That's the nest to keep us from harm!"
_Magpie_. "Well, Birds, have you seen how I made my nest? Do you think
you know how?--Why, where are all the Birds? They couldn't wait until
I'd finished. Only you, Turtle-Dove, left!"
_Turtle-Dove_. "Take two, Taffy, take two--o--o--o!"
_Magpie_. "Here I put a twig across. But not two--one's
enough!"
_Turtle-Dove_. "Take two, Taffy, take two--o--o--o!"
_Magpie_. "One's enough I tell you, do you not see how I
lay it across?"
_Turtle-Dove_. "Take two, Taffy, take two--o--o--o!"
_Magpie_. "Here I fly away from my nest for awhile! I will teach no
more Birds to build nests. I cannot teach a silly Turtle-Dove who will
not learn. I heard him sing just now as I turned around,"
_Turtle-Dove_. "Take two, Taffy, take two--o--o--o,
Take two, Taffy, take two--o--o--o!"
_Laura F. Kready_.
TYPES OF TALES
An Animal Tale[15]
_The Good-Natured Bear_
"I shall never forget the patience, the gentleness, the skill, and the
firmness with which she first taught me to walk alone. I mean to walk
on all fours, of course; the upright manner of my present walking was
only learned afterwards. As this infant effort, however, is one of my
earliest recollections, I have mentioned it before all the rest, and
if you please, I will give you a little account of it."
"Oh! do, Mr. Bear," cried Gretchen; and no sooner had she uttered the
words than all the children cried out at the same time, "Oh, please
do, sir!"
The Bear took several long whiffs at his pipe, and thus continued,--
"My Mother took me to a retired part of the forest (of Towskipowski,
Poland) where few animals ever came; and telling me that I must now
stand alone, extended both paws, and slowly lowered me towards the
earth. The height as I looked down, seemed terrible, and I felt my
legs kick in the air, with fear of I did not know what, till suddenly
I felt four hard things and no motion. It was the fixed earth beneath
my four infant legs. 'Now,' said my Mother, 'you are what is called
standing alone!' But what she said I heard as in a dream. With my back
in the air as though it rested on a wooden trussel, with my nose
poking out straight snuffing the fresh breeze and the many secrets of
the woods, my ears pricking and shooting with all sorts of new sounds
to wonder at, to want to have, to love, or to tumble down at,--and my
eyes staring before me full of light and confused gold and dancing
things, I seemed to be in a condition over which I had no power to
effect the least change, and in which I must remain fixed till some
wonderful thing happened. But the firm voice of my Mother came to my
assistance and I heard her tell me to look upon the earth beneath me
and see where I was. First I looked up among the boughs, then
side-ways at my shoulder, then I squinted at the tip of my nose--all
by mistake and innocence--at last I bent my nose in despair and saw my
forepaws standing, and this of course was right. The first thing that
caught my attention, being the first thing I saw distinctly, was a
little blue flower with a bright jewel in the middle, which I
afterwards found was a drop of dew. Sometimes I thought this little
blue darling was so close that it almost touched my eyes and certainly
the color of it was up in my head; sometimes I thought it was deep
down, a long way off. When I bent my face towards it to give it a kiss
it seemed just where it was though I had not done what I had thought
to do.
"The next thing I saw upon the ground was a soft-looking little
creature that crawled along with a round ball upon the middle of its
back, of a beautiful white color, with brown and red curling stripes.
The creature moved very, very slowly, and appeared always to follow
the opinion and advice of two long horns on its head, that went
feeling about on all sides. Presently it slowly approached my right
forepaw and I wondered how I should feel or smell or hear it as it
went over my toes; but the instant one of the horns touched the hair
of my paw, both horns shrunk into nothing and presently came out
again, and the creature slowly moved away in another direction. While
I was wondering at this strange proceeding--for I never thought of
hurting the creature, not knowing how to hurt anything, and what
should have made the horns think otherwise?--while then I was
wondering at this, my attention was suddenly drawn to a tuft of moss
on my right near a hollow tree trunk. Out of this green tuft looked a
pair of very bright round small eyes, which were staring up at me.
