a much easier and more simple task4 ,those who teach science1 mathematics1 even1 to a certain extent1 history and literature1 are able to gauge with a fair amount of accuracy by means of examination what their pupils have learned4 ,the teaching carried on by means of stories can never be gauged in the same manner4 ,carlyle has said3 ,of this thing be certain3 wouldst thou plant for ,eternity1 then plant into the deep infinite faculties of man1 his ,fantasy and ,heart4 ,wouldst thou plant for ,year and ,day1 then plant into his shallow superficial faculties1 his self-love and arithmetical understanding1 what will grow there4#dd ,if we use this marvelous art of story-telling in the way ,i have tried to show1 then the children who have been confided to our care will one day be able to bring us the tribute which ,bjornson brought to ,hans ,christian ,andersen3 ,wings you gave to my ,imagination1 ,me uplifting to the strange and great2 ,gave my heart the poet's revelation1 ,glorifying things of low estate4 ,when my child-soul hungered all-unknowing1 ,with great truths its need you satisfied3 ,now1 a world-worn man1 to you is owing ,that the child in me has never died4 ,,translated ,,from ,,the ,,danish ,,by ,,emilie ,,poulson4 ,,chapter ,,vii4 ,,questions ,,asked ,,by ,,teachers4 ,the following questions have been put to me so often by teachers1 in my own country and in ,america1 that ,i have thought it might be useful to give in my book some of the attempts ,i have made to answer them2 and ,i wish to record here an expression of gratitude to the teachers who have asked these questions at the close of my lectures4 ,it has enabled me to formulate my views on the subject and to clear up1 by means of research and thought1 the reason for certain things which ,i had more or less taken for granted4 ,it has also constantly modified my own point of view1 and has prevented me from becoming too dogmatic in dealing with other people's methods4 ,,question ,i3 ,why do ,i consider it necessary to spend so many years on the art of story-telling1 which takes in1 after all1 such a restricted portion of literature8 ,just in the same way that an actor thinks it worth while to go through so many years' training to fit him for the stage1 although dramatic literature is also only one branch of general literature4 ,the region of storyland is the legitimate stage for children4 ,they crave drama as we do1 and because there are comparatively few good story-tellers1 children do not have their dramatic needs satisfied4 ,what is the result8 ,we either take them to dramatic performances for grown-up people1 or we have children's theaters where the pieces1 charming as they may be1 are of necessity deprived of the essential elements which constitute a drama--or they are shriveled up to suit the capacity of the child4 ,therefore1 it would seem wiser1 while the children are quite young1 to keep them to the simple presentation of stories1 because with their imagination keener at that period1 they have the delight of the inner vision and they do not need1 as we do1 the artificial stimulus provided by the machinery of the stage4 ,,question ,,ii3 ,what is to be done if a child asks you3 ,is the story true8 ,i hope ,i shall be considered ,utopian in my ideas if a say that it is quite easy1 even with small children1 to teach them that the seeing of truth is a relative matter which depends on the eyes of the seer4 ,if we were not afraid to tell our children that all through life there are grown-up people who do not see things that others see1 their own difficulties would be helped4 ,in his ,imagination ,creatrice1 ,queyrat says3 ,to get down into the recesses of a child's mind1 one would have to become even as he is2 we are reduced to interpreting that child in the terms of an adult4 ,the children we observe live and grow in a civilized community1 and the result of this is that the development of their imagination is rarely free or complete1 for as soon as it rises beyond the average level1 the rationalistic education of parents and schoolmasters at once endeavors to curb it4 ,it is restrained in its flight by an antagonistic power which treats it as a kind of incipient madness4 ,it is quite easy to show children that if one keeps things where they belong1 they are true with regard to each other1 but that if one drags these things out of the shadowy atmosphere of the make-believe1 and forces them into the land of actual facts1 the whole thing is out of gear4 ,to take a concrete example3 ,the arrival of the coach made from a pumpkin and driven by mice is entirely in harmony with the ,cinderella surroundings1 and ,i have never heard one child raise any question of the difficulty of traveling in such a coach or of the uncertainty of mice in drawing it4 ,but1 suggest to the child that this diminutive vehicle could be driven among the cars of ,broadway1 or amongst the motor omnibuses in the ,strand1 and you would bring confusion at once into his mind4 ,having once grasped this1 the children will lose the idea that fairy stories are just for them1 and not for their elders1 and from this they will go on to see that it is the child-like mind of the poet and seer that continues to appreciate these things2 that it is the dull1 heavy person whose eyes so soon become dim and unable to see any more the visions which were once his own4 ,in his essay on ,poetry and ,life 7,glasgow1 #ahhi71 ,professor ,bradley says3 ,it is the effect of poetry1 not only by expressing emotion but in other ways also1 to bring life into the dead mass of our experience1 and to make the world significant4 ,this applies to children as well as to adults4 ,there may come to the child in the story hour1 by some stirring poem or dramatic narration1 a sudden flash of the possibilities of life which he had not hitherto realized in the even course of school experience4 ,poetry1 says ,professor ,bradley1 is a way of representing truth2 but there is in it1 as its detractors have always insisted1 a certain untruth or illusion4 ,we need not deny this1 so long as we remember that the illusion is conscious1 that no one wishes to deceive1 and that no one is deceived4 ,but it would be better to say that poetry is false to literal fact for the sake of obtaining a higher truth4 ,first1 in order to represent the connection between a more significant part of experience and a less significant1 poetry1 instead of linking them together by a chain which touches one by one the intermediate objects that connect them1 leaps from one to the other4 ,it thus falls at once into conflict with common-sense4 ,now1 the whole of this passage bears as much on the question of the truth embodied in a fairy tale as a poem1 and it would be interesting to take some of these tales and try to discover where they are false to actual fact for the sake of a higher truth4 ,let us take1 for instance1 the ,story of ,cinderella3 ,the coach and pumpkins to which ,i have alluded and all the magic part of the story1 are false to actual facts as we meet them in our every life2 but is it not a higher truth that ,cinderella could escape from her chimney corner by thinking of the brightness outside8 ,in this sense we all travel in pumpkin coaches4 ,take the ,story of ,psyche1 in any one of the many forms it is presented to us in folk-story4 ,the magic transformation of the lover is false to actual fact2 but is it not a higher truth that we are often transformed by circumstance1 and that love and courage can overcome most difficulties8 ,take the ,story of the ,three ,bears4 ,it is not in accordance with established fact that bears should extend hospitality to children who invade their territory4 ,is it not true in a higher sense that fearlessness often lessens or averts danger8 ,take the ,story of ,jack and the ,bean ,stalk4 ,the rapid growth of the bean stalk and the encounter with the giant are false to literal fact2 but is it not a higher truth that the spirit of courage and high adventure leads us straight out of the commonplace and often sordid facts of life8 ,now1 all these considerations are too subtle for the child1 and1 if offered in explanation1 would destroy the excitement and interest of the story2 but they are good for those of us who are presenting such stories3 they provide not only an argument against the objection raised by unimaginative people as to the futility1 if not immorality1 of presenting these primitive tales1 but clear up our own doubt and justify us in the use of them1 if we need such justification4 ,for myself1 ,i am perfectly satisfied that1 being part of the history of primitive people1 it would be foolish to ignore them from an evolutionary point of view1 which constitutes their chief importance2 and it is only from the point of view of expediency that ,i mention the potential truths they contain4 ,,question ,,iii3 ,what are you to do if a child says he does not like fairy tales8 ,this is not an uncommon case4 ,what we have first to determine1 under these circumstances1 is whether this dislike springs from a stolid1 prosaic nature1 whether it springs from a real inability to visualize such pictures as the fairy or marvelous element in the story present1 or whether 7and this is often the real reason7 it is from a fear of being asked to believe what his judgment resents as untrue1 or whether he thinks it is grown-up to reject such pleasure as unworthy of his years4 ,in the first case1 it is wise to persevere1 in hopes of developing the dormant imagination4 ,if the child resents the apparent want of truth we can teach him how many-sided truth is1 as ,i suggested in my answer to the first question4 ,in the other cases1 we must try to make it clear that the delight he may venture to take now will increase1 not decrease1 with years2 that the more one brings to a thing1 in the way of experience and knowledge1 the more one will draw out of it4 ,let us take as a concrete example the question of ,santa ,claus4 ,this joy has almost disappeared1 for we have torn away the last shred of mystery about the personage by allowing him to be materialized in the ,christmas shops and bazaars4 ,but the original myth need never have disappeared2 the link could easily have been kept by gradually telling the child that the ,santa ,claus they worshiped as a mysterious and invisible power is nothing but the spirit of charity and kindness that makes us remember others1 and that this spirit often takes the form of material gifts4 ,we can also lead them a step higher and show them that this spirit of kindness can do more than provide material things2 so that the old nursery tale has laid a beautiful foundation which need never be pulled up3 we can build upon it and add to it all through our lives4 ,is not one of the reasons that children reject fairy tales this1 that such very poor material is offered them8 ,there is a dreary flatness about all except the very best which revolts the child of literary appreciation and would fail to strike a spark in the more prosaic4 ,,question ,,iv3 ,do ,i recommend learning a story by heart1 or telling it in one's own words8 ,this would largely depend on the kind of story4 ,if the style is classic or if the interest of the story is closely connected with the style1 as in ,andersen1 ,kipling or ,stevenson1 then it is better to commit it absolutely to memory4 ,but if this process should take too long 7,i mean for those who cannot afford the time to specialize71 or if it produces a stilted effect1 then it is wiser to read the story many times over1 let it soak in1 taking notes of certain passages which would add to the dramatic interest of the story1 and not trouble about the word accuracy of the whole4 ,for instance1 for very young children the story of ,pandora1 as told in the ,wonder-,book could be shortened so as to leave principally the dramatic dialogue between the two children1 which could be easily committed to memory by the narrator and would appeal most directly to the children4 ,or for older children3 in taking a beautiful medieval story such as ,our ,lady's ,tumbler1 retold by ,wickstead1 the original text could hardly be presented so as to hold an audience2 but while giving up a great deal of the elaborate material1 we should try to present many of the characteristic passages which seem to sum up the situation4 ,for instance1 before his performance1 the ,tumbler cries3 ,what am ,i doing8 ,for there is none here so caitiff but who vies with all the rest in serving ,god after his trade4 ,and after his act of devotion3 ,lady1 this is a choice performance4 ,i do it for no other but for you2 so aid me ,god1 ,i do not--for you and for your ,son4 ,and this ,i dare avouch and boast1 that for me it is no play-work4 ,but ,i am serving you1 and that pays me4 ,on the other hand1 there are some very gifted narrators who can only tell the story in their own words4 ,i consider that both methods are necessary to the all-round story-teller4 ,,question ,v3 ,how do ,i set about preparing a story8 ,here again the preparation depends a great deal on the kind of story3 whether it has to be committed to memory or rearranged to suit a certain age of child1 or told entirely in one's own words4 ,but there is one kind of preparation which is the same for any story1 that is1 living with it for a long time1 until one has really obtained the right atmosphere1 especially in the case of inanimate objects4 ,this is where ,hans ,christian ,andersen reigns supreme4 ,horace ,scudder says of him3 ,by some transmigration1 souls have passed into tin soldiers1 balls1 tops1 money-pigs1 coins1 shoes and even such attenuated things as darning-needles1 and when1 informing these apparent dead and stupid bodies1 they begin to make manifestations1 it is always in perfect consistency with the ordinary conditions of the bodies they occupy1 though the several objects become1 by the endowment of souls1 suddenly expanded in their capacity4#de ,now1 my test of being ready with such stories is whether ,i have ceased to look upon such objects as inanimate4 ,let us take some of those quoted from ,andersen4 ,first1 the ,tin ,soldier4 ,to me1 since ,i have lived in the story1 he is a real live hero1 holding his own with some of the bravest fighting heroes in history or fiction4 ,as for his being merely of tin1 ,i entirely forget it1 except when ,i realize against what odds he fights1 or when ,i stop to admire the wonderful way ,andersen carries out his simile of the old tin spoon--the stiffness of the musket1 and the tears of tin4 ,take the ,top and the ,ball1 and1 except for the delightful way they discuss the respective merits of cork and mahogany in their ancestors1 you would completely forget that they are not real human beings with the live passions and frailties common to youth4 ,as for the ,beetle--who ever thinks of him as a mere entomological specimen8 ,is he not the symbol of the self-satisfied traveler who learns nothing en route but the importance of his own personality8 ,and the ,darning-,needle8 ,it is impossible to divorce human interest from the ambition of this little piece of steel4 ,and this same method applied to the preparation of any shows that one can sometimes rise from the role of mere interpreter to that of creator--that is to say1 the objects live afresh for you in response to the appeal you make in recognizing their possibilities of vitality4 ,as a mere practical suggestion1 ,i would advise that1 as soon as one has overcome the difficulties of the text 7if actually learning by heart1 there is nothing but the drudgery of constant repetition71 and as one begins to work the story into true dramatic form1 always say the words aloud1 and many times aloud1 before trying them even on one person4 ,more suggestions come to one in the way of effects from hearing the sounds of the words1 and more complete mental pictures1 in this way than any other--it is a sort of testing period1 the results of which may or may not have to be modified when produced in public4 ,in case of committing to memory1 ,i advise word perfection first1 not trying dramatic effects before this is reached2 but1 on the other hand1 if you are using your own words1 you can think out the effects as you go along--,i mean1 during the preparation4 ,gestures1 pauses1 facial expression often help to fix the choice of words one decides to use1 though here again the public performance will often modify the result4 ,i strongly advise that all gestures be studied before the glass1 because this most faithfully recording friend1 whose sincerity we dare not question1 will prevent glaring errors1 and also help by the correction of these to more satisfactory results along positive lines4 ,if your gesture does not satisfy you 7and practice will make one more and more critical71 it is generally because you have not made sufficient allowance for the power of imagination in your audience4 ,emphasis in gesture is just as inartistic--and therefore ineffective--as emphasis in tone or language4 ,before deciding1 however1 either on the facial expression or gesture1 we must consider the chief characters in the story1 and study how we can best--not present them1 but allow them to present themselves1 which is a very different thing4 ,the greatest tribute which can be paid to a story-teller1 as to an actor1 is that his own personality is temporarily forgotten1 because he has so completely identified himself with his role4 ,when we have decided what the chief characters really mean to do1 we can let ourselves go in the impersonation4 ,i shall now take a story as a concrete example1 namely1 the ,buddhist legend of the ,lion and the ,hare4#df ,we have here the ,lion and the ,hare as types--the other animals are less individual and therefore display less salient qualities4 ,the little hare's chief characteristics are nervousness1 fussiness1 and misdirected imagination4 ,we must bear this all in mind when she appears on the stage--fortunately these characteristics lend themselves easily to dramatic representation4 ,the ,lion is not only large-hearted but broad-minded4 ,it is good to have an opportunity of presenting to the children a lion who has other qualities than physical beauty or extraordinary strength 7here again there will lurk the danger of alarming the nature students74 ,he is even more interesting than the magnanimous lion whom we have sometimes been privileged to meet in fiction4 ,of course we grown-up people know that the ,lion is the ,buddha in disguise4 ,children will not be able to realize this1 nor is it the least necessary that they should do so2 but they will grasp the idea that he is a very unusual lion1 not to be met with in ,paul ,du ,chaillu's adventures1 still less in the quasi-domestic atmosphere of the ,zoological ,gardens4 ,if our presentation is life-like and sincere1 we shall convey all we intend to the child4 ,this is part of what ,i call the atmosphere of the story1 which1 as in a photograph1 can only be obtained by long exposure1 that is to say1 in the case of preparation we must bestow much reflection and sympathy4 ,because these two animals are the chief characters1 they must be painted in fainter colors--they should be suggested rather than presented in detail4 ,it might be well to give a definite gesture to the ,elephant--say1 a characteristic movement with his trunk--a scowl to the ,tiger1 a supercilious and enigmatic smile to the ,camel 7suggested by ,kipling's wonderful creation74 ,but if a gesture were given to each of the animals1 the effect would become monotonous1 and the minor characters would crowd the foreground of the picture1 impeding the action and leaving little to the imagination of the audience4 ,i personally have found it effective to repeat the gestures of these animals as they are leaving the stage1 but less markedly1 as it is only a form of reminder4 ,now1 what is the impression we wish to leave on the mind of the child1 apart from the dramatic joy and interest we have endeavored to provide8 ,surely it is that he may realize the danger of a panic4 ,one method of doing this 7alas6 a favorite one still7 is to say at the end of the story3 ,now1 children1 what do we learn from this8 ,of this method ,lord ,morley has said3 ,it is a commonplace to the wise1 and an everlasting puzzle to the foolish1 that direct inculcation of morals should invariably prove so powerless an instrument1 so futile a method4 ,if this direct method were really effective1 we might as well put the little drama aside1 and say plainly3 ,it is foolish to be nervous2 it is dangerous to make loose statements4 ,large-minded people understand things better than those who are narrow-minded4 ,all these abstract statements would be as true and as tiresome as the multiplication table4 ,the child might or might not fix them in his mind1 but he would not act upon them4 ,but1 put all the artistic warmth of which you are capable into the presentation of the story1 and1 without one word of comment from you1 the children will feel the dramatic intensity of that vast concourse of animals brought together by the feeble utterance of one irresponsible little hare4 ,let them feel the dignity and calm of the ,lion1 which accounts for his authority2 his tender but firm treatment of the foolish little ,hare2 and listen to the glorious finale when all the animals retire convinced of their folly2 and you will find that you have adopted the same method as the ,lion 7who must have been an unconscious follower of ,froebel71 and that there is nothing to add to the picture4 ,,question ,,vi3 ,is it wise to talk over a story with children and to encourage them in the habit of asking questions about it8 ,at the time1 no6 ,the effect produced is to be by dramatic means1 and this would be destroyed any attempt at analysis by means of questions4 ,the medium that has been used in the telling of the story is 7or ought to be7 a purely artistic one which will reach the child through the medium of the emotions3 the appeal to the intellect or the reason is a different method1 which must be used at a different time4 ,when you are enjoying the fragrance of a flower or the beauty of its color1 it is not the moment to be reminded of its botanical classification1 just as in the botany lesson it would be somewhat irrelevant to talk of the part that flowers play in the happiness of life4 ,from a practical point of view1 it is not wise to encourage questions on the part of the children1 because they are apt to disturb the atmosphere by bringing in entirely irrelevant matter1 so that in looking back on the telling of the story1 the