"If I had known how to walk I should have stepped back a few steps
when I saw those bright little eyes, but I never ventured to lift a
paw from the earth since my Mother had first set me down, nor did I
know how to do so, or what were the proper thoughts or motions to
begin with. So I stood looking at the eyes and presently I saw that
the head was yellow and that it had a large mouth. 'What you have just
seen,' said my Mother, 'we call a snail; and what you now see is a
frog.' The names however did not help me at all to understand. Why the
first should have turned from my paw so suddenly and why this creature
should continue to stare up at me in such a manner I could not
conceive. I expected however that it would soon come slowly crawling
forth and then I should see whether it would also avoid me in the same
manner. I now observed that its body and breast were double some-how,
and that its paws were very large for its size, but had no hair upon
them, which I thought was probably occasioned by its slow crawling
having rubbed it all off. I had scarcely made these observations and
reflections, when a beam of bright light breaking through the trees,
the creature suddenly gave a great hop right up under my nose; and I,
thinking the world was at an end, instantly fell flat down on one side
and lay there waiting!"--
With this glimpse of an old-time modern animal tale we shall have to
say with "Mr. Titmarsh," "Those who wish to know more about him must
buy the book for themselves,"--and add: Or they must get some
enterprising publisher to reprint it.
A Few Romantic Tales[16]
_Puss-in-Boots and Lord Peter_
_Puss-in-Boots_, a romantic tale suited to the first grade, delights
with its strong sense of adventure and of the heroic. Puss is a
Master-Cat, a hero clever and quick, and with fine imagination to see
what would happen and prepare for it. He is successful, combining
initiative and motivation delightfully. His devotion to his master
seems like disinterested loyalty, love, and sacrifice. While it is
true the plot is based on a lie, the moral effect is not bad because
we recognize Puss as a match-making character similar to the
matchmaking Jackal of India; and in love "all is fair." Moreover
Puss-in-Boots was only true to his cat-nature in playing a trick, and
we admire the cleverness of his trick in behalf of a master really
deserving. The underlying philosophy of the tale, "That there is a
power in making the best with what you possess," appeals to all, and
has the ability to lend dignity and force to the light intrigue of the
tale.
The setting in _Puss-in-Boots_ gives a touch of nature beauty. First
we have the Miller's poor home, and from there we are led in
succession to the brambles through which Puss scampered; the rabbits'
warren where he lay in waiting to bag the heedless rabbits; the palace
to which he took the rabbits caught by the Marquis of Carabas; the
cornfield where he bagged the partridges; the river-side where the
Marquis bathed; the meadow where the countrymen were mowing; the
cornfields where the good people were reaping; until at last we are
escorted to the stately castle where the Ogre dwelt.
The plot of the tale is very pleasing as it easily arranges itself
into a simple drama of three acts:--
Act I,
Scene i. Revery of the Master. The Cat's promise to help.
Scene ii. Puss in the rabbits' warren with his bag.
Scene iii. Puss takes the rabbits to the King in his
palace.
Act II,
Scene i. Puss with his bag in the cornfield.
Scene ii. Puss takes partridges to the King.
Scene iii. Puss and his Master. Puss gives advice.
Act III,
Scene i. The Marquis bathing and Puss by the river-side.
Scene ii. The Drive. Puss runs before and meets the mowers.
Scene iii. The Ogre's Castle. Puss's reception of the coach.
Marriage of the Marquis of Carabas. Puss
becomes a Lord.