child often remembers the irrelevant conversation to the exclusion of the dramatic interest of the story itself4#dg ,i remember once making what ,i considered at the time a most effective appeal to some children who had been listening to the ,story of the ,little ,tin ,soldier1 and1 unable to refrain from the cheap method of questioning1 of which ,i have now recognized the futility1 ,i asked3 ,don't you think it was nice of the little dancer to rush down into the fire to join the brave little soldier8 ,well1 said a prosaic little lad of six3 ,i thought the draught carried her down4 ,,question ,,vii3 ,is it wise to call upon children to repeat the story as soon as it has been told8 ,my answer here is decidedly in the negative4 ,while fully appreciating the modern idea of children expressing themselves1 ,i very much deprecate this so-called self-expression taking the form of mere reproduction4 ,i have dealt with this matter in detail in another portion of my book4 ,this is one of the occasions when children should be taking in1 not giving out 7even the most fanatic of moderns must agree that there are such moments74 ,when1 after much careful preparation1 an expert has told a story to the best of his ability1 to encourage the children to reproduce this story with their imperfect vocabulary and with no special gift of speech 7,i am always alluding to the normal group of children7 is as futile as if1 after the performance of a musical piece by a great artist1 some individual member of the audience were to be called upon to give his rendering of the original rendering4 ,the result would be that the musical joy of the audience would be completely destroyed and the performer himself would share in the loss4#dh ,i have always maintained that five minutes of complete silence after the story would do more to fix the impression on the mind of the child than any amount of attempt at reproducing it4 ,the general statement made in ,dr4 ,montessor's wonderful chapter on ,silence would seem to me of special application to the moments following on the telling of a story4 ,,question ,,viii3 ,should children be encouraged to illustrate the stories which they have heard8 ,as a dramatic interest to the teachers and the children1 ,i think it is a very praiseworthy experiment1 if used somewhat sparingly4 ,but ,i seriously doubt whether these illustrations in any way indicate the impression made on the mind of the child4 ,it is the same question that arises when that child is called upon1 or expresses a wish1 to reproduce the story in his own words3 the unfamiliar medium in both instances makes it almost impossible for the child to convey his meaning1 unless he is an artist in the one case or he has real literary power of expression in the other4 ,my own impression1 confirmed by many teachers who have made the experiment1 is that a certain amount of disappointment is mixed up with the daring joy in the attempt1 simply because the children can get nowhere near the ideal which has presented itself to the inner eye4 ,i remember a kindergarten teacher saying that on one occasion1 when she had told to the class a thrilling story of a knight1 one of the children immediately asked for permission to draw a picture of him on the blackboard4 ,so spontaneous a request could not1 of course1 be refused1 and1 full of assurance1 the would-be artist began to give his impression of the knight's appearance4 ,when the picture was finished1 the child stood back for a moment to judge for himself of the result4 ,he put down the chalk and said sadly3 ,and ,i thought he was so handsome4 ,nevertheless1 except for the drawback of the other children seeing a picture which might be inferior to their own mental vision1 ,i should quite approve of such experiments1 as long as they are not taken as literal data of what the children have really received4 ,it would1 however1 be better not to have the picture drawn on a blackboard but at the child's private desk1 to be seen by the teacher and not1 unless the picture were exceptionally good1 to be shown to the other children4 ,one of the best effects of such an experiment would be to show a child how difficult it is to give the impression one wishes to record1 and which would enable him later on to appreciate the beauty of such work in the hands of a finished artist4 ,i can anticipate the jeers with which such remarks would be received by the ,futurist ,school1 but1 according to their own theory1 ,i ought to be allowed to express the matter as ,i see it1 however faulty the vision may appear to them4#di ,,question ,,ix3 ,in what way can the dramatic method of story-telling be used in ordinary class teaching8 ,this is too large a question to answer fully in so general a survey as this work1 but ,i should like to give one or two examples as to how the element of story-telling could be introduced4 ,i have always thought that the only way in which we could make either a history or literature lesson live1 so as to take a real hold on the mind of the pupil at any age1 would be that1 instead of offering lists of events1 crowded into the fictitious area of one reign1 one should take a single event1 say in one lesson out of five1 and give it in the most splendid language and in the most dramatic manner4 ,to come to a concrete example3 ,supposing that one is talking to the class of ,greece1 either in connection with its history1 its geography or its literature1 could any mere accumulation of facts give a clearer idea of the life of the people than a dramatically told story from ,homer1 ,aeschylus1 ,sophocles or ,euripides8 ,what in the history of ,iceland could give any more graphic idea of the whole character of the life and customs of the inhabitants than one of the famous sagas1 such as ,the ,burning of ,njal or ,the ,death of ,gunnar8 ,in teaching the history of ,spain1 what could make the pupils understand better the spirit of knight-errantry1 its faults and its qualities1 than a recital from ,don ,quixote or from the tale of ,the ,cid8 ,in a word1 the stories must appeal so vividly to the imagination that they will light up the whole period of history which we wish them to illustrate and keep it alive in the memory for all time4 ,but quite apart from the dramatic presentation of history1 there are very great possibilities for the short story introduced into the portrait of some great personage1 insignificant in itself1 but which throws a sudden sidelight on his character1 showing the mind behind the actual deeds2 this is what ,i mean by using the dramatic method4 ,to take a concrete example3 ,suppose1 in giving an account of the life of ,napoleon1 after enlarging upon his campaigns1 his ,european policy1 his indomitable will1 one were suddenly to give an idea of his many- sidedness by relating how he actually found time to compile a catechism which was used for some years in the elementary schools of ,france4 ,what sidelights might be thrown in this way on such characters as ,nero1 ,caesar1 ,henry ,,viii1 ,luther1 ,goethe6 ,to take one example from these3 ,instead of making the whole career of ,henry ,,viii center round the fact that he was a much-married man1 could we not present his artistic side and speak of his charming contributions to music8 ,so much for the history lessons4 ,but could not the dramatic form and interest be introduced into our geography lessons8 ,think of the romance of the ,panama ,canal1 the position of ,constantinople1 as affecting the history of ,europe1 the shape of ,greece1 ,england as an island1 the position of ,thibet1 the interior of ,africa--to what wonderful story-telling would these themes lend themselves6 ,,question ,x3 ,which should predominate in the story--the dramatic or the poetic element8 ,this is a much debated point4 ,from experience ,i have come to the conclusion that1 though both should be found in the whole range of stories1 the dramatic element should prevail from the very nature of the presentation1 and also because it reaches the larger number of children1 at least of normal children4 ,almost every child is dramatic1 in the sense that it loves action 7not necessarily an action in which it has to bear a part74 ,it is the exceptional child who is reached by the poetic side1 and just as on the stage the action must be quicker and more concentrated than in a poem--than even a dramatic poem--the poetical side1 which must be painted in more delicate colors or presented in less obvious form1 often escapes them4 ,of course1 the very reason why we must include the poetical element is that it is an unexpressed need of most children4 ,their need of the dramatic is more loudly proclaimed and more easily satisfied4 ,,question ,,xi3 ,what is the educational value of humor in the stories told to our children8 ,my answer to this is that humor means so much more than is usually understood by this term4 ,so many people seem to think that to have a sense of humor is merely to be tickled by a funny element in a story4 ,it surely means something much more subtle than this4 ,it is ,thackeray who says3 ,if humor only meant laughter1 but the humorist profess to awaken and direct your love1 your pity1 your kindness1 your scorn for untruth and pretension1 your tenderness for the weak1 the poor1 the oppressed1 the unhappy4 ,so that1 in our stories1 the introduction of humor should not merely depend on the doubtful amusement that follows on a sense of incongruity4 ,it should inculcate a sense of proportion brought about by an effort of imagination2 it shows a child its real position in the universe and prevents hasty conclusions4 ,it shortens the period of joy in horse-play and practical jokes4 ,it brings about a clearer perception of all situations1 enabling the child to get the point of view of another person4 ,it is the first instilling of philosophy into the mind of a child and prevents much suffering later on when the blows of life fall upon him2 for a sense of humor teaches us at an early age not to expect too much3 and this philosophy can be developed with cynicism or pessimism1 without even destroying the joie de vivre4 ,one cannot1 however1 sufficiently emphasize the fact that these far- reaching results can be brought about only by humor quite distinct from the broader fun and hilarity which have also their use in an educational scheme4 ,from my own experience1 ,i have learned that development of humor is with most children extremely slow4 ,it is quite natural and quite right that at first pure fun1 obvious situations and elementary jokes should please them1 but we can very gradually appeal to something more subtle1 and if ,i were asked what story would educate our children most thoroughly in appreciation of humor1 ,i should say that ,alice in ,wonderland was the most effective4 ,what better object lesson could be given in humorous form of taking somebody else's point of view than that given to ,alice by the ,mock ,turtle in speaking of the ,whiting-- ,you know what they're like8 ,i believe so1 said ,alice4 ,they have their tails in their mouths-- and they're all over crumbs4 ,you're wrong about the crumbs1 said the ,mock ,turtle4 ,crumbs would all wash off in the sea4 ,or when ,alice is speaking to the ,mouse of her cat1 and says3 ,she is such a dear quiet thing--and a capital one for catching mice--- and then suddenly realizes the point of view of the ,mouse1 who was trembling down to the end of its tail4 ,then1 as an instance of how a lack of humor leads to illogical conclusions 7a condition common to most children71 we have the conversation between ,alice and the ,pigeon3 ,,alice3 ,but little girls eat quite as much as serpents1 you know4 ,,pigeon3 ,i don't believe it4 ,but if they do1 why then they're a kind of serpent1 that's all ,i can say4 ,then1 as an instance of how a sense of humor would prevent too much self-importance3 ,i have a right to think1 said ,alice sharply4 ,just about as much right1 said the ,duchess1 as pigs have to fly4 ,,part ,,ii4 ,,the ,,stories4 ,the following stories do not form a comprehensive selection2 this ,i have endeavored to give in the ,list of ,stories4 ,the stories given are chiefly taken from my own repertoire1 and have been so constantly asked by teachers that ,i am glad of an opportunity of presenting them in full4 ,i regret that ,i have been unable to furnish many of the stories ,i consider good for narration1 but the difficulty of obtaining permission has deterred me from further efforts in this direction4 ,,sturla1 ,,the ,,historian4#ej ,then ,sturla got ready to sail away with the king1 and his name was put on the list4 ,he went on board before many men had come2 he had a sleeping bag and a travelling chest1 and took his place on the foredeck4 ,a little later the king came on to the quay1 and a company of men with him4 ,sturla rose and bowed1 and bade the king hail1 but the king answered nothing1 and went aft along the ship to the quarter-deck4 ,they sailed that day to go south along the coast4 ,but in the evening when men unpacked their provisions ,sturla sat still1 and no one invited him to mess4 ,then a servant of the king's came and asked ,sturla if he had any meat and drink4 ,sturla said ,,no4 ,then the king's servant went to the king and spoke with him1 out of hearing1 and then went forward to ,sturla and said3 ,you shall go to mess with ,thorir ,mouth and ,erlend ,maw4 ,they took him into their mess1 but rather stiffly4 ,when men were turning in to sleep1 a sailor of the king's asked who should tell them stories4 ,there was little answer4 ,then said he3 ,sturla the ,icelander1 will you tell stories8 ,as you will1 said ,sturla4 ,so he told them the story of ,huld1 better and fuller than any one there had ever heard it told before4 ,then many men pushed forward to the fore-deck1 wanting to hear as clearly as might be1 and there was a great crowd4 ,the queen asked3 ,what is that crowd on deck there8 ,a man answered3 ,the men are listening to the story that the ,icelander tells4 ,what story is that8 said she4 ,he answers3 ,it is about a great troll-wife1 and it is a good story and well told4 ,the king bade her pay no heed to that1 and go to sleep4 ,she says3 ,i think this ,icelander must be a good fellow1 and less to blame than he is reported4 ,the ,king was silent4 ,so the night passed1 and the next morning there was no wind for them1 and the king's ship lay in the same place4 ,later in the day1 when men sat at their drink1 the king sent dishes from his table to ,sturla4 ,sturla's messmates were pleased with this3 ,you bring better luck than we thought1 if this sort of thing goes on4 ,after dinner the queen sent for ,sturla and asked him to come to her and bring the troll-wife story along with him4 ,so ,sturla went aft to the quarter- deck1 and greeted the king and queen4 ,the king answered little1 the queen well and cheerfully4 ,she asked him to tell the same story he had told overnight4 ,he did so1 for a great part of the day4 ,when he finished1 the queen thanked him1 and many others besides1 and made him out in their minds to be a learned man and sensible4 ,but the king said nothing2 only he smiled a little4 ,sturla thought he saw that the king's whole frame of mind was brighter than the day before4 ,so he said to the king that he had made a poem about him1 and another about his father3 ,i would gladly get a hearing for them4 ,the queen said3 ,let him recite his poem2 ,i am told that he is the best of poets1 and his poem will be excellent4 ,the king bade him say on1 if he would1 and repeat the poem he professed to have made about him4 ,sturla chanted it to the end4 ,the queen said3 ,to my mind that is a good poem4 ,the king said to her3 ,can you follow the poem so clearly8 ,i would be fain to have you think so1 ,sir1 said the queen4 ,the king said3 ,i have learned that ,sturla is good at verses4 ,sturla took his leave of the king and queen and went to his place4 ,there was no sailing for the king all that day4 ,in the evening before he went to bed he sent for ,sturla4 ,and when he came he greeted the king and said3 ,what will you have me to do1 ,sir8 ,the king called for a silver goblet full of wine1 and drank some and gave it to ,sturla and said3 ,a health to a friend in wine6 7,vin skal til vinar drekka74 ,sturla said3 ,god be praised for it6 ,even so1 says the king1 and now ,i wish you to say the poem you have made about my father4 ,sturla repeated it3 and when it was finished men praised it much and most of all the queen4 ,the king said3 ,to my thinking1 you are a better reciter than the ,pope4 ,sturlunga ,saga1 vol4ii1 p4#bfi4 ,a ,,saga4 ,in the grey beginnings of the world1 or ever the flower of justice had rooted in the heart1 there lived among the daughters of men two children1 sisters1 of one house4 ,in childhood did they leap and climb and swim with the men children of their race1 and were nurtured on the same stories of gods and heroes4 ,in maidenhood they could do all that a maiden might and more--delve could they no less than spin1 hunt no less than weave1 brew pottage and helm ships1 wake the harp and tell the stars1 face all danger and laugh at all pain4 ,joyous in toil-time and rest-time were they as the days and years of their youth came and went4 ,death had spared their house1 and unhappiness knew they none4 ,yet often as at falling day they sat before sleep round the hearth of red fire1 listening with the household to the brave songs of gods and heroes1 there would surely creep into their hearts a shadow--the thought that whatever the years of their lives1 and whatever the generous deeds1 there would for them1 as women1 be no escape at the last from the dire mists of ,hela1 the fogland beyond the grave for all such as die not in battle2 no escape for them from ,hela1 and no place for ever for them or for their kind among the glory-crowned1 sword-shriven heroes of echoing ,valhalla4 ,that shadow had first fallen in their lusty childhood1 had slowly gathered darkness through the overflowing days of maidenhood1 and now1 in the strong tide of full womanhood1 often lay upon their future as the moon ,odin's wrath lies upon the sun4 ,but stout were they to face danger and laugh at pain1 and for all the shadow upon their hope they lived brave and songful days--the one a homekeeper and in her turn a mother of men3 the other unhusbanded1 but gentle to ignorance and sickness and sorrow through the width and length of the land4 ,and thus1 facing life fearlessly and ever with a smile1 those two women lived even unto extreme old age1 unto the one's children's children's children1 labouring truly unto the end and keeping strong hearts against the dread day of ,hela1 and the fate-locked gates of ,valhalla4 ,but at the end a wonder4 ,as these sisters looked their last upon the sun1 the one in the ancestral homestead under the eyes of love1 the other in a distant land among strange faces1 behold the wind of ,thor1 and out of the deep of heaven the white horses of ,odin1 ,all-,father1 bearing ,valkyrie1 shining messengers of ,valhalla4 ,and those two world-worn women1 faithful in all their lives1 were caught up in death in divine arms and borne far from the fogs of ,hela to golden thrones among the battle heroes1 upon which the ,nornir1 sitting at the loom of life1 had from all eternity graven their names4 ,and from that hour have the gates of ,valhalla been thrown wide to all faithful endeavour whether of man or woman4 ,,john ,,russell ,headmaster of the ,king ,alfred ,school4 ,,the ,,legend ,,of ,,st4 ,,christopher4 ,christopher was of the lineage of the ,canaaneans and he was of a right great stature1 and had a terrible and fearful cheer and countenance4 ,and he was twelve cubits of length4 ,and1 as it is read in some histories1 when he served and dwelled with the king of ,canaaneans1 it came in his mind that he would seek the greatest prince that was in the world and him he would serve and obey4 ,and so far he went that he came to a right great king1 of whom the renown generally was that he was the greatest of the world4 ,and when the king saw him received him into his service and made him to dwell in his court4 ,upon a time a minstrel sung tofore him a song in which he named oft the devil4 ,and the king which was a ,christian man1 when he heard him name the devil1 made anon the sign of the cross in his visage4 ,and when ,christopher saw that1 he had great marvel what sign it was and wherefore the king made it4 ,and he demanded it of him4 ,and because the king would not say1 he said1 ,if thou tell me not1 ,i shall no longer dwell with thee4 ,and then the king told to him saying1 ,alway when ,i hear the devil named1 ,i fear that he should have power over me1 and ,i garnish me with this sign that he grieve not nor annoy me4 ,then ,christopher said to him1 ,thou doubtest the devil that he hurt thee not8 ,then is the devil more mighty and greater than thou art4 ,i am then deceived of my hope and purpose2 for ,i supposed that ,i had found the most mighty and the most greatest lord of the world4 ,but ,i commend thee to ,god1 for ,i will go seek him to be my lord and ,i his servant4 ,and then he departed from this king and hasted him to seek the devil4 ,and as he went by a great desert he saw a great company of knights4 ,of which a knight cruel and horrible came to him and demanded whither he went4 ,and ,christopher answered to him and said1 ,i go to seek the devil for to be my master4 ,and he said1 ,i am he that thou seekest4 ,and then ,christopher was glad and bound himself to be his servant perpetual1 and took him for his master and lord4 ,and as they went together by a common way1 they found there a cross erect and standing4 ,and anon as the devil saw the cross1 he was afeard and fled1 and left the right way and brought ,christopher about by a sharp desert1 and after1 when they were past the cross1 he brought him to the highway that they had left4 ,and when ,christopher saw that1 he marvelled and demanded whereof he doubted that he had left high and fair way and had gone so far about by so hard desert4 ,and the devil would not tell him in no wise4 ,then ,christopher said to him1 ,if thou wilt not tell me ,i shall anon depart from thee and shall serve thee no more4 ,therefore the devil was constrained to tell him1 and said ,there was a man called ,christ which was hanged on the cross1 and when ,i see his sign1 ,i am sore afeard and flee from it wheresomever ,i find it4 ,to whom ,christopher said1 ,then he is greater and more mightier than thou1 when thou art afraid of his sign4 ,and ,i see well that ,i have laboured in vain since ,i have not founden the greatest lord of all the earth4 ,and ,i will serve thee no longer4 ,go thy way then3 for ,i will go seek ,jesus ,christ4 ,and when he had long sought and demanded where he should find ,christ1 at last he came into a great desert to an hermit that dwelled there4 ,and this hermit preached to him of ,jesus ,christ and informed him in the faith diligently4 ,and he said to him1 ,this king whom thou desirest to serve1 requireth this service that thou must oft fast4 ,and ,christopher said to him1 ,require of me some other thing and ,i shall do it4 ,for that which thou requirest ,i may not do4 ,and the hermit said1 ,thou must then wake and make many prayers4 ,and ,christopher said to him1 ,i wot not what it is4 ,i may do no such thing4 ,and then the hermit said unto him1 ,knowest thou such a river in which many be perished and lost8 ,to whom ,christopher said1 ,i know it well4 ,then said the hermit1 ,because thou art noble and high of stature and strong in thy members1 thou shalt be resident by that river and shalt bear over all them that shall pass there4 ,which shall be a thing right convenable to ,our ,lord ,jesus ,christ1 whom thou desirest to serve1 and ,i hope ,he shall shew ,himself to thee4 ,then said ,christopher1 ,certes1 this service may ,i well do1 and ,i promise to ,him for to do it4 ,then went ,christopher to this river1 and made there his habitation for him4 ,and he bare a great pole in his hand instead of a staff1 by which he sustained him in the water2 and bare over all manner of people without ceasing4 ,and there he abode1 thus doing1 many days4 ,and on a time1 as he slept in his lodge1 he heard the voice of a child which called him and said1 ,christopher1 come out and bear me over4 ,then he awoke and went out2 but he found no man4 ,and when he was again in his house1 he heard the same voice1 and he ran out and found no body4 ,the third time he was called1 and came thither1 and found a child beside the rivage of the river3 which prayed him goodly to bear him over the water4 ,and then ,christopher lift up the child on his shoulders and took his staff and entered in to the river for to pass4 ,and the water of the river arose and swelled more and more4 ,and the child was heavy as lead4 ,and always as he went further the water increased and grew more1 and the child more and more waxed heavy3 in so much that ,christopher had great anguish and feared to be drowned4 ,and when he was escaped with great pain and passed the water1 and set the child aground1 he said to the child1 ,child1 thou hast put me in great peril4 ,thou weighest almost as ,i had had all the world upon me4 ,i might bear no greater burden4 ,and the child answered1 ,christopher1 marvel thou no thing4 ,for thou hast not only borne all the world upon thee2 but thou hast borne ,him that created and made the world upon thy shoulders4 ,i am ,jesus ,christ1 the king to whom thou servest in this work4 ,and that thou mayest know that ,i say to thee truth1 set thy staff in the earth by the house1 and thou shalt see to-morrow that it shall bear flowers and fruit4 ,and anon he vanished from his eyes4 ,and then ,christopher set his staff in the earth and when he arose on the morrow1 he found his staff like a palm-tree bearing flowers1 leaves and dates4 ,from ,,the ,,legenda ,,aurea ,,temple ,,classics4 ,,arthur ,,in ,,the ,,cave4 ,once upon a time a ,welshman was walking on ,london ,bridge1 staring at the traffic and wondering why there were so many kites hovering about4 ,he had come to ,london1 after many adventures with thieves and highwaymen1 which need not be related here1 in charge of a herd of black ,welsh cattle4 ,he had sold them with much profit1 and with jingling gold in his pocket he was going about to see the sights of the city4 ,he was carrying a hazel staff in his hand1 for you must know that a good staff is as necessary to a drover as teeth are to his dogs4 ,he stood still to gaze at some wares in a shop 7for at that time ,london ,bridge was shops from beginning to end71 when he noticed that a man was looking at his stick with a long fixed look4 ,the man after a while came to him and asked him where he came from4 ,i come from my own country1 said the ,welshman1 rather surlily1 for he could not see what business the man had to ask such a question4 ,do not take it amiss1 said the stranger3 if you will only answer my questions1 and take my advice1 it will be of greater benefit to you than you imagine4 ,do you remember where you cut that stick8 ,the ,welshman was still suspicious1 and said3 ,what does it matter where ,i cut it8 ,it matters1 said the questioner1 because there is a treasure hidden near the spot where you cut that stick4 ,if you can remember the place and conduct me to it1 ,i will put you in possession of great riches4 ,the ,welshman now understood he had to deal with a sorcerer1 and he was greatly perplexed as to what to do4 ,on the one hand1 he was tempted by the prospect of wealth2 on the other hand1 he knew that the sorcerer must have derived his knowledge from devils1 and he feared to have anything to do with the powers of darkness4 ,the cunning man strove hard to persuade him1 and at length made him promise to shew the place where he cut his hazel staff4 ,the ,welshman and the magician journeyed together to ,wales4 ,they went to ,craig y ,dinas1 the ,rock of the ,fortress1 at the head of the ,neath valley1 near ,pont ,nedd ,fechan1 and the ,welshman1 pointing to the stock or root of an old hazel1 said3 ,this is where ,i cut my stick4 ,let us dig1 said the sorcerer4 ,they digged until they came to a broad1 flat stone4 ,prying this up1 they found some steps leading downwards4 ,they went down the steps and along a narrow passage until they came to a door4 ,are you brave8 asked the sorcerer2 will you come in with me8 ,i will1 said the ,welshman1 his curiosity getting the better of his fear4 ,they opened the door1 and a great cave opened out before them4 ,there was a faint red light in the cave1 and they could see everything4 ,the first thing they came to was a bell4 ,do not touch that bell1 said the sorcerer1 or it will be all over with us both4 ,as they went further in1 the ,welshman saw that the place was not empty4 ,there were soldiers lying down asleep1 thousands of them1 as far as ever the eye could see4 ,each one was clad in bright armour1 the steel helmet of each was on his head1 the shining shield of each was on his arm1 the sword of each was near his hand1 each had his spear stuck in the ground near him1 and each and all were asleep4 ,in the midst of the cave was a great round table at which sat warriors whose noble features and richly-dight armour proclaimed that they were not as the roll of common men4 ,each of these1 too1 had his head bent down in sleep4 ,on a golden throne on the further side of the round table was a king of gigantic stature and august presence4 ,in his hand1 held below the hilt1 was a mighty sword with scabbard and haft of gold studded with gleaming gems2 on his head was a crown set with precious stones which flashed and glinted like so many points of fire4 ,sleep had set its seal on his eyelids also4 ,are they asleep8 asked the ,welshman1 hardly believing his own eyes4 ,yes1 each and all of them1 answered the sorcerer4 ,but1 if you touch yonder bell1 they will all awake4 ,how long have they been asleep8 ,for over a thousand years4 ,who are they8 ,arthur's warriors1 waiting for the time to come when they shall destroy all the enemy of the ,cymry and re-possess the strand of ,britain1 establishing their own king once more at ,caer ,lleon4 ,who are these sitting at the round table8 ,these are ,arthur's knights--,owain1 the son of ,urien2 ,cai1 the son of ,cynyr2 ,gnalchmai1 the son of ,gwyar2 ,peredir1 the son of ,efrawe2 ,geraint1 the son of ,erbin2 ,ciernay1 the son of ,celhddon2 ,edeyrn1 the son of ,nudd2 ,cymri1 the son of ,clydno4 ,and on the golden throne8 broke in the ,welshman4 ,is ,arthur himself1 with his sword ,excalibur in his hand1 replied the sorcerer4 ,impatient by this time at the ,welshman's questions1 the sorcerer hastened to a great heap of yellow gold on the floor of the cave4 ,he took up as much as he could carry1 and bade his companion do the same4 ,it is time for us to go1 he then said1 and he led the way towards the door by which they had entered4 ,but the ,welshman was fascinated by the sight of the countless soldiers in their glittering arms--all asleep4 ,how ,i should like to see them all awaking6 he said to himself4 ,i will touch the bell--,i must see them all arising from their sleep4 ,when they came to the bell1 he struck it until it rang through the whole place4 ,as soon as it rang1 lo6 the thousands of warriors leapt to their feet and the ground beneath them shook with the sound of the steel arms4 ,and a great voice came from their midst3 ,who rang the bell8 ,has the day come8 ,the sorcerer was so much frightened that he shook like an aspen leaf4 ,he shouted in answer3 ,no1 the day has not come4 ,sleep on4 ,the mighty host was all in motion1 and the ,welshman's eyes were dazzled as he looked at the bright steel arms which illumined the cave as with the light of myriad flames of fire4 ,arthur1 said the voice again1 awake2 the bell has rung1 the day is breaking4 ,awake1 ,arthur the ,great4 ,no1 shouted the sorcerer1 it is still night4 ,sleep on1 ,arthur the ,great4 ,a sound came from the throne4 ,arthur was standing1 and the jewels in his crown shone like bright stars above the countless throng4 ,his voice was strong and sweet like the sound of many waters1 and he said3 ,my warriors1 the day has not come when the ,black ,eagle and the ,golden ,eagle shall go to war4 ,it is only a seeker after gold who has rung the bell4 ,sleep on1 my warriors2 the morn of ,wales has not yet dawned4 ,a peaceful sound like the distant sigh of the sea came over the cave1 and in a trice the soldiers were all asleep again4 ,the sorcerer hurried the ,welshman out of the cave1 moved the stone back to its place and vanished4 ,many a time did the ,welshman try to find his way into the cave again1 but though he dug over every inch of the hill1 he has never again found the entrance to ,arthur's ,cave4 ,from ,,the ,,welsh ,,fairy ,,book1 by ,w4 ,,jenkyn ,,thomas4 published by ,,fisher ,,unwin4 ,,hafiz1 ,,the ,,stone-,,cutter4 ,there was once a stone-cutter whose name was ,hafiz1 and all day long he chipped1 chipped1 chipped at his block4 ,and often he grew very weary of his task and he would say to himself impatiently1 ,why should ,i not have pleasure and amusement as other folk have8 ,one day1 when the sun was very hot and when he felt specially weary1 he suddenly heard the sound of many feet1 and1 looking up from his work1 he saw a great procession coming his way4 ,it was the ,king1 mounted on a splendid charger1 all his soldiers to the right1 in their shining armour1 and the servants to the left1 dressed in gorgeous clothing1 ready to do his behests4 ,and ,hafiz said3 ,how splendid to be a ,king6 ,if only ,i could be a ,king1 if only for ten minutes1 so that ,i might know what it feels like6 ,and then1 even as he spoke1 he seemed to be dreaming1 and in his dream he sang this little song3 ,ah me6 ,ah me6 ,if ,hafiz only the ,king could be6#ea ,and then a voice from the air around seemed to answer him and to say3 ,be thou the ,king4 ,and ,hafiz became the ,king1 and he it was that sat on the splendid charger1 and they were his soldiers to the right and his servants to the left4 ,and ,hafiz said3 ,i am ,king1 and there is no one stronger in the whole world than ,i4 ,but soon1 in spite of the golden canopy over his head1 ,hafiz began to feel the terrible heat of the rays of the sun1 and soon he noticed that the soldiers and servants were weary1 that his horse drooped1 and that he1 ,hafiz1 was overcome1 and he said angrily3 ,what6 ,is there something stronger in the world than a ,king8 ,and1 almost without knowing it1 he again sang his song more boldly than the first time3 ,ah me6 ,ah me6 ,if ,hafiz only the ,sun could be6 ,and the ,voice answered3 ,be thou the ,sun4 ,and ,hafiz became the ,sun1 and shone down upon the ,earth1 but1 because he did not know how to shine very wisely1 he shone very fiercely1 so that the crops dried up1 and folk grew sick and died4 ,and then there arose from the ,east a little cloud which slipped between ,hafiz and the ,earth1 so that he could no longer shine down upon it1 and he said3 ,is there something stronger in the world than the ,sun8 ,ah me6 ,ah me6 ,if ,hafiz only the ,cloud could be6 ,be thou the ,cloud4 ,and ,hafiz became the ,cloud1 and rained down water upon the ,earth1 but1 because he did not know how to do so wisely1 there fell so much rain that all the little rivulets became great rivers1 and all the great rivers overflowed their banks1 and carried everything before them in swift torrent--all except one great rock which stood unmoved4 ,and ,hafiz said3 ,is there something stronger than the ,cloud8 ,ah me6 ,ah me6 ,if ,hafiz only the ,rock could be6 ,and the ,voice said3 ,be thou the ,rock4 ,and ,hafiz became the ,rock1 and the ,cloud disappeared and the waters went down4 ,and ,hafiz the ,rock1 saw coming towards him a man--he could not see the face4 ,as the man approached he suddenly raised a hammer and struck ,hafiz1 so that he felt it through all his stony body4 ,and ,hafiz said3 ,is there something stronger in the world than the ,rock8 ,ah me6 ,ah me6 ,if ,hafiz only that ,man might be6 ,and the ,voice said3 ,be thou---,thyself4 ,and ,hafiz seized the hammer and said3 ,the ,sun was stronger than the ,king1 the ,cloud was stronger than the sun1 the ,rock was stronger then the ,cloud1 but ,i1 ,hafiz1 was stronger than all4 ,adapted and arranged by the ,author4 ,,to ,,your ,,good ,,health4 7,from the ,russian7 ,long long ago there lived a ,king who was such a mighty monarch that whenever he sneezed everyone in the whole country had to say1 ,to your good health6 ,everyone said it except the ,shepherd with the bright blue eyes1 and he would not say it4 ,the ,king heard of this and was very angry1 and sent for the ,shepherd to appear before him4 ,the ,shepherd came and stood before the throne1 where the ,king sat looking very grand and powerful4 ,but however grand or powerful he might be1 the ,shepherd did not feel a bit afraid of him4 ,say at once ',to my good health'6 cried the ,king4 ,to my good health1 replied the ,shepherd4 ,to mine--to mine1 you rascal1 you vagabond6 stormed the ,king4 ,to mine1 to mine1 ,your ,majesty1 was the answer4 ,but to mine--to my own6 roared the ,king1 and beat on his breast in a rage4 ,well1 yes2 to mine1 of course1 to my own1 cried the ,shepherd1 and gently tapped his breast4 ,the ,king was beside himself with fury and did not know what to do1 when the ,lord chamberlain interfered3 ,say at once--say this very moment1 ',to your health1 ,your ,majesty1' for if you don't say it you will lose your life1 he whispered4 ,no1 ,i won't say it tell ,i get the ,princess for my wife1 was the ,shepherd's answer4 ,now the ,princess was sitting on a little throne beside the ,king1 her father1 and she look as sweet and lovely as a little golden dove4 ,when she heard what the ,shepherd said1 she could not help laughing1 for there is no denying the fact that this young shepherd with the blue eyes pleased her very much2 indeed1 he pleased her better than any king's son she had yet seen4 ,but the ,king was not as pleasant as his daughter1 and gave orders to throw the ,shepherd into the white bear's pit4 ,the guards led him away and thrust him into the pit with the white bear1 who had had nothing to eat for two days and was very hungry4 ,the door of the pit was hardly closed when the bear rushed at the shepherd2 but when it saw his eyes it was so frightened that it was ready to eat itself4 ,it shrank away into a corner and gazed at him from there1 and in spite of being so famished1 did not dare to touch him1 but sucked its own paws from sheer hunger4 ,the ,shepherd felt that if he once removed his eyes off the beast he was a dead man1 and in order to keep himself awake he made songs and sang them1 and so the night went by4 ,next morning the ,lord ,chamberlain came to see the ,shepherd's bones1 and was amazed to find him alive and well4 ,he led him to the ,king1 who fell into a furious passion1 and said3 ,well1 you have learned what it is to be very near death1 and now will you say1 ',to my very good health'8 ,but the ,shepherd answered3 ,i am not afraid of ten deaths6 ,i will only say it if ,i may have the ,princess for my wife4 ,then go to your death1 cried the ,king1 and ordered him to be thrown into the den with the wild boars4 ,the wild boars had not been fed for a week1 and when the ,shepherd was thrust into their den they rushed at him to tear him to pieces4 ,but the ,shepherd took a little flute out of the sleeve of his jacket1 and began to play a merry tune1 on which the wild boars first of all shrank shyly away1 and then got up on their hind legs and danced gaily4 ,the ,shepherd would have given anything to be able to laugh1 they looked so funny2 but he dared not stop playing1 for he knew well enough that the moment he stopped they would fall upon him and tear him to pieces4 ,his eyes were of no use to him here1 for he could not have stared ten wild boars in the face at once2 so he kept playing1 and the wild boars danced very slowly1 as if in a minuet2 then by degrees he played faster and faster1 till they could hardly twist and turn quickly enough1 and ended by all falling over each other in a heap1 quite exhausted and out of breath4 ,then the ,shepherd ventured to laugh at last2 and he laughed so long and so loud that when the ,lord ,chamberlain came early in the morning1 expecting to find only his bones1 the tears were still running down his cheeks from laughter4 ,as soon as the ,king was dressed the ,shepherd was again brought before him2 but he was more angry than ever to think the wild boars had not torn the man to bits1 and he said3 ,well1 you have learned what it feels to be near ten deaths1 now say ',to my good health'6 ,but the shepherd broke in with3 ,i do not fear a hundred deaths2 and ,i will only say it if ,i may have the ,princess for my wife4 ,then go to a hundred deaths6 roared the ,king1 and ordered the ,shepherd to be thrown down the deep vault of scythes4 ,the guards dragged him away to a dark dungeon1 in the middle of which was a deep well with sharp scythes all round it4 ,at the bottom of the well was a little light by which one could see1 if anyone was thrown in1 whether he had fallen to the bottom4 ,when the ,shepherd was dragged to the dungeon he begged the guards to leave him alone a little while that he might look down into the pit of scythes2 perhaps he might after all make up his mind to say1 ,to your good health to the ,king4 ,so the guards left him alone1 and he stuck up his long stick near the wall1 hung his cloak round the stick and put his hat on the top4 ,he also hung his knapsack up beside the cloak1 so that it might seem to have some body within it4 ,when this was done1 he called out to the guards and said that he had considered the matter1 but after all he could not make up his mind to say what the ,king wished4 ,the guards came in1 threw the hat and cloak1 knapsack and stick all down in the well together1 watched to see how they put out the light at the bottom1 and came away1 thinking that now there was really an end to the ,shepherd4 ,but he had hidden in a dark corner1 and was now laughing to himself all the time4 ,quite early next morning came the ,lord ,chamberlain with a lamp1 and he nearly fell backwards with surprise when he saw the ,shepherd alive and well4 ,he brought him to the ,king1 whose fury was greater than ever1 but who cried3 ,well1 now you have been near a hundred deaths2 will you say1 ',to your good health'8 ,but the ,shepherd only gave the answer3 ,i won't say it till the ,princess is my wife4 ,perhaps1 after all1 you may do it for less1 said the ,king1 who saw that there was no chance of making away with the shepherd2 and he ordered the state coach to be got ready2 then he made the ,shepherd get in with him and sit beside him1 and ordered the coachman to drive to the silver wood4 ,when they reached it1 he said3 ,do you see this silver wood8 ,well1 if you will say ',to your good health1' ,i will give it to you4 ,the shepherd turned hot and cold by turns1 but he still persisted3 ,i will not say it till the ,princess is my wife4 ,the ,king was much vexed2 he drove further on till they came to a splendid castle1 all of gold1 and then he said3 ,do you see this golden castle8 ,well1 ,i will give you that too1 the silver wood and the gold castle1 if only you will say one thing to me3 ',to your good health4' ,the ,shepherd gaped and wondered1 and was quite dazzled but he still said3 ,no1 ,i will not say it till ,i have the ,princess for my wife4 ,this time the ,king was overwhelmed with grief1 and gave orders to drive on to the diamond pond and there he tried once more3 ,you shall have the all--all1 if you will but say ',to your good health4' ,the ,shepherd had to shut his staring eyes tight not to be dazzled with the brilliant pond1 but still he said3 ,no1 no2 ,i will not say it till ,i have the ,princess for my wife4 ,then the ,king saw that all his efforts were useless1 and that he might as well give in2 so he said3 ,well1 well1 it is all the same to me--,i will give you my daughter to wife2 but then you really must say to me1 ',to your good health4' ,of course ,i'll say it2 why should ,i not say it8 ,it stands to reason that ,i shall say it then4 ,at this the ,king was more delighted than anyone could have believed4 ,he made it known all through the country that there were going to be great rejoicings1 as the ,princess was going to be married4 ,and everyone rejoiced to think that the ,princess who had refused so many royal suitors1 should have ended by falling in love with the staring- eyed ,shepherd4 ,there was such a wedding as had never been seen4 ,everyone ate and drank and danced4 ,even the sick were feasted1 and quite tiny new-born children had presents given them4 ,but the greatest merrymaking was in the ,king's palace2 there the best bands played and the best food was cooked4 ,a crowd of people sat down to table1 and all was fun and merrymaking4 ,and when the groomsman1 according to custom1 brought in the great boar's head on a big dish and placed it before the ,king1 so that he might carve it and give everyone a share1 the savoury smell was so