The tale possesses an appeal to the emotions, we want Puss-in-Boots to
accomplish whatever scheme he invents, and we want the Miller's son to
win the Princess. Its appeal to the imagination is an orderly
succession of images, varied and pleasing. The invention of Puss and
his successful adventures make the tale one of unusual interest,
vivacity, and force. The transformation of the Ogre into a Lion and
again into a Mouse, and the consequent climax of Puss's management of
the Mouse, bring in the touch of the miraculous. A similar
transformation occurs in Hesiod, where the transformed Metis is
swallowed by Zeus. This transformation may be produced by a witch,
when the help of another is needed, as in _Beauty and the Beast_ and
in _Hansel and Grethel_; or the transformation may come from within,
as in this case when the Ogre changes himself into a Mouse, or when a
man changes himself into a Wolf. A situation which parallels the theme
of Puss-in-Boots occurs in _The Golden Goose_ where Dummling gets as
his share only a goose, but having the best disposition makes his
fortune out of his goose. Grimm's _Three Feathers_ also contains a
similar motif. D'Aulnoy's _White Cat_, the feminine counterpart of
_Puss-in-Boots_, is a tale of pleasing fancy in which the hero wins
the White Cat, a transformed Princess, who managed to secure for him,
the youngest son, the performance of all the tasks his father had set
for him.
But the most interesting parallel of _Puss-in-Boots_ is the Norse
_Lord Peter_ told by Dasent in _Norse Tales_. Here the helpful Cat
does not use a bag, but in true Norse fashion catches game in the wood
by sitting on the head of the reindeer and threatening, "If you don't
go straight to the King's palace, I'll claw your eyes out!" The Norse
tale omits the bathing episode. The King wants to visit Lord Peter but
the Cat manages that Lord Peter shall visit the King. The Cat promises
to supply coach, horses and clothes, not by craft--their source is not
given--but they are furnished on the condition that Peter must obey to
say always, when he sees fine things in the Castle, that he has far
finer things of his own. In the Norse tale Peter and the Cat work
together, Peter is in the secret; while in the Perrault tale Puss does
all the managing, Carabas is simply being entertained by the King. In
the Norse tale, on the way home the coach meets a flock of sheep, a
herd of fine kine, and a drove of horses. The Cat does not threaten
that the caretakers shall be "chopped as fine as herbs for the pot,"
if they do not say all belongs to Lord Peter, but he cunningly bribes
the shepherd with a silver spoon, the neat-herd with a silver ladle,
and the drover with a silver stoop. In place of the Ogre's Castle,
there is a Troll's Castle with three gates--one of tin, one of silver,
and one of gold. The Norse Cat wins the victory by craftily playing
upon the troll-nature. He gains the Troll's attention by meeting him
at the gate and telling him about the secrets of agriculture, one of
the secrets of men the trolls wanted to learn. Then at the height of
interest, he plays upon his curiosity by getting him to look round.
Whereupon, the Troll, meeting the glare of the full sun, burst; for
trolls cannot bear the sight of the sun, and live. In the Norse tale,
the Cat, after Lord Peter at her request cuts off her head, becomes
the Princess and marries Lord Peter. In Perrault's tale, the King,
with French etiquette and diplomacy, invites the Marquis to be his
son-in-law.
The _Story of Puss-in-Boots_ appeared in _Straparola_, 11, 1, and in
_Basile_, 2, 4. Laboulaye, in his _Last Fairy Tales_, has retold the
Pentamerone tale, _Gagliuso_, in which the Cat is a crafty advocate of
his Master's interests, but the Master is ungrateful and forgets the
Cat. The effect of the tale is not pleasing, it is a satire on
gratitude.
The _Story of Puss-in-Boots_ is also told by Ludwig Tieck, with twelve
etchings by Otto Speckter, published in Leipzig, in 1843. A critic,
writing for the Quarterly Review in 1844, "An Article on Children's
Books,"[17] recommended this edition of _Puss-in-Boots_ as the beau
ideal of nursery books. _Puss-in-Boots_ appeared also in the Swedish
of Cavallius. A monograph on the Carabas tale has been written by
Andrew Lang.