strong that the ,king began to sneeze with all his might4 ,to your very good health6 cried the ,shepherd before anyone else1 and the ,king was so delighted that he did not regret having given him his daughter4 ,in time1 when the old ,king died1 the ,shepherd succeeded him4 ,he made a very good king1 and never expected his people to wish him well against their wills3 but1 all the same1 everyone did wish him well1 because they loved him4 ,,the ,,proud ,,cock4 ,there was once a cock who grew so dreadfully proud that he would have nothing to say to anybody4 ,he left his house1 it being far beneath his dignity to have any trammel of that sort in his life1 and as for his former acquaintance1 he cut them all4 ,one day1 whilst walking about1 he came to a few little sparks of fire which were nearly dead4 ,they cried out to him3 ,please fan us with your wings1 and we shall come to the full vigour of life again4 ,but he did not deign to answer1 and as he was going away one of the sparks said2 ,ah well6 we shall die1 but our big brother1 the ,fire will pay you out for this one day4 ,on another day he was airing himself in a meadow1 showing himself off in a very superb set of clothes4 ,a voice calling from somewhere said3 ,please be so good as to drop us into the water again4 ,he looked about and saw a few drops of water3 they had got separated from their friends in the river1 and were pining away with grief4 ,oh6 please be so good as to drop us into the water again1 they said2 but1 without any answer1 he drank up the drops4 ,he was too proud and a great deal too big to talk to a poor little puddle of water2 but the drops said3 ,our big brother1 the ,water1 will one day take you in hand1 you proud and senseless creature4 ,some days afterwards1 during a great storm of rain1 thunder and lightning1 the cock took shelter in a little empty cottage1 and shut to the door2 and he thought3 ,i am clever2 ,i am in comfort4 ,what fools people are to top out in a storm like this6 ,what's that8 thought he4 ,i never heard a sound like that before4 ,in a little while it grew much louder1 and when a few minutes had passed1 it was a perfect howl4 ,oh6 thought he1 this will never do4 ,i must stop it somehow4 ,but what is it ,i have to stop8 ,he soon found it was the wind1 shouting through the keyhole1 so he plugged up the keyhole with a bit of clay1 and then the wind was able to rest4 ,he was very tired with whistling so long through the keyhole1 and he said3 ,now1 if ever ,i have at any time a chance of doing a good turn to that princely domestic fowl1 ,i well do it4 ,weeks afterwards1 the cock looked in at a house door3 he seldom went there1 because the miser to whom the house belonged almost starved himself1 and so1 of course1 there was nothing over for anybody else4 ,to his amazement the cock saw the miser bending over a pot on the fire4 ,at last the old fellow turned round to get a spoon with which to stir his pot1 and then the cock1 waking up1 looked in and saw that the miser was making oyster-soup1 for he had found some oyster-shells in an ash-pit1 and to give the mixture a colour he had put in a few halfpence in the pot4 ,the miser chanced to turn quickly round1 while the cock was peering into the saucepan1 and1 chuckling to himself1 he said3 ,i shall have chicken broth after all4 ,he tripped up the cock into the pot and shut the lid on4 ,the bird1 feeling warm1 said3 ,water1 water1 don't boil6 ,but the water only said3 ,you drank up my young brothers once3 don't ask a favour of me4 ,then he called out to the ,fire3 ,oh6 kind ,fire1 don't boil the water4 ,but the fire replied3 ,you once let my young sisters die3 you cannot expect any mercy from me4 ,so he flared up and boiled the water all the faster4 ,at last1 when the cock got unpleasantly warm1 he thought of the wind1 and called out3 ,oh1 ,wind1 come to my help6 and the ,wind said3 ,why1 there is that noble domestic bird in trouble4 ,i will help him4 ,so he came down the chimney1 blew out the fire1 blew the lid off the pot1 and blew the cock far away into the air1 and at last settled him on a steeple1 where the cock remained ever since4 ,and people say that the halfpence which were in the pot when it was boiling have given him the queer brown colour he still wears4 ,from the ,spanish4 ,,snegourka4 ,there lived once1 in ,russia1 a peasant and his wife who would have been as happy as the day is long1 if only ,god had given them a little child4 ,one day1 as they were watching the children playing in the snow1 the man said to the woman3 ,wife1 shall we go out and help the children make a snowball8 ,but the wife answered1 smiling3 ,nay1 husband1 but since ,god has given us no little child1 let us go and fashion one from the snow4 ,and she put on her long blue cloak1 and he put on his long brown coat1 and they went out onto the crisp snow1 and began to fashion the little child4 ,first1 they made the feet and the legs and the little body1 and then they took a ball of snow for the head4 ,and at that moment a stranger in a long cloak1 with his hat well drawn over his face1 passed that way1 and said3 ,heaven help your undertaking6 ,and the peasants crossed themselves and said3 ,it is well to ask help from ,heaven in all we do4 ,then they went on fashioning the little child4 ,and they made two holes for the eyes and formed the nose and the mouth4 ,and then-- wonder of wonders--the little child came alive1 and breath came from its nostrils and parted lips4 ,and the man was feared1 and said to his wife3 ,what have we done8 ,and the wife said3 ,this is the little girl child ,god has sent us4 ,and she gathered it into her arms1 and the loose snow fell away from the little creature4 ,her hair became golden and her eyes were as blue as forget-me-nots--but there was no colour in her cheeks1 because there was no blood in her veins4 ,in a few days she was like a child of three or four1 and in a few weeks she seemed to be the age of nine or ten1 and ran about gaily and prattled with the other children1 who loved her so dearly1 though she was so different from them4 ,only1 happy as she was1 and dearly as her parents loved her1 there was one terror in her life1 and that was the sun4 ,and during the day she would run and hide herself in cool1 damp places away from the sunshine1 and this the other children could not understand4 ,as the ,spring advanced and the days grew longer and warmed1 little ,snegourka 7for this was the name by which she was known7 grew paler and thinner1 and her mother would often ask her3 ,what ails you1 my darling8 and ,snegourka would say3 ,nothing1 ,mother but ,i wish the sun were not so bright4 ,one day1 on ,st4 ,john's ,day1 the children of the village came to fetch her for a day in the woods1 and they gathered flowers for her and did all they to make her happy1 but it was only when the great red sun went down that ,snegourka drew a deep breath of relief and spread her little hands out to the cool evening air4 ,and the boys1 glad at her gladness1 said3 ,let us do something for ,snegourka4 ,let us light a bonfire4 ,and ,snegourka not knowing what a bonfire was1 she clapped her hands and was as merry and eager as they4 ,and she helped them gather the sticks1 and then they all stood round the pile and the boys set fire to the wood4 ,snegourka stood watching the flames and listening to the crackle of the wood3 and then suddenly they heard a tiny sound and looking at the place where ,snegourka had been standing1 they saw nothing but a little snow-drift fast melting4 ,and they called and called1 ,snegourka6 ,snegourka6 thinking she had run into the forest4 ,but there was no answer4 ,snegourka had disappeared from this life as mysteriously as she had come into it4 ,adapted by the author4 ,,the ,,water ,,nixie4 ,the river was so clear because it was the home of a very beautiful ,water ,nixie who lived in it1 and who sometimes could emerge from her home and sit in woman's form upon the bank4 ,she had a dark green smock upon her1 the colour of the water-weed that waves as the water wills it1 deep1 deep down4 ,and in her long wet hair were the white flowers of the water-violet1 and she held a reed mace in her hand4 ,her face was very sad because she had lived a long life1 and known so many adventures1 ever since she was a baby1 which was nearly a hundred years ago4 ,for creatures of the streams and trees live a long1 long time1 and when they die they lose themselves in ,nature4 ,that means that they are forever clouds1 or trees1 or rivers1 and never have the form of men and women again4 ,all water creatures would live1 if they might choose it1 in the sea1 where they are born4 ,it is in the sea they float hand-in-hand upon the crested billows1 and sink deep in the great troughs of the strong waves1 that are as green as jade4 ,they follow the foam and lose themselves in the wide ocean-- ,where great whales come sailing by1 ,sail and sail with unshut eye2 and they store in the ,sea ,king's palace the golden phosphor of the sea4 ,but this ,water ,nixie had lost her happiness through not being good4 ,she had forgotten many things that had been told her1 and she had done many things that grieved others4 ,she had stolen somebody else's property--quite a large bundle of happiness--which belonged elsewhere and not to her4 ,happiness is generally made to fit the person who owns it1 just as do your shoes1 or clothes2 so that when you take someone else's it's very little good to you1 for it fits badly1 and you can never forget it isn't yours4 ,so what with one thing and another1 this ,water ,nixie had to be punished1 and the ,queen of the ,sea had banished her from the waves4#eb ,you shall live for a long time in little places where you will weary of yourself4 ,you will learn to know yourself so well that everything you want will seem too good for you1 and you will cease to claim it4 ,and so1 in time1 you shall get free4 ,then the ,nixie had to rise up and go away1 and be shut into the fastness of a very small space1 according to the words of the ,queen4 ,and this small space was--a tear4 ,at first she could hardly express her misery1 and by thinking so continuously of the wideness and savour of the sea1 she brought a dash of the brine with her1 that makes the saltness of our tears4 ,she became many times smaller than her own stature2 even then1 by standing upright and spreading wide her arms1 she touched with her finger-tips the walls of her tiny crystal home4 ,how she longed that this tear might be wept1 and the walls of her prison shattered6 ,but the owner of this tear was of a very proud nature1 and she was so sad that tears seemed to her in no wise to express her grief4 ,she was a ,princess who lived in a country that was not her home4 ,what were tears to her8 ,if she could have stood on the top of the very highest hill and with both hands caught the great winds of heaven1 strong as they1 and striven with them1 perhaps she might have felt as if she expressed all she knew4 ,or1 if she could have torn down the stars from the heavens1 or cast her mantle over the sun4 ,but tears6 ,would they have helped to tell her sorrow8 ,you cry if you soil your copybook1 don't you8 or pinch your hand8 ,so you may imagine the ,nixie's home was a safe one1 and she turned round and round in the captivity of that tear4 ,for twenty years she dwelt in that strong heart1 till she grew to be accustomed to her cell4 ,at last1 in this wise came her release4 ,an old gipsy came one morning to the ,castle and begged to see the ,princess4 ,she must see her1 she cried4 ,and the ,princess came down the steps to meet her1 and the gipsy gave her a small roll of paper1 but in the midst of the page was a picture1 small as the picture reflected in the iris of an eye4 ,the picture shewed a hill1 with one tree on the sky-line1 and a long road wound round the hill4 ,and suddenly in the ,princess' memory a voice spoke to her4 ,many sounds she heard1 gathered up into one great silence1 like the quiet there is in forest spaces1 when it is ,summer and the green is deep3-- ,blessed are they that have the home longing1 ,for they shall go home4 ,then the ,princess gave the gipsy two golden pieces1 and went up to her chamber1 and long that night she sat1 looking out upon the sky4 ,she had no need to look upon the honeyed scroll1 though she held it closely4 ,clearly before her did she see that small picture3 the hill1 and the tree1 and the winding road1 imaged as if mirrored in the iris of an eye4 ,and in her memory she was upon that road1 and the hill rose beside her1 and the little tree was outlined1 every twig of it1 against the sky4 ,and as she saw all this1 an overwhelming love of the place arose in her1 a love of that certain bit of country that was so sharp and strong1 that it stung and swayed her1 as she leaned on the window-sill4 ,and because the love of a country is one of the deepest loves you may feel1 the band of her control was loosened1 and the tears came welling to her eyes4 ,up they brimmed and over in salty rush and follow1 dimming her eyes1 magnifying everything1 speared for a moment on her eyelashes1 then shimmering to their fall4 ,and at last came the tear that held the disobedient ,nixie4 ,splish6 it fell4 ,and she was free4 ,if you could have seen how pretty she looked standing there1 about the height of a grass-blade1 wringing out her long wet hair4 ,every bit of moisture she wrung out of it1 she was so glad to be quit of that tear4 ,then she raised her two arms above her in one delicious stretch1 and if you had been the size of a mustard-seed perhaps you might have heard her laughing4 ,then she grew a little1 and grew and grew1 till she was about the height of a bluebell1 and as slender to see4 ,she stood looking at the splash on the window-sill that had been her prison so long1 and then with three steps of her bare feet1 she reached the jessamine that was growing by the window1 and by this she swung herself to the ground4 ,away she sped over the dew-drenched meadows till she came to the running brook1 and with all her longing in her outstretched hands1 she kneeled down by the crooked willows among all the comfry and the loosestrife1 and the yellow irises and the reeds4 ,then she slid into the wide1 cool stream4 ,from ,,the ,,children ,,and ,,the ,,pictures4 ,,pamela ,,tennant 7,,lady ,,glenconner74 ,,the ,,blue ,,rose4 ,there lived once upon a time in ,china a wise ,emperor who had one daughter4 ,his daughter was remarkable for her perfect beauty4 ,her feet were the smallest in the world2 her eyes were long and slanting and bright as brown onyxes1 and when you heard her laugh it was like the listening to a tinkling stream or to the chimes of a silver bell4 ,moreover1 the ,emperor's daughter was as wise as she was beautiful1 and she chanted the verse of the great poets better than anyone in the land4 ,the ,emperor was old in years2 his son was married and had begotten a son2 he was1 therefore1 quite happy with regard to the succession to the throne1 but he wished before he died to see his daughter wedded to someone who should be worthy of her4 ,many suitors presented themselves to the palace as soon as it became know that the ,emperor desired a son-in-law1 but when they reached the palace they were met by the ,lord ,chamberlain1 who told them that the ,emperor had decided that only the man who found and brought back the blue rose should marry his daughter4 ,the suitors were much puzzled by this order4 ,what was the blue rose and where was it to be found8 ,in all1 a hundred and fifty at once put away from them all thought of winning the hand of the ,emperor's daughter1 since they considered the condition imposed to be absurd4 ,the other hundred set about trying to find the blue rose4 ,one of them-- his name was ,ti-,fun-,ti--he was a merchant and was immensely rich1 at once went to the largest shop in the town and said to the shopkeeper1 ,i want a blue rose1 the best you have4 ,the shopkeeper1 with many apologies1 explained that he did not stock blue roses4 ,he had red roses in profusion1 white1 pink and yellow roses1 but no blue roses4 ,there had hitherto been no demand for the article4 ,well1 said ,ti-,fun-,ti1 you must get one for me4 ,i do not mind how much money it costs1 but ,i must have a blue rose4 ,the shopkeeper said he would do his best1 but he feared it would be an expensive article and difficult to procure4 ,another of the suitors1 whose name ,i have forgotten1 was a warrior1 and extremely brave2 he mounted his horse1 and taking with him a hundred archers and a thousand horsemen1 he marched into the territory of the ,king of the ,five ,rivers1 whom he knew to be the richest king in the world and the possessor of the rarest treasures1 and demanded of him the blue rose1 threatening him with a terrible doom should he be reluctant to give it up4 ,the ,king of the ,five ,rivers1 who disliked soldiers1 and had a horror of noise1 physical violence1 and every kind of fuss 7his bodyguard was armed solely with fans and sunshades71 rose from the cushions on which he was lying when the demand was made1 and1 tinkling a small bell1 said to the servant who straightway appeared1 ,fetch me the blue rose4 ,the servant retired and returned presently bearing on a silken cushion a large sapphire which was carved so as to imitate a full-blown rose with all its petals4 ,this1 said the king of the ,five ,rivers1 is the blue rose4 ,you are welcome to it4 ,the warrior took it1 and after making brief1 soldier-like thanks1 he went straight back to the ,emperor's palace1 saying that he had lost no time in finding the blue rose4 ,he was ushered into the presence of the ,emperor1 who as soon as he heard the warrior's story and saw the blue rose which had been brought sent for his daughter and said to her3 ,this intrepid warrior has brought you what he claims to be the blue rose4 ,has he accomplished the quest8 ,the ,princess took the precious object in her hands1 and after examining it for a moment1 said3 ,this is not a rose at all4 ,it is a sapphire2 ,i have no need of precious stones4 ,and the warrior went away in discomfiture4 ,the merchant1 hearing of the warrior's failure1 was all the more anxious to win the prize4 ,he sought the shopkeeper and said to him3 ,have you got me the blue rose8 ,i trust you have2 because1 if not1 ,i shall most assuredly be the means of your death4 ,my brother-in-law is chief magistrate1 and ,i am allied by marriage to all the chief officials in the kingdom4 ,the shopkeeper turned pale and said3 ,sir1 give me three days and ,i will procure you the rose without fail4 ,the merchant granted him the three days and went away4 ,now the shopkeeper was at his wit's end as to what to do1 for he knew well there was no such thing as a blue rose4 ,for two days he did nothing but moan and wring his hands1 and on the third day he went to his wife and said1 ,wife1 we are ruined4 ,but his wife1 who was a sensible woman1 said3 ,nonsense4 ,if there is no such thing as a blue rose we must make one4 ,go to the chemist and ask him for a strong dye which well change a white rose into a blue one4 ,so the shopkeeper went to the chemist and asked him for a dye1 and the chemist gave him a bottle of red liquid1 telling him to pick a white rose and to dip its stalk into the liquid and the rose would turn blue4 ,the shopkeeper did as he was told2 the rose turned into a beautiful blue and the shopkeeper took it to the merchant1 who at once went with it to the palace saying that he had found the blue rose4 ,he was ushered into the presence of the ,emperor1 who as soon as he saw the blue rose sent for his daughter and said to her3 ,this wealthy merchant has brought you what he claims to be the blue rose4 ,has he accomplished the quest8 ,the ,princess took the flower in her hands and after examining it for a moment said3 ,this is a white rose1 its stalk has been dipped in a poisonous dye and it has turned blue4 ,were a butterfly to settle upon it it would die of the potent fume4 ,take it back4 ,i have no need of a dyed rose4 ,and she returned it to the merchant with many elegantly expressed thanks4 ,the other ninety-eight suitors all sought in various ways for the blue rose4 ,some of them traveled all over the world seeking it2 some of them sought the aid of wizards and astrologers1 and one did not hesitate to invoke the help of the dwarfs that live underground2 but all of them1 whether they traveled in far countries or took counsel with wizards and demons or sat pondering in lonely places1 failed to find the blue rose4 ,at last they all abandoned the quest except the ,lord ,chief ,justice1 who was the most skillful lawyer and statesman in the country4 ,after thinking over the matter for several months he sent for the most famous artist in the country and said to him3 ,make me a china cup4 ,let it be milk-white in colour and perfect in shape1 and paint on it a rose1 a blue rose4 ,the artist made obeisance and withdrew1 and worked for two months at the ,lord ,chief ,justice's cup4 ,in two months' time it was finished1 and the world has never seen such a beautiful cup1 so perfect in symmetry1 so delicate in texture1 and the rose on it1 the blue rose1 was a living flower1 picked in fairyland and floating on the rare milky surface of the porcelain4 ,when the ,lord ,chief ,justice saw it he gasped with surprise and pleasure1 for he was a great lover of porcelain1 and never in his life had he seen such a piece4 ,he said to himself1 ,without doubt the blue rose is here on this cup and nowhere else4 ,so1 after handsomely rewarding the artist1 he went to the ,emperor's palace and said that he had brought the blue rose4 ,he was ushered into the ,emperor's presence1 who as he saw the cup sent for his daughter and said to her3 ,this eminent lawyer has brought you what he claims to be the blue rose4 ,has he accomplished the quest8 ,the ,princess took the bowl in her hands1 and after examining it for a moment said3 ,this bowl is the most beautiful piece of china ,i have ever seen4 ,if you are kind enough to let me keep it ,i will put it aside until ,i receive the blue rose4 ,for so beautiful is it that no other flower is worthy to be put in it except the blue rose4 ,the ,lord ,chief ,justice thanked the ,princess for accepting the bowl with many elegantly turned phrases1 and he went away in discomfiture4 ,after this there was no one in the whole country who ventured on the quest of the blue rose4 ,it happened that not long after the ,lord ,chief ,justice's attempt a strolling minstrel visited the kingdom of the ,emperor4 ,one evening he was playing