_Tom Thumb and Little Thumb_
_Tom Thumb_, another romantic tale suited to the first grade, is one
of the most entertaining of tales. The germ of _Tom Thumb_ exists in
various forms in the books of the far East, among American Indians,
and among the Zulus of South Africa. Tom Thumb is one of the oldest
characters in English nursery literature. In 1611, the ancient tales
of Tom Thumb were said to have been "in the olde time the only
survivors of drouzy age at midnight. Old and young, with his tales
chim'd mattens till the cock's crow in the morning. Batchelors and
maids have with his tales compassed the Christmas fireblocke till the
curfew bell rings candle out. The old shepheard and the young plowboy,
after a days' labour, have carol'ed out a _Tale of Tom Thumb_ to make
them merry with, and who but little Tom hath made long nights seem
short and heavy toyles easie."
_Tom Thumb_, as has been previously mentioned, most probably was
transmitted to England by the early Norsemen. _The Tale of Tom Thumb_,
as told by Jacobs, was taken from the chap-book version in
_Halliwell_. The first mention of Tom is in Scot's _Discoverie of
Witchcraft_, in 1584. Tradition says that Tom died at Lincoln, which
was one of the five Danish towns of England. A little blue flagstone
in the cathedral, said to be his tombstone, was lost and has never
been replaced during recent repairs early in the nineteenth century.
_Tom Thumb_ was first written in prose by Richard Johnson, in 1621. In
Ashton's _Chap-Books of the Eighteenth Century_ we have a facsimile of
the chap-book, _The Famous History of Tom Thumb_. The tale is in three
parts. The first part, which is much superior to the rest of the tale,
was taken from a copy printed for John Wright, in 1630. The second and
third parts were written about 1700. The first part closes with the
death of Tom from knightly feats. He was buried in great pomp, but the
fairies carried him to Fairy Land. The first part closed with a
promise of the second:--
The Fairy Queen, she lov'd him so
As you shall understand,
That once again she let him go
Down to the Fairy Land.
The very time that he return'd
Unto the court again,
It was as we are well inform'd
In good King Arthur's reign.
When in the presence of the King,
He many wonders wrought,
Recited in the Second Part
Which now is to be bought
In Bow Church Yard, where is sold
Diverting Histories many;
And pleasant tales as e'er was told
For purchase of One Penny.
The second part opens with Tom's return to Fairy Land. His second
death is caused by a combat with a cat. Again he is taken to Fairy
Land. In the third part the Fairy Queen sends Tom to earth in King
Thunston's reign. His final death occurred from the bite of a spider.
_The Life and Adventures of Tom Thumb_ appeared in the _Tabart
Collection of Fairy Tales_, noted before, and a version entirely in
verse was included in _Halliwell_. A monograph on _Tom Thumb_ was
written by M. Gaston Paris. _Little Thumb_ as it appeared in
_Perrault_ and in _Basile_, was a tale similar to the German _Hansel
and Grethel_. _Thumbling_, and _Thumbling as Journeyman_ are German
variants. Andersen's _Thumbelina_ is a feminine counterpart to _Tom
Thumb_, and in Laboulaye's _Poucinet_ we have a tale of the successful
younger brother, similarly diminutive.
There were current many old stories of characters similar to Tom
Thumb. A certain man was so thin that he could jump through the eye of
a needle. Another crept nimbly to a spider's web which was hanging in
the air, and danced skillfully upon it until a spider came, which spun
a thread round his neck and throttled him. A third was able to pierce
a sunmote with his head and pass his whole body through it. A fourth
was in the habit of riding an ant, but the ant threw him off and
trampled him. In a work written in 1601, referred to in Grimm's
_Household Tales_ a spider relates:--
Once did I catch a tailor proud
Heavy he was as elder wood,
From Heaven above he'd run a race,
With an old straw hat to this place,
In Heaven he might have stayed no doubt,
For no one wished to turn him out.