his one-stringed instrument outside a dark wall4 ,it was a summer's evening1 and the sun had sunk in a glory of dusty gold1 and in the violet twilight one or two stars were twinkling like spearheads4 ,there was an incessant noise made by the croaking of frogs and the chatter of grasshoppers4 ,the minstrel was singing a short song over and over again to a monotonous tune4 ,the sense of it was something like this3 ,i watched beside the willow trees ,the river1 as the evening fell1 ,the twilight came and brought no breeze1 ,nor dew1 nor water for the well4 ,when from the tangled banks of grass ,a bird across the water flew1 ,and in the river's hard grey glass ,i saw a flash of azure blue4 ,as he sang he heard a rustle on the wall1 and looking up he saw a slight figure white against the twilight1 beckoning him4 ,he walked along under the wall until he came to a gate1 and there someone was waiting for him1 and he was gently led into the shadow of a dark cedar tree4 ,in the dim twilight he saw two bright eyes looking at him1 and he understood their message4 ,in the twilight a thousand meaningless nothings were whispered in the light of the stars1 and the hours fled swiftly4 ,when the ,east began to grow light1 the ,princess 7for it was she7 said it was time to go4 ,but1 said the minstrel1 to-morrow ,i shall come to the palace and ask for your hand4 ,alas6 said the ,princess1 ,i would that were possible1 but my father has made a foolish condition that only he may wed me who finds the blue rose4 ,that is simple1 said the minstrel4 ,i will find it4 ,and they said good night to each other4 ,the next morning the minstrel went to the palace1 and on his way he picked a common white rose from a wayside garden4 ,he was ushered into the ,emperor's presence1 who sent for his daughter and said to her3 ,this penniless minstrel has brought you what he claims to be the blue rose4 ,has he accomplished the quest8 ,the ,princess took the rose in her hands and said3 ,yes1 this is without doubt the blue rose4 ,but the ,lord ,chief ,justice and all who were present respectfully pointed out that the rose was a common white rose and not a blue one1 and the objection was with many forms and phrases conveyed to the ,princess4 ,i think the rose is blue1 said the ,princess4 ,perhaps you are all colour blind4 ,the ,emperor1 with whom the decision rested1 decided that if the ,princess thought the rose was blue it was blue1 for it was well known that her perception was more acute than that of any one else in the kingdom4 ,so the minstrel married the ,princess1 and they settled on the sea coast in a little seen house with a garden full of white roses1 and they lived happily ever afterwards4 ,and the ,emperor1 knowing that his daughter had made a good match1 died in peace4 ,,maurice ,,baring4 ,,the ,,two ,,frogs4 ,once upon a time in the country of ,japan there lived two frogs1 one of whom made his home in a ditch near the town of ,osaka1 on the sea coast1 while the other dwelt in a clear little stream which ran through the city of ,kioto4 ,at such a great distance apart1 they had never even heard of each other2 but1 funnily enough1 the idea came into both their heads at once that they should like to see a little of the world1 and the frog who lived at ,kioto wanted to visit ,osaka1 and the frog who lived at ,osaka wished to go to ,kioto1 where the great ,mikado had his palace4 ,so one fine morning in the spring1 they both set out along the road that led from ,kioto to ,osaka1 one from one end and the other from the other4 ,the journey was more tiring than they expected1 for they did not know much about travelling1 and half-way between the two towns there rose a mountain which had to be climbed4 ,it took them a long time and a great many hops to reach the top1 but there they were at last1 and what was the surprise of each to see another frog before him6 ,they looked at each other for a moment without speaking1 and then fell into conversation1 and explained the cause of their meeting so far from their homes4 ,it was delightful to find that they both felt the same wish--to learn a little more of their native country--and as there was no sort of hurry they stretched themselves out in a cool1 damp place1 and agreed that they would have a good rest before they parted to go their ways4 ,what a pity we are not bigger1 said the ,osaka frog1 and then we could see both towns from here and tell if it worth our while going on4 ,oh1 that is easily manage1 returned the ,kioto frog4 ,we have only got to stand up on our hind legs1 and hold on to each other1 and then we can each look at the town he is travelling to4 ,this idea pleased the ,osaka frog so much that he at once jumped up and put his front paws on the shoulder of his friend1 who had risen also4 ,there they both stood1 stretching themselves as high as they could1 and holding each other tightly1 so that they might not fall down4 ,the ,kioto frog turned his nose towards ,osaka1 and the ,osaka frog turned his nose toward ,kioto2 but the foolish thing forgot that when the stood up their great eyes lay in the backs of their heads1 and that though their noses might point to the places to which they wanted to go1 their eyes beheld the places from which they had come4 ,dear me6 cried the ,osaka frog2 ,kioto is exactly like ,osaka4 ,it is certainly not worth such a long journey4 ,i shall go home4 ,if ,i had had any idea that ,osaka was only a copy of ,kioto ,i should never have travelled all this way1 exclaimed the frog from ,kioto1 and as he spoke1 he took his hands from his friend's shoulders and they both fell down to the grass4 ,then they took a polite farewell of each other1 and set off for home1 again1 and to the end of their lives they believed that ,osaka and ,kioto1 which are as different to look at as two towns can be1 were as like as two peas4 ,,the ,,violet ,,loving ,,book4 ,,the ,,wise ,,old ,,shepherd4 ,once upon a time a ,snake went out of his hole to take an airing4 ,he crawled about1 greatly enjoying the scenery and the fresh whiff of the breeze1 until1 seeing an open door1 he went in4 ,now this door was the door of the palace of the ,king1 and inside was the ,king himself1 with all his courtiers4 ,imagine their horror at seeing a huge ,snake crawling in at the door4 ,they all ran away except the king1 who felt that his rank forbade him to be a coward1 and the ,king's son4 ,the ,king called out for somebody to come and kill the ,snake2 but this horrified them still more1 because in that country the people believed it to be wicked to kill any living thing1 even snakes and scorpion and wasps4 ,so the courtiers did nothing1 but the young ,prince obeyed his father1 and killed the ,snake with his stick4 ,after a while the ,snake's wife became anxious and set out in search of her husband4 ,she too saw the open door of the palace1 and in she went4 ,o horror6 there on the floor lay the body of her husband all covered with blood and quite dead4 ,no one saw the ,snake's wife crawl in2 she inquired of a white ant what had happened1 and when she found that the young prince had killed her husband1 she made a vow that1 as he had made her a widow1 so she would make his wife a widow4 ,that night1 when all the world was asleep1 the ,snake crept into the ,prince's bedroom1 and coiled round his neck4 ,the ,prince slept on1 and when he awoke in the morning1 he was surprised to find his neck encircled with the coils of a snake4 ,he was afraid to stir1 so there he remained1 until the ,prince's mother became anxious and went to see what was the matter4 ,when she entered his room1 and saw him in this plight1 she gave a loud shriek1 and ran off to tell the king4 ,call the archers1 said the ,king4 ,the archers came in a row1 fitted the arrows to the bows1 the bows were raised and ready to shoot1 when1 on a sudden1 from the ,snake there issued a voice which spoke as follows3 ,o archers1 wait1 wait and hear me before you shoot4 ,it is not fair to carry out the sentence before you have heard the case4 ,is not this a good law3 an eye for an eye1 and a tooth for a tooth8 ,is it not so1 ,o ,king8 ,yes1 replied the ,king1 that is our law4 ,then1 said the snake1 ,i plead the law4 ,your son has made me a widow1 so it is fair and right that ,i should make his wife a widow4 ,that sounds right enough1 said the ,king1 but right and law are not always the same thing4 ,we had better ask somebody who knows4 ,they asked all the judges1 but none of them could tell the law of the matter4 ,they shook their heads1 and said they would look up all their law-books1 and see whether anything of the sort had ever happened before1 and if so1 how it had been decided4 ,that is the way judges used to decide cases in that country1 though ,i dare say it sounds to you a very funny way4 ,it looked as if they had not much sense in their own heads1 and perhaps that was true4 ,the upshot of it all was that not a judge would give an opinion2 so the ,king sent messengers all over the countryside1 to see if they could find somebody somewhere who knew something4 ,one of these messengers found a party of five shepherds1 who were sitting upon a hill and trying to decide a quarrel of their own4 ,they gave their opinions so freely1 and in language so very strong1 that the ,king's messenger said to himself1 ,here are the men for us4 ,here are five men1 each with an opinion of his own1 and all different4 ,posthaste he scurried back to the ,king1 and told him that he had found at last some one ready to judge the knotty point4 ,so the ,king and the ,queen1 and the ,prince and ,princess1 and all the courtiers1 got on horseback1 and away they galloped to the hill whereupon the five shepherds were sitting1 and the ,snake too went with them1 coiled around the neck of the ,prince4 ,when they got to the shepherds' hill1 the shepherds were dreadfully frightened4 ,at first they thought the strangers were a gang of robbers1 and when they saw it was the ,king their next thought was that one of their misdeeds had been found out2 and each of them began thinking what was the last thing he had done1 and wondering1 was it that8 ,but the ,king and the courtiers got off their horses1 and said good day1 in the most civil way4 ,so the shepherds felt their minds set at ease again4 ,then the ,king said3 ,worthy shepherds1 we have a question to put to you1 which not all the judges in all the courts of my city have been able to solve4 ,here is my son1 and here1 as you see1 is a snake coiled round his neck4 ,now1 the husband of this ,snake came creeping into my palace hall1 and my son the ,prince killed him2 so this ,snake1 who is the wife of the other1 says that1 as my son has made her a widow1 so she has a right to widow my son's wife4 ,what do you think about it8 ,the first shepherd said3 ,i think she is quite right1 my ,lord the ,king4 ,if anyone made my wife a widow1 ,i would pretty soon do the same to him4 ,this was brave language1 and the other shepherds shook their heads and looked fierce4 ,but the ,king was puzzled1 and could not quite understand it4 ,you see1 in the first place1 if the man's wife were a widow1 the man would be dead2 and then it is hard to see that he could do anything4 ,so to make sure1 the ,king asked the second shepherd whether that was his opinion too4 ,yes1 said the second shepherd2 now the ,prince has killed the ,snake1 the ,snake has a right to kill the ,prince if he can4 ,but that was not of much use either1 as the ,snake was as dead as a doornail4 ,so the ,king passed on to the third4 ,i agree with my mates1 said the third shepherd4 ,because1 you see1 a ,prince is a ,prince1 but then a ,snake is a ,snake4 ,that was quite true1 they all admitted1 but it did not seem to help the matter much4 ,then the ,king asked the fourth shepherd to say what he thought4 ,the fourth shepherd said3 ,an eye for an eye1 and a tooth for a tooth2 so ,i think a widow should be a widow1 if so be she don't marry again4 ,by this time the poor ,king was so puzzled that he hardly knew whether he stood on his head or his heels4 ,but there was still the fifth shepherd left2 the oldest and wisest of them all2 and the fifth shepherd said3 ,king1 ,i should like to ask two questions4 ,ask twenty1 if you like1 said the ,king4 ,he did not promise to answer them1 so he could afford to be generous4 ,first4 ,i ask the ,princess how many sons she has4 ,four1 said the ,princess4 ,and how many sons has ,mistress ,snake here8 ,seven1 said the ,snake4 ,then1 said the old shepherd1 it will be quite fair for ,mistress ,snake to kill his ,highness the ,prince when her ,highness the ,princess has had three sons more4 ,i never thought of that1 said the ,snake4 ,good-bye1 ,king1 and all you good people4 ,send a message when the ,princess has had three more sons1 and you may count upon me--,i will not fail you4 ,so saying1 she uncoiled from the ,prince's neck and slid away among the grass4 ,the ,king and the ,prince and everybody shook hands with the wise old shepherd1 and went home again4 ,and the ,princess never had any more sons at all4 ,she and the ,prince lived happily for many years2 and if they are not dead they are living still4 ,from ,,the ,,talking ,,thrush4 ,,the ,,folly ,,of ,,panic4 ,and it came to pass that the ,buddha 7to be7 was born again as a ,lion4 ,just as he had helped his fellow-men1 he now began to help his fellow- animals1 and there was a great deal to be done4 ,for instance1 there was a little nervous ,hare who was always afraid that something dreadful was going to happen to her4 ,she was always saying3 ,suppose the ,earth were to fall in1 what would happen to me8 ,and she said this so often that at last she thought it really was about to happen4 ,one day1 when she had been saying over and over again1 ,suppose the ,earth were to fall in1 what would happen to me8 she heard a slight noise3 it really was only a heavy fruit which had fallen upon a rustling leaf1 but the little ,hare was so nervous she was ready to believe anything1 and she said in a frightened tone3 ,the ,earth is falling in4 ,she ran away as fast as she could go1 and presently she met an old brother ,hare1 who said3 ,where are you running to ,mistress ,hare8 ,and the little ,hare said3 ,i have no time to stop and tell you anything4 ,the ,earth is falling in1 and ,i am running away4 ,the ,earth is falling in1 is it8 said the old brother ,hare1 in a tone of much astonishment2 and he repeated this to his brother hare1 and he to his brother hare1 and he to his brother hare1 until at last there were a hundred thousand brother hares1 all shouting3 ,the ,earth is falling in4 ,now presently the bigger animals began to take the cry up4 ,first the deer1 and then the sheep1 and then the wild boar1 and then the buffalo1 and then the camel1 and then the tiger1 and then the elephant4 ,now the wise ,lion heard all this noise and wondered at it4 ,there are no signs1 he said1 of the ,earth falling in4 ,they must have heard something4 ,and then he stopped them all short and said3 ,what is this you are saying8 ,and the ,elephant said3 ,i remarked that the ,earth was falling in4 ,how do you know this8 asked the ,lion4 ,why1 now ,i come to think of it1 it was the ,tiger that remarked it to me4 ,and the ,tiger said3 ,i had it from the ,camel1 and the ,camel said3 ,i had it from the ,buffalo4 ,and the buffalo from the wild boar1 and the wild boar from the sheep1 and the sheep from the deer1 and the deer from the hares1 and the ,hares said3 ,oh6 we heard it from that little ,hare4 ,and the ,lion said3 ,little ,hare1 what made you say that the ,earth was falling in8 ,and the little ,hare said3 ,i saw it4 ,you saw it8 said the ,lion4 ,where8 ,yonder1 by that tree4 ,well1 said the ,lion1 come with me and ,i will show you how--- ,no1 no1 said the ,hare1 ,i would not go near that tree for anything1 ,i'm so nervous4 ,but1 said the ,lion1 ,i am going to take you on my back4 ,and he took her on his back1 and begged the animals to stay where they were until they returned4 ,then he showed the little ,hare how the fruit had fallen upon the leaf1 making the noise that had frightened her1 and she said3 ,yes1 ,i see--the ,earth is not falling in4 and the ,lion said3 ,shall we go back and tell the other animals8 ,and they went back4 ,the little ,hare stood before the animals and said3 ,the ,earth is not falling in4 ,and all the animals began to repeat this to one another1 and they dispersed gradually1 and you heard the words more and more softly3 ,the ,earth is not falling in1 etc41 etc41 etc41 until the sound died away altogether4 ,from ,,eastern ,,stories ,,and ,,legends4 ,,note3--,this story ,i have told in my own words1 using the language ,i have found most effective for very young children4 ,,the ,,true ,,spirit ,,of ,a ,,festival ,,day4 ,and it came to pass that the ,buddha was born a ,hare and lived in a wood2 on one side was the foot of a mountain1 on another a river1 on the third side a border village4 ,and with him lived three friends3 a ,monkey1 a ,jackal and an ,otter2 each of these creatures got food on his own hunting ground4 ,in the evening they met together1 and the ,hare taught his companions many wise things3 that the moral law should be observed1 that alms should be given to the poor1 and that holy days should be kept4 ,one day the ,buddha said3 ,to-morrow is a fast day4 ,feed any beggars that come to you by giving food from your own table4 ,they all consented4 ,the next day the ,otter went down to the bank of the ,ganges to seek his prey4 ,now a fisherman had landed seven red fish and had buried them in the sand on the river's bank while he went down the stream catching more fish4 ,the ,otter scented the buried fish1 dug up the sand till he came upon them1 and he called aloud3 ,does any one own these fish8 ,and1 not seeing the owner1 he laid the fish in the jungle where he dwelt1 intending to eat them at a fitting time4 ,then he lay down1 thinking how virtuous he was4 ,the ,jackal also went off in search of food1 and found in the hut of a field watcher a lizard1 two spits1 and a pot of milk-curd4 ,and1 after thrice crying aloud1 ,to whom do these belong8 and not finding an owner1 he put on his neck the rope for lifting the pot1 and grasping the spits and lizard with his teeth1 he laid them in his own lair1 thinking1 ,in due season ,i will devour them1 and then he lay down1 thinking how virtuous he had been4 ,but the ,hare 7who was the ,buddha-to-be7 in due time came out1 thinking to lie 7in contemplation7 on the ,kuca grass4 ,it is impossible for me to offer grass to any beggars who may chance to come by1 and ,i have no oil or rice or fish4 ,if any beggar comes to me1 ,i will give him 7of7 my own flesh to eat4 ,now when ,sakka1 the ,king of the ,gods1 heard this thing1 he determined to put the ,royal ,hare to the test4 ,so he came in disguise of a ,brahmin to the ,otter and said3 ,wise ,sir1 if ,i could get something to eat1 ,i would perform all my priestly duties4 ,the ,otter said3 ,i will give you food4 ,seven red fish have ,i safely brought to land from the sacred river of the ,ganges4 ,eat thy fill1 ,o ,brahmin1 and stay in this wood4 ,and the ,brahmin said3 ,let it be until to-morrow1 and ,i will see to it then4 ,then he went to the ,jackal1 who confessed that he had stolen the food1 but he begged the ,brahmin to accept it and remain in the wood3 but the ,brahmin said3 ,let it be until the morrow1 and then ,i well see to it4 ,then the ,brahmin went to the wise ,hare1 and the ,hare said3 ,behold1 ,i will give you of my flesh to eat4 ,but you must not take life on this holy day4 ,when you have piled up the logs ,i will sacrifice myself by falling into the midst of the flames1 and when my body is roasted you shall eat my flesh and perform all your priestly duties4 ,now when ,sakka heard these words he caused a heap of burning coals to appear1 and the ,wisdom ,being1 rising from the grass1 came to the place1 but before casting himself into the flames he shook himself1 lest perchance there should be any insects in his coat who might suffer death4 ,then1 offering his body as a free gift1 he sprang up1 and like a royal swan1 lighting on a bed of lotus in an ecstasy of joy1 he fell on the heap of live coals4 ,but the flame failed even to heat the pores or the hair on the body of the ,wisdom ,being1 and it was as if he had entered a region of frost4 ,then he addressed the ,brahmin in these words3 ,brahmin1 the fire that you have kindled is icy cold2 it fails to heat the pores of the hair on my body4 ,what is the meaning of this8 ,o most wise ,hare6 ,i am ,sakka1 and have come to put your virtue to the test4 ,and the ,buddha in a sweet voice said3 ,no god or man could find in me an unwillingness to die4 ,then ,sakka said3 ,o wise ,hare1 be thy virtue known to all the ages to come4 ,and seizing the mountain he squeezed out the juice and daubed on the moon the signs of the young hare4 ,then he placed him back on the grass that he might continue his ,sabbath meditation1 and returned to ,heaven4 ,and the four creatures lived together and kept the moral law4 ,from ,,eastern ,,stories ,,and ,,legends4 ,,filial ,,piety ,now it came to pass that the ,buddha was reborn in the shape of a parrot1 and he greatly excelled all other parrots in his strength and beauty4 ,and when he was full grown his father1 who had long been the leader of the flock in their flights to other climes1 said to him3 ,my son1 behold1 thou shalt rest4 ,i will lead the birds4 ,and the parrots rejoiced in the strength of their new leader1 and willingly did they follow him4 ,now from that day on1 the ,buddha undertook to feed his parents1 and would not consent that they should do any more work4 ,each day he led his flock to the ,himalaya ,hills1 and when he had eaten his fill of the clumps of rice that grew there1 he filled his beak with food for the dear parents who were waiting his return4 ,now there was a man appointed to watch the rice-fields1 and he did his best to drive the parrots away1 but there seemed to be some secret power in the leader of this flock which the keeper could not overcome4 ,he noticed that the parrots ate their fill and then flew away1 but that the ,parrot-,king not only satisfied his hunger1 but carried away rice in his beak4 ,now he feared there would be no rice left1 and he went to his master1 the ,brahmin1 to tell him what had happened2 and even as the master listened there came to him the thought that the ,parrot-,king was something higher than he seemed1 and he loved him even before he saw him4 ,but he said nothing of this1 and only warned the ,keeper that he should set a snare and catch the dangerous bird4 ,so the man did as he was bidden3 he made a small cage and set the snare1 and sat down in his hut waiting for the birds to come4 ,and soon he saw the ,parrot-,king amidst his flock1 who1 because he had no greed1 sought no richer spot1 but flew down to the same place in which he had fed the day before4 ,now1 no sooner had he touched the ground than he felt his feet caught in the noose4 ,then fear crept into his bird heart1 but a stronger feeling was there to crush it down1 for he thought3 ,if ,i cry out the ,cry of the ,captured1 my ,kinsfolk will be terrified1 and they will fly away foodless4 ,but if ,i lie still1 then their hunger will be satisfied1 and may they safely come to my aid4 ,thus1 was the parrot both brave and prudent4 ,but alas6 he did not know that his ,kinsfolk had nought of his brave spirit4 ,when they had eaten their fill1 though they heard the thrice-uttered cry of the captured1 they flew away1 nor heed the sad plight of their leader4 ,then was the heart of the ,parrot-,king sore within him1 and he said3 ,all these my kith and kin1 and not one to look back on me4 ,alas6 what sin have ,i done8 ,the watchman now heard the cry if the ,parrot-,king1 and the sound of the other parrots flying through the air4 ,what is that8 he cried1 and leaving his hut he came to the place where he had laid the snare4 ,there he found the captive parrot2 he tied his feet together and brought him to the ,brahmin1 his master4 ,now1 when the ,brahmin saw the ,parrot-,king1 he felt his strong power1 and his heart was full of love to him1 but he hid his feelings1 and said in a voice of anger3 ,is thy greed greater than that of all other birds8 ,they eat their fill1 but thou canst takest away each day more food than thou canst eat4 ,doest thou this out of hatred for me1 or dost thou store up the food in same granary for selfish greed8 ,and the ,great ,being made answer in a sweet human voice3 ,i hate thee not1 ,o ,brahmin4 ,nor do ,i store the rice in a granary for selfish greed4 ,but this thing ,i do4 ,each day ,i pay a debt which is due--each day ,i grant a loan1 and each day ,i store up a treasure4 ,now the ,brahmin could not understand the words of the ,buddha 7because true wisdom had not entered his heart7 and he said3 ,i pray thee1 ,o ,wondrous ,bird1 to make these words clear unto me4 ,and then the ,parrot-,king made answer3 ,i carry food to my ancient parents who can no longer seek that food for themselves3 thus ,i pay my daily debt4 ,i carry food to my callow chicks whose wings are yet ungrown4 ,when ,i am old they will care for me--this my loan to them4 ,and for other birds1 weak and helpless of wing1 who need the aid of the strong1 for them ,i lay up a store2 to these ,i give in charity4 ,then was the ,brahmin much moved and showed the love that was in his heart4 ,eat thy fill1 ,o ,righteous ,bird1 and let thy ,kinsfolk eat1 too1 for thy sake4 ,and he wished to bestow a thousand acres of land upon him1 but the ,great ,being would only take a tiny portion round which were set boundary stores4 ,and the parrot returned with a head of rice1 and said3 ,arise1 dear parents1 that ,i may take you to a place of plenty4 ,and he told them the story of his deliverance4 ,from ,,eastern ,,stories ,,and ,,legends4 ,,three ,,stories ,,from ,,hans ,,christian ,,andersen4#ec ,,the ,,swineherd4 ,there was once a poor ,prince4 ,he owned a ,kingdom--a very small one1 but it was big enough to allow him to marry1 and he was determined to marry4 ,now1 it was really very bold on his part to say to a ,king's daughter3 ,will you marry me8 ,but he dared to do so1 for his name was known far and wide1 and there were hundreds of princesses who would willingly have said3 ,yes1 thank you4 ,but1 would she8 ,we shall hear what happened4 ,on the grave of the ,prince's father1 there grew a rose-tree--such a wonderful rose-tree6 ,it bloomed only once in five years1 and then it bore only one rose--but what a rose6 ,its perfume was so sweet that whoever smelt it forgot all his cares and sorrows4 ,the ,prince had also a nightingale which could sing as if all the delicious melodies in the world were contained in its little throat4 ,the rose and the nightingale were both to be given to the ,princess1 and were therefore placed in two great silver caskets and sent to her4 ,the ,emperor had them carried before him into the great hall where the ,princess was playing at visiting with her ladies-in-waiting--they had nothing else to do4 ,when she saw the caskets with the presents in them1 she clapped her hands with joy4 ,if it were only a little pussy-cat1 she cried4 ,but out came a beautiful rose4 ,how elegantly it is made1 said all the ladies of the court4 ,it is more than elegant1 said the ,emperor1 ,it is neat4 ,fie1 papa1 she said1 it is not made at all2 it is a natural rose4 ,let us see what the other casket contains before we lose our temper1 said the ,emperor1 and then out came the little nightingale and sang so sweetly that at first nobody could think of anything to say against it4 ,superbe1 superbe1 cried the ladies of the court1 for they all chattered ,french1 one worse than the other4 ,how the bird reminds me of the late ,empress' musical-box6 said an old ,lord-in-,waiting4 ,ah1 me6 the same tone1 the same execution4 ,the very same1 said the ,emperor1 and he cried like a little child4 ,i hope it is not a real bird1 said the ,princess4 ,oh1 yes6 it is a real bird1 said those who had brought it4 ,then let the bird fly away1 she said1 and she would on no account allow the ,prince to come in4 ,but he was not to be disheartened2 he smeared his face with black and brown1 drew his cap over his forehead1 and knocked at the ,palace door4 ,the ,emperor opened it4 ,good day1 ,emperor1 he said4 ,could ,i get work at the ,palace8 ,well1 there are so many wanting places1 said the ,emperor2 but let me see6--,i need a ,swineherd4 ,i have a good many pigs to keep4 ,so the ,prince was made ,imperial ,swineherd4 ,he had a wretched little room near the pig-sty and here he was obliged to stay4 ,but the whole day he sat and worked1 and by the evening he had made a neat little pipkin1 and round it was a set of bells1 and as soon as the pot began to boil1 the bells fell to jingling most sweetly and played the old melody3 ,ach du lieber ,augustin1 ,alles is weg1 weg1 weg6#ed ,but the most wonderful thing was that when you held your finger in the steam of the pipkin1 you could immediately smell what dinner was cooking on every hearth in the town4 ,that was something very different from a rose4 ,the ,princess was walking out with her ladies-in-waiting1 and when she heard the melody1 she stopped short1 and looked pleased1 for she could play ,ach du lieber ,augustin herself2 it was the only tune she knew1 and that she played with one finger4 ,why1 that is the tune ,i play1 she said4 ,what a cultivated ,swineherd he must be4 ,go down and ask him how much his instrument costs4 ,so one of the ladies-in-waiting was obliged to go down1 but she put on pattens first4 ,how much do you want for your pipkin8 asked the ,lady-in-waiting4 ,i will have ten kisses from the ,princess1 said the ,swineherd4 ,good gracious6 said the ,lady-in-waiting4 ,i will not take less1 said the ,swineherd4 ,well1 what did he say8 asked the ,princess4 ,i really cannot tell you1 said the ,lady-in-waiting4 ,it is too dreadful4 ,then you must whisper it1 said the ,princess4 ,so she whispered it4 ,he is very rude1 said the ,princess1 and she walked away4 ,but she had gone only a few steps when the bells sounded so sweetly3 ,ach du lieber ,augustin ,alles ist weg1 weg1 weg6 ,listen1 said the ,princess1 ask him whether he will have his kisses from my ,ladies-in-waiting4 ,no1 thank you1 said the ,swineherd4 ,i will have ten kisses from the ,princess1 or1 ,i will keep my pipkin4 ,how tiresome6 said the ,princess2 but you must stand round me1 so that nobody shall see4 ,so the ladies-in-waiting stood round her and they spread out their skirts4 ,the ,swineherd got the kisses1 and she got the pipkin4 ,how delighted she was4 ,all the evening and the whole of the next day1 that pot was made to boil4 ,and you might have known what everybody was cooking on every hearth in town1 from the ,chamberlain's to the shoemaker's4 ,the court ladies danced and clapped their hands4 ,we know who is to have fruit-soup and pancakes1 and we know who is going to have porridge1 and cutlets4 ,how very interesting it is6 ,most interesting1 indeed1 said the first ,lady-of-,honor4 ,yes1 but hold your tongues1 for ,i am the ,emperor's daughter4 ,of course we will1 they cried in one breath4 ,the ,swineherd1 or the ,prince1 nobody knew that he was not a real ,swineherd1 did not let the day pass without doing something1 and he made a rattle which could play all the waltzes1 and the polkas and the hop-dances which had been know since the creation of the world4 ,but this is superbe6 said the ,princess1 who was just passing3 ,i have never heard more beautiful composition4 ,go and as him what the instrument costs4 ,but ,i will give no more kisses4 ,he insists on a hundred kisses from the ,princess1 said the ladies- in-waiting who had been down to ask4 ,i think he must be quite mad1 said the ,princess1 and she walked away4 ,but when she had taken a few steps1 she stopped short1 and said3 ,one must encourage the fine arts1 and ,i am the emperor's daughter4 ,tell him he may have ten kisses1 as before1 and the rest he can take from my ladies-in-waiting4 ,yes1 but we object to that1 said the ladies-in-waiting4 ,that is nonsense1 said the ,princess4 ,if ,i can kiss him1 surely you can do the same4 ,go down at once4 ,don't ,i give you board and wages8 ,so the ladies-in-waiting were obliged to go down to the ,swineherd again4 ,a hundred kisses from the ,princess1 or each keeps his own4 ,stand round me1 she said4 ,and all the ladies-in-waiting stood round her1 and the ,swineherd began to kiss her4 ,what can all the crowd be down by the pig-sty8 said the ,emperor1 stepping out onto the balcony4 ,he rubbed his eyes and put on his spectacles4 ,it is the court ladies up to some of their tricks4 ,i must go down and look after them4 ,he pulled up his slippers1 for they were shoes which he had trodden down at heel4 ,gracious goodness1 how he hurried6 ,as soon as he came into the garden1 he walked very softly1 and the ladies-in-waiting had so much to do counting the kisses1 so that everything could be done fairly1 and that the ,swineherd should get neither too many nor too few1 that they never noticed the ,emperor at all4 ,he stood on tip-toe4 ,what is this all about8 he said1 when he saw the kissing that was going on1 and he hit them on the head with his slipper1 just as the ,swineherd was getting the eighty-sixth kiss4 ,heraus6 said the ,emperor1 for he was angry1 and both the ,princess and the ,swineherd were turned out of his ,kingdom4 ,the ,princess wept1 the ,swineherd scolded1 and the rain streamed down4 ,oh6 wretched creature that ,i am1 said the ,princess4 ,if ,i had only taken the handsome ,prince6 ,oh1 how unhappy ,i am6 ,then the ,swineherd went behind a tree1 washed the black and brown off his face1 threw of his ragged clothes1 and stood forth in his royal apparel1 looking so handsome that she was obliged to curtsey4 ,i have learned to despise you1 he said4 ,you would not have an honorable ,prince4 ,you could not appreciate a rose or a nightingale1 but for a musical toy1 you kissed the ,swineherd4 ,now you have your reward4 ,so he went into his ,kingdom1 shut the door and bolted it1 and she had to stand outside singing3 ,ach1 du lieber ,augustin1 ,alles is weg1 weg1 weg6 ,,the ,,nightingale4 ,in ,china1 you must know1 the ,emperor is a ,chinaman1 and all those around him are ,chinamen1 too4 ,it is many years since all this happened1 and for that very reason it is worth hearing1 before it is forgotten4 ,the ,emperor's palace was the most beautiful in the world2 built all of fine porcelain and very costly1 but so fragile that it was very difficult to touch1 and you had to be very careful in doing so4 ,the most wonderful flowers were to be seen in the garden1 and to the most beautiful silver bells1 tinkling bells were tied1 for fear people should pass by without noticing them4 ,how well everything had been thought out in the ,emperor's garden6 ,this was so big1 that the gardener himself did not know where it ended4 ,if you walked on and on you came to the most beautiful forest1 with tall trees and big lakes4 ,the wood stretched right down to the sea which was blue and deep2 great ships could pass underneath the branches1 and here a nightingale had made its home1 and its singing was so entrancing that the poor fisherman1 though he had so many other things to do1 would lie still and listen when he was out at night drawing in his nets4 ,how beautiful it is6 he said2 but then he was forced to think about his own affairs1 and the ,nightingale was forgotten4 ,the next day1 when it sang again1 the fisherman said the same thing3 ,how beautiful it is6 ,travellers from all the countries of the world came to the emperor's town1 and expressed their admiration of the palace and the garden1 but when they heard the ,nightingale1 they all said3 ,this is the best of all6 ,now1 when these travellers came home1 they told of what they had seen4 ,and scholars wrote many books about the town1 the palace and the garden1 but nobody left out the ,nightingale2 it was always spoken of as the most wonderful of all they had seen4 ,and those who had the gift of the ,poet1 wrote the most delightful poems all about the ,nightingale in the wood near the deep lake4 ,the books went round the world1 and in the course of time some of them reached the ,emperor4 ,he sat in his golden chair1 and read and read1 nodding his head every minute2 for it pleased him to read the beautiful descriptions of the town1 the palace and the garden4 ,but the ,nightingale is the best of all1 he read4 ,what is this8 said the ,emperor4 ,the ,nightingale6 ,i now nothing whatever about it4 ,to think of there being such a bird in my ,kingdom-- nay in my very garden--and ,i have never heard it4 ,and to think one should learn such a thing for the first time from a book6 ,then he summoned his ,lord-in-,waiting1 who was such a grand personage that if anyone inferior in rank ventured to speak to him1 or ask him about anything1 he merely answered ,p1 which meant nothing whatever4 ,there is said to be a most wonderful bird1 called the ,nightingale1 said the ,emperor2 they say it is the best thing in my great ,kingdom4 ,why have ,i been told nothing about it8 ,i have never heard it mentioned before1 said the ,lord-in-,waiting4 ,it has certainly never been presented at court4 ,it is my good pleasure that it shall appear to-night and sing before me6 said the ,emperor4 ,the whole world knows what is mine1 and ,i myself do not know it4 ,i have never heard it mentioned before1 said the ,lord-in-,waiting4 ,i will seek it1 and ,i shall find it4 ,but where was it to be found8 ,the ,lord-in-,waiting ran up and down all the stairs1 through halls and passages1 but not one of all those whom he met had ever heard a word about the ,nightingale2 so the ,lord-in- ,waiting ran back to the ,emperor and told him that it must certainly be a fable invented by writers of books4 ,your ,majesty must not believe all that is written in books4 ,it is pure invention1 something which is called the ,black ,art4 ,but1 said the ,emperor1 the book in which ,i have read this was sent to me by ,his ,majesty1 the ,emperor of ,japan1 and therefore this cannot be a falsehood4 ,i will hear the ,nightingale4 ,it must appear this evening6 ,it has my ,imperial favor1 and if it fails to appear the ,court shall be trampled upon after the ,court has supped4 ,tsing-pe6 said the ,lord-in-,waiting1 and again he ran up and down all the stairs1 through all the passages1 and half the ,court ran with him1 for they had no wish to be trampled upon4 ,and many questions were asked about the wonderful ,nightingale1 of whom all had heard except those who lived at ,court4 ,at last1 they met a poor little girl in the kitchen4 ,she said3 ,oh1 yes6 ,the ,nightingale6 ,i know it well4 ,how it can sing6 ,every evening ,i have permission to take the broken pieces from the table to my poor sick mother who lives near the sea-shore1 and on my way back1 when ,i feel tired1 and rest a while in the wood1 then ,i hear the ,nightingale sing1 and my eyes are filled with tears2 it is as if my mother kissed me4 ,little kitchen-maid1 said the ,lord-in-,waiting1 ,i will get a permanent place for you in the ,court ,kitchen and permission to see the ,emperor dine1 if you can lead us to the ,nightingale2 for it has been commanded to appear at ,court to-night4 ,so they started off all together where the bird used to sing2 half the ,court went1 too4 ,they were going along at a good pace1 when suddenly they heard a cow lowing4 ,oh1 said a ,court-,page4 ,there it is6 ,what a wonderful power for so small a creature6 ,i have certainly heard it before4 ,no1 those are the cows lowing1 said the little kitchen-maid4 ,we are a long way from the place yet4 ,then the frogs began to croak in the marsh4 ,glorious1 said the ,court- ,preacher4 ,now1 ,i hear it--it is just like little church-bells4 ,no1 those are the frogs1 said the little kitchen-maid4 ,but now ,i think we shall soon hear it4 ,and then the ,nightingale began to sing4 ,there it is1 said the little girl4 ,listen1 listen--there it sits6 ,and she pointed to a little gray bird in the branches4 ,is it possible6 said the ,lord-in-,waiting4 ,i had never supposed it would look like that4 ,how very plain it looks6 ,it has certainly lost its color from seeing so many grand folk here4 ,little ,nightingale1 called out the little kitchen-maid1 our gracious ,emperor wishes you to sing for him4 ,with the greatest pleasure1 said the ,nightingale1 and it sang1 and it was a joy to hear it4 ,it sounds like little glass bells1 said the ,lord-in-,waiting2 and just look at its little throat1 how it moves6 ,it is astonishing to think we have never heard it before6 ,it will have a real success at ,court4 ,shall ,i sing for the ,emperor again8 asked the ,nightingale1 who thought that the ,emperor was there in person4 ,mine excellent little ,nightingale1 said the ,lord-in-,waiting1 ,i have the great pleasure of bidding you to a ,court-,festival this night1 when you will enchant ,his ,imperial ,majesty with your delightful warbling4 ,my voice sounds better among the green trees1 said the ,nightingale4 ,but it came willingly when it knew the ,emperor wished it4 ,there was a great deal of furbishing up at the palace4 ,the walls and ceiling which were of porcelain1 shone with the light of a thousand golden lamps4 ,the most beautiful flowers of the tinkling kind were placed in the passages4 ,there was a running to and fro and a great draught1 but that is just what made the bells ring1 and one could not hear oneself speak4 ,in the middle of the great hall where the ,emperor sat1 a golden rod had been set up on which the ,nightingale was to perch4 ,the whole ,court was present1 and the little kitchen-maid was allowed to stand behind the door1 for she had now the actual title of ,court ,kitchen-,maid4 ,all were there in their smartest clothes1 and they all looked toward the little gray bird to which the ,emperor nodded4 ,and then the ,nightingale sang1 so gloriously that tears sprang into the ,emperor's eyes and rolled down his cheeks1 and the ,nightingale sang even more sweetly4 ,the song went straight to the heart1 and the ,emperor was so delighted that he declared that the ,nightingale should have his golden slipper to hang round its neck4 ,but the ,nightingale declined4 ,it had already had its reward4 ,i have seen tears in the ,emperor's eyes4 ,that is my greatest reward4 ,an ,emperor's tears have a wonderful power4 ,god knows ,i am sufficiently rewarded1 and again its sweet1 glorious voice was heard4 ,that is the most delightful coquetting ,i have ever known1 said the ladies sitting round1 and they took water into their mouths1 in order to gurgle when anyone spoke to them1 and they really thought they were like the ,nightingale4 ,even the footmen and the chambermaids sent word that they were satisfied1 and that means a great deal1 for they are always the most difficult people to please4 ,yes1 indeed1 there was no doubt as to the ,nightingale's success4 ,it was to stay at ,court1 and have its own cage1 with liberty to go out twice in the daytime1 and once at night4 ,twelve footmen went out with it1 and each held a silk ribbon which was tied to the bird's leg1 and which they held very tightly4 ,there was not much pleasure in an outing of that sort4 ,the whole town was talking about the wonderful bird1 and when two people met1 one said3 ,nightin-- and the other said gale1 and they sighed and understood one another4 ,eleven cheese-mongers' children were called after the bird1 though none of them could sing a note4 ,one day a large parcel came for the ,emperor4 ,outside was written the word3 ,nightingale4 ,here we have a new book about our wonderful bird1 said the ,emperor4 ,but it was not a book2 it was a little work of art which lay in a box-- an artificial ,nightingale1 which looked exactly like the real one1 but it was studded all over with diamonds1 rubies and sapphires4 ,as soon as you wound it up1 it could sing one of the songs which the real bird sang1 and its tail moved up and down and glittered with silver and gold4 ,round its neck was a ribbon on which was written3 ,the ,emperor of ,japan's ,nightingale is poor indeed1 compared with the ,emperor of ,china's4 ,that is delightful1 they all said1 and on the messenger who had brought the artificial bird1 they bestowed the title of ,imperial ,nightingale-,bringer-in-,chief4 ,let them sing together1 and what a duet that will be6 ,and so they had to sing1 but the thing would not work1 because the real ,nightingale could only sing in its own way1 and the artificial ,nightingale went by clockwork4 ,that is not its fault1 said the band-master4 ,time is its strong point and it has quite my method4 ,then the artificial ,nightingale had to sing alone4 ,it had just as much success as the real bird1 and it was so much handsomer to look at2 it glittered like bracelets and breast-pins4 ,it sang the same tune three and thirty times1 and still it was not tired2 the people would willingly listen to the whole performance over again from the start1 but the ,emperor suggested that the real ,nightingale should sing for a while--where was it8 ,nobody had noticed it had flown out of the open window back to its green woods4 ,but what is the meaning of all this8 said the ,emperor4 ,all the courtiers railed at the ,nightingale and said it was a most ungrateful creature4 ,we have the better of the two1 they said1 and the artificial ,nightingale had to sing again1 and this was the thirty-fourth time they had heard the same tune4 ,but they did not know it properly event then because it was so difficult1 and the band-master praised the wonderful bird in the highest terms and even asserted that it was superior to the real bird1 not only as regarded the outside1 with the many lovely diamonds1 but the inside as well4 ,you see1 ladies and gentlemen1 and above all your ,imperial ,majesty1 that with the real ,nightingale1 you can never predict what may happen1 but with the artificial bird1 everything is settled beforehand2 so it remains and it cannot be changed4 ,one can account for it4 ,one can rip it open1 and show the human ingenuity1 explaining how the cylinders lie1 how they work1 and how one thing is the result of another4 ,that is just what we think1 they all exclaimed1 and the bandmaster received permission to exhibit the bird to the people on the following ,sunday4 ,the ,emperor said they would hear it sing4 ,they listened and were as much delighted as if they had been drunk with tea1 which is ,chinese1 you know1 and they all said3 ,oh6 and stuck their forefingers in the air1 and nodded their heads4 ,but the poor fisherman who had heard the real ,nightingale1 said3 ,it sounds quite well1 and a little like it1 but there is something wanting1 ,i do not know what4 ,the real ,nightingale was banished from the ,kingdom4 ,the artificial bird had its place on a silken cushion close to the ,emperor's bed4 ,all the presents it had received1 the gold and precious stones1 lay all round it1 and it had been honored with the title of ,high-,imperial-,bed-,room-,singer--in the first rank1 on the left side1 for even the ,emperor considered that side the grander on which the heart is placed1 and even an ,emperor has his heart on the left side4 ,the band-master wrote twenty-five volumes about the wonderful artificial bird4 ,the book was very learned and very long1 filled with the most difficult words in the ,chinese language1 and everybody said they had read and understood it1 for otherwise they would have been considered stupid1 and would have been trampled upon4 ,and thus a whole year passed away4 ,the ,emperor1 the ,court1 and all the ,chinamen knew every little gurgle in the artificial bird's song1 and just for this reason1 they were all the better pleased with it4 ,they could sing it themselves--which they did4 ,the boys in the street sang ,iodizing1 and1 cluck1 cluck1 and even the ,emperor sang it4 ,yes1 it was certainly beautiful6 ,but one evening1 while the bird was singing1 and the ,emperor lay in bed listening to it1 there was a whirring sound inside the bird1 and something whizzed2 all the wheels ran round1 and the music stopped4 ,the ,emperor sprang out of bed and sent for the ,court ,physician1 but what could he do8 ,then they sent for the watch-maker1 and after much talk and examination1 he patched the bird up1 but he said it must be spared as much as possible1 because the hammers were so worn out--and he could not put new ones in so that the music could be counted on4 ,this was a great grief4 ,the bird could only be allowed to sing once a year1 and even that was risky1 but on these occasions1 the band-master would make a little speech1 full of difficult words1 saying the bird was just as good as ever--and that was true4 ,five years passed away1 and a great sorrow had come to the country4 ,the people all really cared for their ,emperor1 and now he was ill and it was said he could not live4 ,a new ,emperor had been chosen1 and the people stood about the streets1 and questioned the ,lord-in-,waiting about their ,emperor's condition4 ,p6 he said1 and shook his head4 ,the ,emperor lay pale and cold on his great1 gorgeous bed2 the whole ,court believed that he was dead1 and they all hastened to pay homage to the new ,emperor4 ,the footmen hurried off to discuss matters1 and the chambermaids gave a great coffee-party4 ,cloth had been laid down in all the rooms and passages1 so that not even a footstep should be heard and it was all so very quiet4 ,but the ,emperor was not yet dead4 ,he lay stiff and pale in the sumptuous bed1 with its long velvet curtains and heavy gold tassels2 high above was an open window1 and the moon shone in upon the ,emperor and the artificial bird4 ,the poor ,emperor could hardly breathe2 he felt as if someone were sitting on his chest2 he opened his eyes and saw that it was ,death sitting on his chest1 wearing his golden crown1 holding in one hand his golden sword1 and in the other his splendid banner4 ,and from the folds of the velvet curtains strange faces peered forth2 some terrible to look on1 others mild and friendly--these were the ,emperor's good and bad deeds1 which gazed upon him now that ,death sat upon his heart4 ,do you remember this8 whispered one after the other4 ,do you remember that8 ,they told him so much that the sweat poured down his face4 ,i never knew that1 said the ,emperor4 ,music6 music6 ,beat the great ,chinese drum6 he called out1 so that ,i may not hear what they are saying6 ,but they kept on1 and ,death nodded his head1 like a ,chinaman1 at everything they said4 ,music1 music1 cried the ,emperor4 ,you precious little golden bird6 ,sing to me1 ah6 sing to me6 ,i have given you gold and costly treasure4 ,i have hung my golden slipper about your neck4 ,sing to me4 ,sing to me6 ,but the bird was silent2 there was no one to wind him up1 and therefore he could not sing4 ,death went on1 staring at the ,emperor with his great hollow eyes1 and it was terribly still4 ,then suddenly1 close to the window1 came the sound of a lovely song4 ,it was the little live ,nightingale perched on a branch outside4 ,it had heard of its ,emperor's need1 and had therefore flown hither to bring him comfort and hope1 and as he sang1 the faces became paler and the blood coursed more freely through the ,emperor's veins4 ,even ,death himself listened and said3 ,go on1 little ,nightingale4 ,go on4 ,yes1 if you will give me the splendid sword4 ,yes1 if you will give me the ,imperial banner6 ,yes1 if you will give me the ,emperor's crown6 ,and ,death gave back all these treasures for a song4 ,and still the ,nightingale sang on4 ,he sang of the quiet churchyard1 where the white roses grow1 where the elder flowers bloom1 and where the grass is kept moist by the tears of those left behind1 and there came to ,death such a longing to see his garden1 that he floated out of the window1 like a could white mist4 ,thank you1 thank you1 said the ,emperor4 ,you heavenly little bird1 ,i know you well6 ,i banished you from the land1 and you have charmed away the evil spirits from my bed and you have driven ,death from my heart4 ,how shall ,i reward you8 ,you have rewarded me1 said the ,nightingale4 ,i brought tears to your eyes the first time ,i sang1 and ,i shall never forget that4 ,those are the jewels which touched the heart of the singer2 but sleep now1 that you may wake fresh and strong4 ,i will sing to you4 ,then it sang again1 and the ,emperor fell into a sweet sleep4 ,the sun shone in upon him through the window1 when he woke the next morning feeling strong and well4 ,none of his servants had come back1 because they thought he was dead1 but the ,nightingale was still singing4 ,you will always stay with me1 said the ,emperor4 ,you shall only sing when it pleases you1 and ,i will break the artificial ,nightingale into a thousand pieces4 ,do not do that1 said the ,nightingale4 ,it has done the best it could4 ,keep it with you4 ,i cannot build my nest in a palace1 but let me come just as ,i please4 ,i well sit on the branch near the window1 and sing to you that you may both joyful and thoughtful4 ,i will sing to you of the happy folk1 and of those that suffer2 ,i will sing of the evil and of the good1 which is being hidden from you4 ,the little singing bird flies hither and thither1 to the poor fisherman1 to the peasant's hut1 to many who live far from your ,court4 ,your heart is dearer to me than your crown1 and yet the crown has a breath of sanctity1 too4 ,i will come1 ,i will sing to you6 ,but one thing you must promise me6 ,all that you ask1 said the ,emperor1 and stood there in his imperial robes which he had put on himself1 and held the heavy golden sword on his heart4 ,i beg you1 let no one know that you have a little bird who tells you everything4 ,it will be far better so6 ,then the ,nightingale flew away4 ,the servants came to look upon their dead ,emperor4 ,yes1 there they stood2 and the ,emperor said3 ,good morning6 ,,the ,,princess ,,and ,,the ,,pea4 ,there was once a ,prince who wished to marry a ,princess1 but she must be a real ,princess4 ,he travelled all over the world to find one1 but there was always something wrong4 ,there were plenty of ,princesses1 but whether they were real or not he could not be sure4 ,there was always something that was not quite right4 ,so he came home again1 feeling very sad1 for he was so anxious to have a real ,princess4 ,one evening there was a terrible storm2 it lightened and thundered1 and the rain came down in torrents2 it was a fearful night4 ,in the midst of the storm there came a knocking at the town-gate1 and the old ,king himself went down to open it4 ,there1 outside stood a princess4 ,but what a state she was in from the rain and the storm6 ,the water was running out of her hair on to her clothes1 into he shoes and out at the heels2 and yet she said she was a real ,princess4 ,we shall soon find out about that1 thought the old ,queen4 ,but she said never a word4 ,she went into the bedroom1 took off all the bedclothes and put a pea on the bedstead4 ,then she took twenty mattresses and laid them on the pea and twenty eider-down quilts on the mattresses4 ,and the ,princess was to sleep on the top of all4 ,in the morning they came to her and asked her how she had slept4 ,oh6 wretchedly1 said the ,princess4 ,i scarcely closed my eyes the whole night long4 ,heaven knows what could have been in the bed6 ,i have lain upon something hard1 so that my whole body is black and blue4 ,it is quite dreadful4 ,they could see now that she was a real ,princess1 because she had felt the pea through twenty mattresses and twenty eider-down quilts4 ,nobody but a real ,princess could be so sensitive4 ,so the ,prince married her1 for now he knew that he had found a real ,princess1 and the pea was sent to an ,art ,museum1 where it can still be seen1 if nobody has taken it away4 ,now1 mark you3 ,this is a true story4 ,,part ,,iii4 ,,list ,,of ,,stories4 ,,books ,,suggested ,,to ,,the ,,story-,,teller ,,and ,,books ,,referred ,,to ,,in ,,the ,,list ,,of ,,stories4 ,,author',s ,,note3-- ,i had intended1 in this section1 to offer an appendix of titles of stories and books which should cover all the ground of possible narrative in schools2 but ,i have found so many lists containing standard books and stories1 that ,i have decided that this original plan would be a work of supererogation4 ,what is really needed is a supplementary list to those already published--a specialized list which is the result of private research and personal experience4 ,i have for many years spent considerable time in the ,british ,museum and some of the principal libraries in ,america4 ,i now offer the fruit of my labor4 ,,list ,,of ,,stories4 ,,classical ,,stories4 ,,the ,,story ,,of ,,theseus4 ,from ,kingsley's ,heroes4 ,how ,theseus lifted the stone4 ,how ,theseus slew the ,corynetes4 ,how ,theseus slew ,sinis4 ,how ,theseus slew ,kerkyon and ,procrustes4 ,how ,theseus slew the ,medea and was acknowledged the son of ,aegeus4 ,how ,theseus slew the ,minotaur4 ,to be told in six parts as a series4 ,,the ,,story ,,of ,,croesus4 ,,the ,,conspiracy ,,of ,,the ,,magi4 ,,arion ,,and ,,the ,,dolphin4 ,from ,wonder ,tales from ,herodotus1 by ,n4 ,barrington ,d',almeida4 ,these stories are intended for reading1 but could be shortened for effective narration4 ,,coriolanus4 ,,julius ,,caesar4 ,,aristides4 ,,alexander4 ,from ,plutarch's ,lives for ,boys and ,girls1 by ,w4 ,h4 ,weston4 ,these stories must be shortened and adapted for narration4 ,,the ,,god ,,of ,,the ,,spears3 ,,the ,,story ,,of ,,romulus4 ,,his ,,father',s ,,crown3 ,,the ,,story ,,of ,,alcibiades4 ,from ,tales from ,plutarch1 by ,f4 ,j4 ,rowbotham4 ,these stories may be shortened and told in sections4 ,,east ,,indian ,,stories4 ,,the ,,wise ,,old ,,shepherd4 ,,the ,,religious ,,camel4 ,from ,the ,talking ,thrush1 by ,w4 ,h4 ,d4 ,rouse4 ,,less ,,inequality ,,than ,,men ,,deem4 ,from ,old ,deccan ,days1 by ,mary ,frere4 ,,the ,,brahman1 ,,the ,,tiger ,,and ,,the ,,six ,,judges4 ,this story may be found in ,the ,fairy ,ring1 edited by ,kate ,douglas ,wiggin and ,nora ,archibald ,smith2 also in ,tales of the ,punjab1 by ,f4 ,a4 ,steel1 under the title of ,the ,tiger1 the ,brahman and the ,jackal4 ,,tit ,,for ,,tat4 ,from ,old ,deccan ,days1 by ,mary ,frere4 ,this story may be found in ,the ,fairy ,ring1 edited by ,kate ,douglas ,wiggin and ,nora ,archibald ,smith4 ,,pride ,,goeth ,,before ,a ,,fall4 ,,harisarman4 ,from ,indian ,fairy ,tales1 by ,joseph ,jacobs4 ,,the ,,bear',s ,,bad ,,bargain4 ,,little ,,anklebone4 ,,peasie ,,and ,,beansie4 ,from ,tales of the ,punjab1 by ,f4 ,a4 ,steel4 ,,the ,,weaver ,,and ,,the ,,watermelon4 ,,the ,,tiger ,,and ,,the ,,hare4 ,from ,indian ,nights ,entertainment1 by ,synnerton4 ,,the ,,virtuous ,,animals4 ,this story should be abridged for narration4 ,,the ,,ass ,,as ,,singer4 ,,the ,,wolf ,,and ,,the ,,sheep4 ,from ,tibetan ,tales1 by ,f4 ,a4 ,schiefner4 ,a ,,story ,,about ,,robbers4 ,from ,out of the ,east1 by ,lafcadio ,hearn4 ,,dripping4 ,from ,indian ,fairy ,tales1 by ,mark ,thornhill4 ,,the ,,buddha ,,as ,,tree-,,spirit4 ,,the ,,buddha ,,as ,,parrot4 ,,the ,,buddha ,,as ,,king4 ,from ,a ,collection of ,eastern ,stories and ,legends1 by ,m4 ,l4 ,shedlock4 ,,rakshas ,,and ,,bakshas4 ,this story may be found in ,tales of ,laughter1 edited by ,kate ,douglas ,wiggin and ,nora ,archibald ,smith1 under the title of ,the ,blind ,man1 the ,deaf ,man and the ,donkey4 ,,the ,,bread ,,of ,,discontent4 ,from ,legendary ,lore of all ,nations4 ,a ,,germ ,,destroyer4 ,,namgary ,,doola4 ,a good story for boys1 to be given in shortened form4 ,from ,the ,kipling ,reader1 by ,rudyard ,kipling4 ,a ,,stupid ,,boy4 ,,the ,,clever ,,jackal4 ,one of the few stories wherein the ,jackal shows skill combined with gratitude4 ,from ,folk ,tales of ,kashmir1 by ,j4 ,h4 ,knowles4 ,,why ,,the ,,fish ,,laughed4 ,from ,folk ,tales of ,kashmir1 by ,j4 ,h4 ,knowles4 ,,myths1 ,,legends1 ,,and ,,fairy ,,tales4 ,,how ,,the ,,herring ,,became ,,king4 ,,joe ,,moore',s ,,story4 ,,the ,,mermaid ,,of ,,gob ,,ny ,,ooyl4 ,,king ,,magnus ,,barefoot4 ,from ,manx ,tales1 by ,sophia ,morrison4 ,,the ,,greedy ,,man4 ,from ,contes ,populaires ,malgaches1 by ,gariel ,ferrand4 ,,arbutus4 ,,basil4 ,,briony4 ,,dandelion4 ,from ,myths and ,legends of ,flowers1 ,trees1 ,fruits1 and ,plants1 by ,c4 ,m4 ,skinner4 ,,the ,,magic ,,picture4 ,,the ,,stone ,,monkey4 ,,stealing ,,peaches4 ,,the ,,country ,,of ,,gentlemen4 ,,football ,,on ,a ,,lake4 ,from ,chinese ,fairy ,tales1 by ,h4 ,a4 ,giles4 ,,the ,,lime ,,tree4 ,,intelligence ,,and ,,luck4 ,,the ,,frost1 ,,the ,,sun ,,and ,,wind4 ,from ,sixty ,folk ,tales from ,slavonic ,sources1 by ,o4 ,h4 ,wratislaw4 ,,the ,,boy ,,who ,,slept4 ,,the ,,gods ,,know4 ,from ,chinese ,fairy ,stories1 by ,n4 ,a4 ,pitnam4 ,this story must be shortened and adapted for narration4 ,,the ,,imp ,,tree4 ,,the ,,pixy ,,flower4 ,,tom ,,tit ,,tot4 ,,the ,,princess ,,of ,,colchester4 ,from ,fairy ,gold1 by ,ernest ,rhys4 ,,the ,,origin ,,of ,,the ,,mole4 ,from ,cossack ,fairy ,tales1 by ,r4 ,n4 ,bain4 ,,dolls ,,and ,,butterflies4 ,from ,myths and ,legends of ,japan1 by ,f4 ,h4 ,davis4 ,,the ,,child ,,of ,,the ,,forest4 ,,the ,,sparrow',s ,,wedding4 ,,the ,,moon ,,maiden4 ,from ,old ,world ,japan1 by ,frank ,rinder4 ,,the ,,story ,,of ,,merlin4 ,from ,stories of ,early ,british ,heroes1 by ,c4 ,g4 ,hartley4 ,,the ,,isle ,,of ,,the ,,mystic ,,lake4 ,from ,the ,voyage of ,maildun1 in ,old ,celtic ,romances1 by ,p4 ,w4 ,joyce4 ,,the ,,story ,,of ,,baldur4 ,from ,heroes of ,asgard1 by ,m4 ,r4 ,earle4 ,in three parts for young children4 ,,adalhero4 ,from ,evenings with the ,old ,story ,tellers4 ,,martin ,,the ,,peasant',s ,,son4 ,from ,russian ,wonder ,tales1 by ,post ,wheeler4 ,this is more suitable for reading4 ,,the ,,legend ,,of ,,rip ,,van ,,winkle4 ,from ,rip ,van ,winkle1 by ,washington ,irving4 ,,urashima4 ,from ,myths and ,legends of ,japan1 by ,f4 ,h4 ,davis4 ,,the ,,monk ,,and ,,the ,,bird4 ,from ,the ,book of ,legends ,told ,over ,again1 by ,h4 ,e4 ,scudder4 ,,carob4 ,from ,myths and ,legends of ,flowers1 ,trees1 ,fruit and ,plants1 by ,c4 ,m4 ,skinner4 ,a ,talmud legend4 ,,the ,,land ,,of ,,eternal ,,youth4 ,from ,child-,lore4 ,,catskin4 ,,guy ,,of ,,gisborne4 ,,king ,,henry ,,and ,,the ,,miller4 ,from ,a ,book of ,ballad ,stories1 by ,mary ,macleod4 ,,the ,,legend ,,of ,,the ,,black ,,prince4 ,,why ,,the ,,wolves ,,no ,,longer ,,devour ,,the ,,lambs ,,of ,,christmas ,,night4 ,from ,au ,pays des ,legendes1 by ,eugene ,herepin4 ,,the ,,coyote ,,and ,,the ,,locust4 ,,the ,,coyote ,,and ,,the ,,ravens ,,who ,,raced ,,their ,,eyes4 ,from ,zuni ,folk ,tales1 by ,f4 ,h4 ,cushing4 ,,the ,,peacemaker4 ,from ,legends of the ,iroquois1 by ,w4 ,v4 ,canfield4 ,,the ,,story ,,of ,,the ,,great ,,chief ,,of ,,the ,,animals4 ,,the ,,story ,,of ,,lion ,,and ,,little ,,jackal4 ,from ,kaffir ,folk ,tales1 by ,g4 ,m4 ,theal4 ,,the ,,legend ,,of ,,the ,,great ,,st4 ,,nicholas4 ,,the ,,three ,,counsels4 ,from ,bulletin ,de ,folk ,lore1 ,liege4 ,,the ,,tale ,,of ,,the ,,peasant ,,demyar4 ,,the ,,monkey ,,and ,,the ,,pomegranate ,,tree4 ,,the ,,ant ,,and ,,the ,,snow4 ,,the ,,value ,,of ,,an ,,egg4 ,,the ,,padre ,,and ,,the ,,negro4 ,,papranka4 ,from ,tales of ,old ,lusitania1 by ,coelho4 ,,kojata4 ,,the ,,lost ,,spear4 7,to be shortened47 ,,the ,,hermit4 7,by ,voltaire47 ,,the ,,blue ,,cat4 7,from the ,french47 ,,the ,,silver ,,penny4 ,,the ,,three ,,sisters4 ,,the ,,slippers ,,of ,,abou-,,karem4 ,from ,the ,golden ,fairy ,book4 ,,the ,,fairy ,,baby4 ,from ,uncle ,remus in ,hansaland1 by ,mary and ,newman ,tremearne4 ,,why ,,the ,,sole ,,of ,a ,,man',s ,,foot ,,is ,,uneven4 ,,the ,,wonderful ,,hair4 ,,the ,,emperor ,,trojan',s ,,goat ,,ears4 ,,the ,,language ,,of ,,animals4 ,,handicraft ,,above ,,everything4 ,,just ,,earnings ,,are ,,never ,,lost4 ,,the ,,maiden ,,who ,,was ,,swifter ,,than ,a ,,horse4 ,from ,servian ,stories and ,legends4 ,,the ,,couple ,,silencieux4 ,,le ,,mort ,,parlant4 ,,la ,,sotte ,,fiancee4 ,,le ,,cornacon4 ,,persin ,,au ,,pot4 ,from ,contes ,populaires du ,pays ,wallon1 by ,august ,gittee4 ,,the ,,rat ,,and ,,the ,,cat4 ,,the ,,two ,,thieves4 ,,the ,,two ,,rats4 ,,the ,,dog ,,and ,,the ,,rat4 ,from ,contes ,populaires ,malgaches1 by ,gabriel ,ferrand4 ,,rua ,,and ,,toka4 ,from ,the ,maori ,tales1 by ,baroness ,orczy and ,montagu ,marstow4 ,this story is given for the same purpose as ,a ,long ,bow ,story from ,andrew ,lang's ,olive ,fairy ,book4 ,,lady ,,clare4 ,,the ,,wolf-,,child4 ,from ,tales from the ,land of ,grapes and ,nuts1 by ,charles ,sellers4 ,,the ,,ungrateful ,,man4 ,,the ,,faithful ,,servant4 7,in part47 ,,jovinian1 ,,the ,,proud ,,emperor4 ,,the ,,knight ,,and ,,the ,,king ,,of ,,hungary4 ,,the ,,wicked ,,priest4 ,,the ,,emperor ,,and ,,conrad ,,and ,,the ,,count',s ,,son4 ,from the ,gesta ,romanorum4 ,,virgil1 ,,the ,,emperor ,,and ,,the ,,truffles4 ,from ,unpublished ,legends of ,virgil1 collected by ,c4 ,g4 ,leland4 ,,seeing ,,that ,,all ,,was ,,right4 7,a good story for boys47 ,,la ,,fortuna4 ,,the ,,lanterns ,,of ,,the ,,stozzi ,,palace4 ,from ,legends of ,florence1 by ,c4 ,g4 ,leland4 ,,the ,,three ,,kingdoms4 ,,yelena ,,the ,,wise4 ,,seven ,,simeons4 ,,ivan1 ,,the ,,bird ,,and ,,the ,,wolf4 ,,the ,,pig1 ,,the ,,deer ,,and ,,the ,,steed4 ,,waters ,,of ,,youth4 ,,the ,,useless ,,wagoner4 ,from ,myths and ,folk ,tales of the ,russians1 ,western ,slavs and ,magyars1 by ,jeremiah ,curtin4 ,these stories need shortening and adapting4 ,,the ,,comical ,,history ,,of ,,the ,,king ,,and ,,the ,,cobbler4 ,this story should be shortened to add to the dramatic power4 ,from a ,chap ,book4 ,,the ,,fisherman ,,and ,,his ,,wife4 ,from ,fairy ,tales1 by ,hans ,christian ,andersen4 ,,hereafter ,,this4 ,from ,more ,english ,fairy ,tales1 by ,joseph ,jacobs4 ,this story and ,the ,fisherman and his ,wife are great favorites and could be told one after the other1 one to illustrate the patient life1 and the other the patient husband4 ,,how ,a ,,man ,,found ,,his ,,wife ,,in ,,the ,,land ,,of ,,the ,,dead4 ,this is a very dramatic and pagan story1 to be used with discretion4 ,,the ,,man ,,without ,,hands ,,and ,,feet4 ,,the ,,cockerel4 ,from ,papuan ,fairy ,tales4 by ,annie ,ker4 ,,the ,,story ,,of ,,sir ,,tristram ,,and ,,la ,,belle ,,iseult4 ,from ,cornwall's ,wonderland1 by ,mabel ,quiller-,couch4 ,to be told in shortened form4 ,,the ,,cat ,,that ,,went ,,to ,,the ,,doctor4 ,,the ,,wood ,,anemone4 ,,sweeter ,,than ,,sugar4 ,,the ,,raspberry ,,caterpillar4 ,from ,fairy ,tales from ,finland1 by ,zachris ,topelius4 ,,dinevan1 ,,the ,,emu4 ,,goomble ,,gubbon1 ,,the ,,bustard4 ,from ,australian ,legendary ,tales1 by ,mrs4 ,k4 ,l4 ,parker4 ,,the ,,tulip ,,bed4 ,from ,the ,english ,fairy ,book1 by ,ernest ,rhys4 ,i have been asked so often for this particular story ,i am glad to be able to provide it in very poetical language4 ,,stories ,,from ,,grimm ,,and ,,andersen4 ,,the ,,fisherman ,,and ,,his ,,wife4 ,,the ,,wolf ,,and ,,the ,,kids4 ,,the ,,adventures ,,of ,,chanticleer ,,and ,,partlet4 ,,the ,,old ,,man ,,and ,,his ,,grandson4 ,,rumpelstiltskin4 ,,the ,,queen ,,bee4 ,,the ,,wolf ,,and ,,the ,,man4 ,,the ,,golden ,,goose4 ,from ,grimm's ,fairy ,tales1 edited by ,mrs4 ,edgar ,lucas4 ,,ole-,,luk-,,oie4 ,series of seven stories4 ,,what ,,the ,,old ,,man ,,does ,,is ,,always ,,right4 ,,the ,,princess ,,and ,,the ,,pea4 ,,thumbelina4 ,for younger children4 ,from ,andersen's ,fairy ,tales4 ,,it',s ,,quite ,,true4 ,,five ,,out ,,of ,,one ,,pod4 ,,great ,,claus ,,and ,,little ,,claus4 ,,jack ,,the ,,dullard4 ,,the ,,buckwheat4 ,,the ,,fir-,,tree4 ,,the ,,little ,,tin ,,soldier4 ,,the ,,nightingale4 ,,the ,,ugly ,,duckling4 ,,the ,,swineherd4 ,,the ,,sea ,,serpent4 ,,the ,,little ,,match ,,girl4 ,,the ,,gardener ,,and ,,his ,,family4 ,for older children4 ,from ,andersen's ,fairy ,tales4 ,the two best editions of ,hans ,christian ,andersen's fairy tales are the translation by ,mrs4 ,edgar ,lucas and the only complete ,english edition by ,w4 ,a4 and ,j4 ,k4 ,craigie4 ,,stories ,,from ,,the ,,fairy ,,book ,,series4 ,,edited ,,by ,,andrew ,,lang4 ,,the ,,serpent',s ,,gifts4 ,,unlucky ,,john4 ,from ,all ,sorts of ,stories ,book1 by ,mrs4 ,l4 ,b4 ,lang4 ,,makoma4 ,from ,the ,orange ,fairy ,book4 ,a story for boys4 ,,the ,,lady ,,of ,,solace4 ,,how ,,the ,,ass ,,became ,a ,,man ,,again4 ,,amys ,,and ,,amile4 ,,the ,,burning ,,of ,,njal4 ,,ogier ,,the ,,dane4 ,from ,the ,red ,romance ,book4 ,,the ,,heart ,,of ,a ,,donkey4 ,,the ,,wonderful ,,tune4 ,a ,,french ,,puck4 ,a ,,fish ,,story4 ,from ,the ,lilac ,fairy ,book4 ,,east ,,of ,,the ,,sun ,,and ,,west ,,of ,,the ,,moon4 ,as a preparation for ,cupid and ,psyche4 ,from ,the ,blue ,fairy ,book4 ,,the ,,half ,,chick4 ,,the ,,story ,,of ,,hok ,,lee ,,and ,,the ,,dwarfs4 ,from ,the ,green ,fairy ,book4 ,,how ,,to ,,find ,a ,,true ,,friend4 ,from ,the ,crimson ,fairy ,book4 ,to be given in shorter form4 ,a ,,long-,,bow ,,story4 ,from ,the ,olive ,fairy ,book4 ,this story makes children learn to distinguish between falsehood and romance4 ,,kanny1 ,,the ,,kangaroo4 ,,the ,,story ,,of ,,tom ,,the ,,bear4 ,from ,the ,animal ,story ,book4 ,,the ,,story ,,of ,,the ,,fisherman4 ,,aladdin ,,and ,,the ,,lamp4 ,this story should be divided and told in two sections4 ,,the ,,story ,,of ,,ali ,,cogia4 ,from ,the ,arabian ,nights ,entertainment1 edited by ,andrew ,lang4 ,,stories ,,illustrating ,,common-,,sense ,,resourcefulness ,,and ,,humor4 ,,the ,,thief ,,and ,,the ,,cocoanut ,,tree4 ,,the ,,woman ,,and ,,the ,,lizard4 ,,sada ,,sada4 ,,the ,,shop-,,keeper ,,and ,,the ,,robber4 ,,the ,,reciter4 ,,rich ,,man',s ,,potsherd4 ,,the ,,singer ,,and ,,the ,,donkey4 ,,child ,,and ,,milk4 ,,rich ,,man ,,giving ,a ,,feast4 ,,king ,,solomon ,,and ,,the ,,mosquitoes4 ,,the ,,king ,,who ,,promised ,,to ,,look ,,after ,,tennal ,,ranan',s ,,family4 ,,vikadakavi4 ,,horse ,,and ,,complainant4 ,,the ,,woman ,,and ,,the ,,stolen ,,fruit4 ,from ,an ,indian ,tale or ,two1 by ,william ,swinton4 ,,stories ,,dealing ,,with ,,the ,,success ,,of ,,the ,,younger ,,child4 ,this is sometimes due to a kind action shown to some humble person or to an animal4 ,,the ,,three ,,sons4 ,from ,the ,kiltartan ,wonder ,book1 by ,lady ,gregory4 ,,the ,,flying ,,ship4 ,from ,russian ,fairy ,tales1 by ,f4 ,b4 ,bain4 ,,how ,,jesper ,,herded ,,the ,,hares4 ,from ,the ,violet ,fairy ,book1 by ,andrew ,lang4 ,,youth1 ,,life ,,and ,,death4 ,from ,myths and ,folk ,tales of the ,russians1 ,western ,slavs and ,magyars1 by ,jeremiah ,curtin4 ,,jack ,,the ,,dullard4 ,from ,fairy ,tales1 by ,hans ,christian ,andersen4 ,,the ,,enchanted ,,whistle4 ,from ,the ,golden ,fairy ,book4 ,,the ,,king',s ,,three ,,sons4 ,,hunchback ,,and ,,brothers4 ,from ,legends of the ,french ,provinces4 ,,the ,,little ,,humpbacked ,,horse4 ,from ,russian ,wonder ,tales1 by ,post ,wheeler4 ,this story is more suitable for reading than telling4 ,,the ,,queen ,,bee4 ,from ,grimm's ,fairy ,tales1 edited by ,mrs4 ,edgar ,lucas4 ,,the ,,wonderful ,,bird4 ,from ,roumanian ,fairy ,tales1 by ,j4 ,m4 ,percival4 ,,stories ,,from ,,the ,,lives ,,of ,,the ,,saints4 ,,the ,,story ,,of ,,saint ,,brandons4 ,vol4 #g1 page #eb4 ,,the ,,story ,,of ,,saint ,,francis4 ,vol4 #e1 page #abe4 ,,the ,,story ,,of ,,santa ,,clara ,,and ,,the ,,roses4 ,,saint ,,elizabeth ,,of ,,hungary4 ,vol4 #f1 page #bac4 ,,saint ,,martin ,,and ,,the ,,cloak4 ,vol4 #f1 page #adb4 ,from the ,legenda ,aurea4 ,,the ,,legend ,,of ,,saint ,,marjory4 ,from ,tales ,facetiae4 ,,melangell',s ,,lambs4 ,from ,the ,welsh ,fairy ,book1 by ,w4 ,j4 ,thomas4 ,,our ,,lady',s ,,tumbler4 ,twelfth ,century ,legend ,done ,out of ,old ,french into ,english1 by ,j4 ,h4 ,wickstead4 ,this story may be shortened and adapted without sacrificing too much of the beauty of the style4 ,,the ,,song ,,of ,,the ,,minister4 ,from ,a ,child's ,book of ,saints1 by ,william ,canton4 ,this should be shortened and somewhat simplified for narration1 especially in the technical1 ecclesiastical terms4 ,,the ,,story ,,of ,,saint ,,kenelm1 ,,the ,,little ,,king4 ,,the ,,story ,,of ,,king ,,alfred ,,and ,,saint ,,cuthbert4 ,,the ,,story ,,if ,,aedburg1 ,,the ,,daughter ,,of ,,edward4 ,,the ,,story ,,of ,,king ,,harold',s ,,sickness ,,and ,,recovery4 ,from ,old ,english ,history for ,children1 by ,e4 ,a4 ,freeman4 ,i commend all those who tell these stories to read the comments made on them by ,e4 ,a4 ,freeman himself4 ,,modern ,,stories4 ,,the ,,summer ,,princess4 ,from ,the ,enchanted ,garden1 by ,mrs4 ,m4 ,l4 ,molesworth4 ,this may be shortened and arranged for narration4 ,,thomas ,,and ,,the ,,princess4 ,from ,twenty-six ,ideal ,stories for ,girls1 by ,helena ,m4 ,conrad4 ,a fairy tale for grown-ups1 for pure relaxation4 ,,the ,,truce ,,of ,,god4 ,from ,all-,fellows ,seven ,legends of ,lower ,redemption1 by ,laurence ,housman4 ,,the ,,selfish ,,giant4 ,from ,fairy ,tales1 by ,oscar ,wilde4 ,,the ,,ligend ,,of ,,the ,,tortoise4 ,from ,windlestraw1 ,legends in ,rhyme of ,plants and ,animals1 by ,pamela ,glenconner4 ,from the ,provencal4 ,,fairy ,,grumblesnooks4 ,a ,,bit ,,of ,,laughter',s ,,smile4 ,from ,tales for ,little ,people1 ,nos4 #cbc and #cah1 by ,maud ,symonds4 ,,the ,,fairy ,,who ,,judged ,,her ,,neighbors4 ,from ,the ,little ,wonder ,box1 in ,stories ,told to a ,child1 by ,jean ,ingelow4 ,,le ,,courage4 ,,le',,ecole4 ,,le ,,jour ,,de ,,catherine4 ,,jacqueline ,,et ,,mirant4 ,from ,nos ,enfants1 by ,anatole ,france4 ,,the ,,giant ,,and ,,the ,,jackstraw4 ,from ,the ,book of ,knight and ,barbara1 by ,david ,starr ,jordan4 ,for very small children4 ,,the ,,musician4 ,,the ,,legend ,,of ,,the ,,christmas ,,rose4 ,from ,the ,girl from the ,marshcroft1 by ,selma ,lagerlof4 ,both stories should be shortened and adapted for narration4 ,i trust that the grouping of my stories in this section may not be misleading4 ,under ,myths1 ,legends and ,fairy ,tales ,i have included many stories which contain valuable ethical teaching1 deep philosophy and stimulating examples for conduct in life4 ,i regret that ,i have been unable to find a good collection of stories from history for narrative purposes4 ,i have made a careful and lengthy search1 but the stories are all written from the reading point of view rather than the telling4 ,,books ,,suggested ,,to ,,the ,,story-,,teller ,,and ,,books ,,referred ,,to ,,in ,,the ,,list ,,of ,,stories4 ,,andersen1 ,,hans ,,christian ,fairy ,tales2 translated by ,mrs4 ,edgar ,lucas4 ,dutton4 ,fairy ,tales2 edited by ,w4 ,a4 and ,j4 ,k4 ,craigie4 ,oxford ,university ,press4 ,,babbitt1 ,e4 ,c4 ,jataka ,tales4 ,century4 ,,bain1 ,r4 ,n4 ,cossack ,fairy ,tales4 ,burt4 ,russian ,fairy ,tales4 ,burt4 ,,briant1 ,,egbert ,history of ,english ,balladry4 ,badger4 ,,buddha ,the ,jataka2 or ,stories of the ,buddha's ,former ,births2 translated from the ,pali by ,various ,hands4 ,in ,six ,volumes4 ,university ,press4 ,,buckley1 ,e4 ,f4 ,children of the ,dawn4 ,stokes4 ,,bulletin1 ,,of ,,folk ,,lore4 ,liege4 ,,calthorpe1 ,,dion ,c4 ,king ,peter4 ,duckworth4 ,,canfield1 ,w4 ,w4 ,the ,legends of the ,iroquois4 ,wessels4 ,,canton1 ,,william ,a ,child's ,book of ,saints4 ,dutton4 ,a ,child's ,book of ,warriors4 ,dutton4 ,,child ,,lore4 ,nimmo4 ,,chodzko1 ,a4 ,e4 ,b4 ,slav ,fairy ,tales2 translated by ,e4 ,j4 ,harding4 ,burt4 ,,clark1 ,k4 ,m4 ,maori ,tales4 ,nutt4 ,,coelho1 ,tales of ,old ,lusitania4 ,swan ,sonnenschein4 ,,conrad1 ,,joseph ,twenty-six ,ideal ,stories for ,girls4 ,hutchinson4 ,,couch1 ,,mabel ,,quiller- ,cornwall's ,wonderland4 ,dutton4 ,,curtin1 ,,jeremiah ,myths and ,folk ,tales of the ,russians1 ,western ,slavs and ,magyars4 ,little4 ,,cushing1 ,f4 ,h4 ,zuni ,folk ,tales4 ,putnam4 ,,darton1 ,e4 ,j4 ,h4 ,pilgrim ,tales2 from ,tales of the ,canterbury ,pilgrims4 ,dodge4 ,wonder ,book of ,old ,romance4 ,stokes4 ,,dasent1 ,,sir1 ,g4 ,w4 ,norse ,fairy ,tales4 ,putnam4 ,,davids1 ,t4 ,w4 ,,rhys ,buddhist ,birth ,stories4 ,trubner4 ,,davis1 ,f4 ,h4 ,myths and ,legends of ,japan4 ,crowell4 ,,earle1 ,m4 ,r4 ,heroes of ,asgard4 ,macmillan4 ,evenings with the ,old ,story ,tellers4 ,leavitt and ,allen4 ,,ewald1 ,,carl ,the ,queen ,bee and ,other ,nature ,tales2 translated by ,c4 ,c4 ,moore-,smith4 ,nelson4 ,,ferrand1 ,,gabriel ,contes ,populaires ,malgaches4 ,leroux4 ,,fielde1 ,,adele ,chinese ,nights' ,entertainment4 ,putnam ,,france1 ,,anatole ,nos ,enfants4 ,hachette4 ,,freeman1 ,e4 ,a4 ,old ,english ,history for ,children4 ,dutton4 ,,frere1 ,,mary ,old ,deccan ,days4 ,murray4 ,,froissart ,stories from ,froissart2 edited by ,henry ,nebolt4 ,macmillan4 ,,gesta ,,romanorum4 ,swan ,sonnenschein4 ,,giles1 ,h4 ,a4 ,chinese ,fairy ,tales4 ,gowans4 ,,gittee1 ,,august ,contes ,populaires du ,pays ,wallon4 ,vanderpooten4 ,,glenconner1 ,,lady 7,,pamela ,,tennant7 ,windlestraw1 ,legends in ,rhyme of ,plants and ,animals4 ,chiswick ,press4 ,,golden ,,fairy ,,book4 ,hutchinson4 ,,gregory1 ,,lady ,,augusta ,the ,kiltartan ,wonder ,book4 ,dutton4 ,,grimm1 ,j4 ,l4 ,k4 ,,and ,w4 ,k4 ,,grimm ,fairy ,tales2 translated by ,mrs4 ,edgar ,lucas4 ,leppincott4 ,,harris1 ,,joel ,,chandler ,uncle ,remus2 ,his ,songs and ,his ,sayings4 ,appleton4 ,,hartley1 ,c4 ,g4 ,stories of ,early ,british ,heroes4 ,dent4 ,,hearn1 ,,lafcadio ,out of the ,east4 ,houghton4 ,,herodotus ,wonder ,storied from ,herodotus2 edited by ,n4 ,barrington ,d',almeida4 ,harper4 ,,herpin1 ,,eugene ,au ,pays ,du ,legendes4 ,calliere4 ,,higgins1 ,m4 ,m4 ,stories from the ,history of ,ceylon for ,children4 ,capper4 ,,housman1 ,,laurence ,all-,fellows ,seven ,legends of ,lower ,redemption4 ,kegan ,paul4 ,,ingelow1 ,,jean ,the ,little ,wonder ,box4 ,griffeths1 ,farren and ,company4 ,stories ,told to a ,child4 ,little4 ,,irving1 ,,washington ,rip ,van ,winkle4 ,macmillan4 ,,jacobs1 ,,joseph ,indian ,fairy ,tales4 ,putnam4 ,more ,english ,fairy ,tales4 ,putnam4 ,,jordan1 ,,david ,,starr ,the ,book of ,knight and ,barbara4 ,appleton4 ,,joyce1 ,p4 ,w4 ,old ,celtic ,romances4 ,longmans4 ,,keary1 ,,annie ,,and ,,eliza ,heroes of ,asgard4 ,macmillan4 ,,ker1 ,,annie ,papuan ,fairy ,tales4 ,macmillan4 ,,kingsley1 ,,charles ,heroes4 ,macmillan4 ,,kipling1 ,,rudyard ,the ,jungle ,book4 ,macmillan4 ,the ,kipling ,reader4 ,appleton4 ,the ,second ,jungle ,book4 ,macmillan4 ,,knowles1 ,j4 ,h4 ,folk ,tales of ,kashmir4 ,trubner4 ,,lagerlof1 ,,selma ,the ,girl from ,marshcroft4 ,little4 ,,lang1 ,,andrew ,arabian ,nights' ,entertainment4 ,longmans4 ,the ,blue ,fairy ,book4 ,longmans4 ,the ,crimson ,fairy ,book ,longmans4 ,the ,green ,fairy ,book4 ,longmans4 ,the ,lilac ,fairy ,book4 ,longmans4 ,the ,olive ,fairy ,book4 ,longmans4 ,the ,orange ,fairy ,book4 ,longmans4 ,the ,red ,fairy ,book4 ,longmans4 ,the ,violet ,fairy ,book4 ,longmans4 ,,lang4 ,l4 ,b4 ,all ,sorts of ,stories ,book4 ,longmans4 ,,legenda ,,aurea4 ,,leland1 ,c4 ,g4 ,legends of ,florence4 ,macmillan ,unpublished ,legends of ,virgil4 ,stock4 ,,mackenzie ,indian ,myths and ,legends4 ,gresham ,publishing ,house4 ,,macleod1 ,,mary ,a ,book of ,ballad ,stories4 ,stokes4 ,,molesworth1 ,,mrs4 ,m4 ,l4 ,the ,enchanted ,garden4 ,unwin4 ,,moncrieff1 ,a4 ,h4 ,,hope ,classic ,myths and ,legends4 ,gresham ,publishing ,house4 ,,morrison1 ,,sophia ,manx ,fairy ,tales4 ,nutt4 ,,naake1 ,j4 ,t4 ,slavonic ,fairy ,tales4 ,king4 ,,noble1 ,m4 ,e4 ,,and ,k4 ,,coomaraswamy ,myths of the ,hindus and ,buddhists4 ,holt4 ,,orczy1 ,,baroness ,,and ,,montagu ,,barstow ,old ,hungarian ,fairy ,tales4 ,dean4 ,,parker1 ,,mrs4 ,k4 ,l4 ,australian ,legendary ,tales4 ,nutt4 ,,pearse1 ,w4 ,g4 ,the ,children's ,library of the ,saints4 ,jackson4 ,,percival1 ,j4 ,m4 ,roumanian ,fairy ,tales4 ,holt4 ,,perrault1 ,,charles ,fairy ,tales4 ,dutton4 ,,pitman1 ,n4 ,h4 ,chinese ,fairy ,stories4 ,crowell4 ,,plutarch ,plutarch's ,lives for ,boys and ,girls2 retold by ,w4 ,h4 ,weston4 ,stokes ,tales from ,plutarch1 by ,f4 ,j4 ,rowbotham4 ,crowell4 ,,ragozin1 ,z4 ,a4 ,tales of the ,heroic ,ages2 ,frithjof1 ,viking of ,norway1 and ,roland1 ,paladin of ,france4 ,putnam4 ,tales of the ,heroic ,ages2 ,siegfried1 ,hero of the ,north1 and ,beowulf1 ,hero of ,anglo-,saxons4 ,putnam4 ,,rattray1 ,r4 ,s4 ,hansa ,folk ,lore1 ,customs1 ,proverbs1 etc4 ,clarendon ,press4 ,,rhys1 ,,ernest ,the ,english ,fairy ,book4 ,stokes4 ,fairy ,gold4 ,dutton4 ,the ,garden of ,romance4 ,kegan ,paul4 ,,rinder1 ,,frank ,old ,world ,japan4 ,allen4 ,,robinson1 ,t4 ,h4 ,tales and ,talks from ,history4 ,caldwell4 ,,rouse1 ,w4 ,h4 ,d4 ,the ,talking ,thrush4 ,dutton4 ,,schiefner1 ,f4 ,a4 ,tibetan ,tales4 ,trubner4 ,,scudder1 ,h4 ,e4 ,the ,book of ,legends ,told ,over ,again4 ,houghton4 ,,sellers1 ,,charles ,tales from the ,land of ,grapes and ,nuts4 ,field and ,tuer4 ,,servian ,,stories ,,and ,,legends4 ,,shedlock1 ,m4 ,l4 ,a ,collection of ,eastern ,stories and ,legends4 ,dutton4 ,,skinner1 ,c4 ,m4 ,myths and ,legends of ,flowers1 ,fruits and ,plants4 ,lippincott4 ,,smith1 ,j4 ,c4 ,,and ,g4 ,,soutar ,book of ,ballads for ,boys and ,girls4 ,oxford ,university ,press4 ,,steel1 ,,mrs4 ,f4 ,a4 ,tales of the ,punjab4 ,macmillan4 ,,strickland1 ,w4 ,w4 ,northwest ,slav ,legends and ,fairy ,stories4 ,erben4 ,,swinton ,an ,indian ,tale or ,two2 ,reprinted from ,blackheath ,local ,guide4 ,,swinton ,,and ,,cathcart ,legendary ,lore of all ,nations4 ,ivison1 ,taylor ,company4 ,,synnerton ,indian ,nights' ,entertainment4 ,stock4 ,,tales ,,facetlae4 ,,tennant1 ,,pamela 7,,lady ,,glenconner7 ,the ,children and the ,pictures4 ,macmillan4 ,,theal1 ,g4 ,m4 ,kaffir ,folk ,lore4 ,swan ,sonnenschein4 ,,thomas1 ,w4 ,j4 ,the ,welsh ,fairy ,book4 ,stokes4 ,,thornhill1 ,,mark ,indian ,fairy ,tales4 ,hatchard4 ,,topelius1 ,,zachris ,fairy ,tales from ,finland4 ,unwin4 ,,tremearne1 ,,mary ,,and ,,newman ,uncle ,remus in ,hansaland4 ,,wheeler1 ,,post ,russian ,wonder ,tales4 ,century4 ,,wickstead1 ,j4 ,h4 ,our ,lady's ,tumbler2 ,twelfth ,century ,legend ,done ,out of ,old ,french into ,english4 ,mosher4 ,,wiggin1 ,,kate ,,douglas ,,and ,,nora ,,archibald ,,smith ,the ,fairy ,ring4 ,doubleday4 ,tales of ,laughter4 ,doubleday4 ,,wilde1 ,,oscar ,fairy ,tales4 ,putnam4 ,,wilson1 ,,richard ,the ,indian ,story ,book4 ,macmillan4 ,,wratislaw1 ,a4 ,h4 ,sixty ,folk ,tales from ,exclusively ,slavonic ,sources4 ,stock4 ,,footnotes4 #a4 ,i venture to hope 7at this long distance of years7 that my language in telling the story was more simple than appears from this account4 #b4 ,this difference of spelling in the same essay will be much appreciated by those who know how gladly children offer an orthographical alternative1 in hopes that one if not the other may satisfy the exigency of the situation4 #c4 ,see ,list of ,stories4 #d4 ,at the ,congressional ,library in ,washington4 #e4 ,letters of ,t4 ,e4 ,brown1 page #ee4 #f4 ,page #ee4 #g4 ,in further illustration of this point see ,when ,burbage ,played1 ,austen ,dobson1 and ,in the ,nursery1 ,hans ,andersen4 #h4 ,les jeux des enfants1 page #af4 #i4 ,a noted ,greek gymnast struck his pupil1 though he was applauded by the whole assembly4 ,you did it clumsily1 and not as you ought1 for these people would never have praised you for anything really artistic4 #aj4 ,for further details on the question of preparation of the story1 see chapter on ,questions ,asked by ,teachers4 #aa4 ,sully says that children love exact repetition because of the intense enjoyment bound up with the process of imaginative realization4 #ab4 ,at the ,summer ,school at ,chautauqua1 ,new ,york1 and at ,lincoln ,park1 ,chicago4 #ac4 ,there must be no more emphasis in the second manner than the first4 #ad4 ,from ,education of an ,orator1 ,book ,,ii1 ,chapter #c4 #ae4 ,one child's favorite book bore the exciting title of ,birth1 ,life and ,death of ,crazy ,jane4 #af4 ,this does not imply that the child would not appreciate in the right context the thrilling and romantic story in connection with the finding of the ,elgin marbles4 #ag4 ,one is almost inclined to prefer ,marjorie ,fleming's little innocent oaths4 ,but she was more than usual calm1 ,she did not give a single dam4 #ah4 ,published by ,john ,loder1 bookseller1 ,woodbridge1 in #ahbi4 #ai4 ,from ,literary ,values4 #bj4 ,a story is told of ,confucius1 who1 having attended a funeral1 presented his horse to the chief mourner4 ,when asked why he bestowed this gift1 he replied3 ,i wept with the man1 so ,i felt ,i ought to do something for him4 #ba4 ,this experiment cannot be made with a group of children for obvious reasons4 #bb4 ,from an address on ,the ,cultivation of the ,imagination4 #bc4 ,the ,house in the ,wood 7,grimm71 is another instance of triumph for the youngest child4 #bd4 ,see list of stories under this heading4 #be4 ,to be found in ,andrew ,lang's ,the ,violet ,fairy ,book4 #bf4 ,to be found in ,jacob's ,more ,english ,fairy ,tales4 #bg4 ,from the ,thabagata4 #bh4 ,for selection of suitable stories among legends of the ,saints1 see list of stories under the heading1 ,stories from the ,lives of the ,saints4 #bi4 ,these words have been set most effectively to music by ,miss ,margaret ,ruthven ,lang4 #cj4 ,from ,the ,use of ,fairy ,tales1 in ,moral ,instruction of ,children4 #ca4 ,see ,chapter on ,questions asked by ,teachers4 #cb4 ,from ,talks to ,teachers1 page #ic4 #cc4 ,an excellent account of this is to be found in ,the ,song of ,roland1 by ,arthur ,way and ,frederic ,spender4 #cd4 ,njal's ,burning1 from ,the ,red ,book of ,romance1 by ,andrew ,lang4 #ce4 ,from ,studies of ,childhood4 #cf4 ,england4 #cg4 ,from ,the ,lockerbie ,book1 by ,james ,whitcomb ,riley1 copyright1 #aiaa4 ,used by special permission of the publishers1 ,the ,bobbs-,merril ,company4 #ch4 ,from ,virginibus ,puerisque4 #ci4 ,see ,long ,bow ,story2 ,john and the ,pig4 #dj4 ,published by ,george ,allen ,co4 #da4 ,this is even a higher spirit than that shown in the advice given in the ,agamemnon 7speaking of the victor's attitude after the taking of ,troy73 ,yea1 let no craving for forbidden gain ,bid conquerors yield before the darts of greed4 #db4 ,it is curious to find that the story of ,puss-in-,boots in its variants is sometimes presented with a moral1 sometimes without4 ,in the ,valley of the ,ganges it has none4 ,in ,cashmere it has one moral1 in ,zanzibar another4 #dc4 ,from ,hans ,christian ,andersen1 in ,childhood in ,literature and ,art4 #dd4 ,sartor ,resartus1 ,book ,,iii1 page #bah4 #de4 ,from ,childhood in ,literature and ,art4 #df4 ,see ,eastern ,stories and ,fables1 published by ,routledge4 #dg4 ,see ,chapter ,i4 #dh4 ,in this matter ,i have1 in ,england1 the support of ,dr4 ,kimmins1 ,chief ,inspector of ,education in the ,london ,county ,council1 who is strongly opposed to the immediate reproduction of stories4 #di4 ,these remarks refer only to the illustrations of stories told4 ,whether children should be encouraged to self-expression in drawing 7quite apart form reproducing in one medium what has been conveyed to them in another71 is too large a question to deal with in this special work on story-telling4 #ej4 ,i give the following story1 quoted by ,professor ,ker in his ,romanes lecture1 #aijf1 as an encouragement to those who develop the art of story-telling4 #ea4 ,the melody to be crooned at first and to grow louder at each incident4 #eb4 ,the punishment that can most affect ,merfolk is to restrict their freedom4 ,and this is how the ,queen of the ,sea punished the ,nixie of our tale4 #ec4 ,the three stories from ,hans ,christian ,andersen have for so long formed part of my repertoire that ,i have been requested to include them4 ,i am offering a free translation of my own from the ,danish version4 #ed4 ,alas6 dear ,augustin1 ,all is lost1 lost6 ,,note ,,of ,,acknowledgment ,my thanks are due to3 ,mrs4 ,josephine ,dodge ,daskam ,bacon1 for permission to use an extract from ,the ,madness of ,philip1 and to her publishers4 ,to ,messrs4 ,houghton ,mifflin1 for permission to use extract from ,thou ,shalt ,not ,preach1 by ,mr4 ,john ,burroughs4 ,to ,messrs4 ,macmillan and ,co41 for permission to use1 ,milking ,time1 of ,miss ,rossetti4 ,to ,mrs4 ,william ,sharp1 for permission to use passage from ,the ,divine ,adventure1 by ,fiona ,mac,leod4 ,to ,miss ,ethel ,c,lifford1 for permission to use the poem of ,the ,child4 ,to ,mr4 ,james ,whitcomb ,riley and the ,bobbs ,merrill ,co41 for permission to use ,the ,treasure of the ,wise ,man4 ,to ,professor ,ker1 for permission to quote from ,sturla the ,historian4 ,to ,mr4 ,john ,russell1 for permission to print in full1 ,a ,saga4 ,to ,messrs4 ,longmans1 ,green1 and ,co41 for permission to use ,the ,two ,frogs1 from the ,violate ,fairy ,book1 and ,to ,your ,good ,health1 from the ,crimson ,fairy ,book4 ,to ,mr4 ,heinemann and ,lady ,glenconner1 for permission to reprint ,the ,water ,nixie1 by ,pamela ,tennant1 from ,the ,children and the ,pictures4 ,to ,mr4 ,maurice ,baring and the ,editor of ,the ,morning ,post1 for permission to reprint ,the ,blue ,rose from ,the ,morning ,post4 ,to ,dr4 ,walter ,rouse and ,mr4 ,j4 ,m4 ,dent1 for permission to reprint from ,the ,talking ,thrush the story of ,the ,wise ,old ,shepherd4 ,to ,rev4 ,r4 ,l4 ,gales1 for permission to use the article on ,nursery ,rhymes from the ,nation4 ,to ,mr4 ,edmund ,gosse1 for permission to use extracts from ,father and ,son4 ,to ,messrs4 ,chatto ,windus1 for permission to use ,essay on ,child's ,play 7from ,virginibus ,puerisque7 and other papers4 ,to ,mr4 ,george ,allen ,co41 for permission to use ,ballad for a ,boy1 by ,w4 ,cory1 from ,ionica4 ,to ,professor ,bradley1 for permission to quote from his essay on ,poetry and ,life4 ,to ,mr4 ,p4 ,a4 ,barnett1 for permission to quote from ,the ,commonsense of ,education4 ,to ,mr4 ,james ,stephens1 for permission to reprint ,the ,man and the ,boy4 ,to ,mr4 ,harold ,barnes1 for permission to use version of the ,the ,proud ,cock4 ,to ,mrs4 ,arnold ,glover1 for permission to print two of her stories4 ,to ,miss ,emilie ,poulson1 for permission to use her translation of ,bjornsen's ,poem4 ,to ,george ,routledge ,son1 for permission to use stories from ,eastern ,stories and ,fables4 ,to ,mrs4 ,w4 ,k4 ,clifford1 for permission to quote from ,very ,short ,stories4 ,to ,mr4 ,w4 ,jenkyn ,thomas and ,mr4 ,fisher ,unwin1 for permission to use ,arthur in the ,cave from the ,welsh ,fairy ,book4