He fell in my web, hung in a knot,
Could not get out, I liked it not,
That e'en the straw hat, safe and sound,
Nine days ere him came to the ground.
A delightful little rhyme, _Tom Thumb_, is among Halliwell's _Nursery
Rhymes_. It may refer to the Danish _History of Tom Thumb_:
I had a little husband
No bigger than my thumb;
I put him in a pint pot
And there I bade him drum:
I bridled him and saddled him,
And sent him out of town;
I gave him a pair of garters
To tie up his little hose;
And a little handkerchief
To wipe his little nose.
The English version of _Tom Thumb_ as we know it today, opens with a
visit of the magician Merlin at the cottage of an honest and
hospitable ploughman. Merlin rewarded the Goodman and his Wife for
their hospitality by calling on the Queen of the fairies, who brought
to the home, Tom Thumb, a boy no bigger than a man's thumb.
The time of the tale is in the days of Merlin and King Arthur's court.
The tale is marked by a number of distinct English elements. The
introduction of the Queen of the Fairies, of Fairy Land and the visit
there, and of the fairy clothes they make for Tom, are all decidedly
English. The sly ways of Tom, his tricks and his cleverness are
distinctly English humor. He played with the boys for cherry-stones,
and took theirs. He had so much curiosity that he fell into his
mother's pudding. He was so light that on a windy day he had to be
tied to a thistle when his mother went to milk the cow; and so, with
his oak-leaf hat, he got caught in the cow's one mouthful. After other
strange adventures he arrived at King Arthur's court where he became
the favorite. His feats at tilts and tournaments give a glimpse of
English court life, with its pastime of hunting; and fighting with the
sword brings in the knight element. The story has little plot, being a
succession of many episodes and a repetition of some. It shows little
constructive ability, promises to be a perpetual tale, and is ended
only by sudden death at the poisonous breath of the spider. _Tom
Thumb_ is one of the tales of pure fancy, with no underlying meaning,
created for pure entertainment, to please children and grown-ups by
its little people and little things. The moral is in the effect of
Tom's character.
Perrault's _Little Thumb_ tells how a poor Fagot-maker and his Wife
sat by the hearth, sad with famine, and Little Thumb overheard their
words. When they started to the wood to gather fagots, Little Thumb,
like Hansel, scattered pebbles. The parents left the seven children in
the wood but little Thumb guided them home by his pebbles. They set
out a second time, when Little Thumb scattered bread-crumbs; and as
the birds ate them, the children were lost. Little Thumb climbed a
tree and saw the light of the Ogre's cottage afar off. The children
reached the Ogre's cottage where Little Thumb changed the golden
crowns of the seven little Ogresses, and putting them on his brothers,
saved their lives. Then they all fled through the wood and hid in a
rock, while the Ogre in his seven-league boots, pursued them and lay
down to rest at the rock in which they were hidden. Little Thumb sent
his brothers home, stole the fairy boots, and through craft, persuaded
the Ogre's Wife to give him all the Ogre's gold. So, rich and happy,
he returned to his father's home.
This tale shows a number of common motifs that appear in other tales:
(1) The design of distressed parents to expose children to the
forest.
(2) The discovery and prevention of the scheme by a child.
(3) The repetition of incident; the clew spoiled by the birds.
The trail motif, similar to the one in _Hansel and Grethel_.
(4) The arrival of children at the home of the Ogre.
(5) The shifting of crowns to the heads of his brothers.
(6) The flight of the brothers pursued by the Ogre in
seven-league boots.
(7) Little Thumb, stealing the boots and winning court favor, or
the Ogre's treasure.
Some say that in this tale, symbolically, the forest represents night;
the crumbs and pebbles, stars; and the Ogre, the sun. Little Thumb,
because of his cunning and invention, has been called the Ulysses of
the fairy tales. His adventure with the Ogre at the rock, while not a
parallel one, reminds one of Ulysses and Polyphemus. Both succeeded in
getting the better of the giant. An English edition of this tale was
illustrated by William Blake.
_Snow White and Rose Red_
_Snow White and Rose Red_, besides blending the romantic and the
realistic, illustrates rather completely how the old tale may stand
the tests which have been emphasized here. As a romantic type, it
contains adventure and the picturesque. It arouses emotion. It
contains objects of beauty; and the strange Bear and the stranger
Dwarf, about both of whom there is a sense of mystery. It exaggerates
character and incidents beyond the normal,--the Mother and Daughters
were more lovely than mortals usually are,--and the harmony between
man and beast may belong to the millennium rather than to this common
earth. This is one of the most romantic of fairy tales in that it is a
highly idealized type.
The story was current in Germany before the time of the Grimms, and
appeared in the collection of Caroline Stahl. The rhyme,--
Snowy-white, rosy-red,
Will ye strike your lover dead?
was taken from a popular song, and is found in a child's story in
_Taschenbuch Minerva_ for 1813.
_Snow White and Rose Red_ is full of many beauties; the characters are
beautiful, the setting is beautiful, and the spirit of the whole is
full of beauty. There is sister-love; and mother-love--not the selfish
kind that loves but its own, but that similar to the rich growth of
our modern times, when mother-love seeks to include those without the
home. There is genuine kindness that pours its sweetness on the Bear
or on the Dwarf, that falls like the rain on the deserving and on the
ungrateful; there is devotion to animals and a lack of enmity between
man and beast; and there is a portrayal of the beauty of domestic life
and of the charms of childhood in simple life--its play, its pleasure,
and its tasks. This is all set as in two pictures whose sky is the
golden glow of passion for the sun and the spring-time and summer it
brings. In the first picture, on the edge of the forest stands a
little cottage before whose gate grow two rose-trees, a red rose-tree
and a white rose-tree, not only symbols of the beauty of the
spring-time and of the rich fruitage of summer, but also symbols
typifying the more wondrous beauty of the character of the two
children, Snow White and Rose Red. In the second picture, a tall
palace rears itself, before whose gate grow two rose-trees also, a red
rose-tree and a white rose-tree, not only symbols of the same beauty
of spring-time and fruitage of summer, but also symbols typifying the
beauty of loveliness and the fairness of happiness and prosperity that
guarded from harm the lives of the deserving Snow White and Rose Red,
and continued to bless them to the close.
First, looking at the characters in this tale, we see a Mother who
illustrates the richness of womanhood. She managed her own home and
kept it a place of beauty and cheer. She had two daughters, both
lovely, but very different. She recognized this difference and
respected it, and permitted each child to enjoy a delightful freedom
to grow as was her nature. She permitted the children to play but she
also commanded willing obedience. She arranged their work with
fairness so that each had her share and each seemed free in doing that
work to use her individual taste and judgment. She taught her children
to spin and to sew, and she read to them. She told them about the
guardian Angel who watched over them to keep them from harm. She was
not anxious when they were out of sight, for even when Snow White and
Rose Red stayed in the wood all night and slept on the leaves, she had
no fear, for no accident ever happened to them. As a strong, noble
woman, without fear, and full of love, pity, and fairness,--George
Eliot's ideal of highest character,--the Mother of Snow White and Rose
Red has no equal in the fairy tales.
The two Children, beautiful as the roses that grew outside the
cottage, were both industrious, good, amiable little girls, who in
their natural sweetness showed the spirit of the Golden Age when peace
and good-will dwelt among men. They were natural children and they
loved to play. They gathered berries in the forest, they played
hide-and-seek among the trees, they waded in the river, went fishing,
made wreaths of flowers, and played with their animal friends. They
fed the hares cauliflower, or watched the fawns grazing and the goats
frisking; and even the birds loved them and did not fly away when they
were near. In the home they kept things not only clean but beautiful;
they not only did work but took pleasure in doing that work. Now at a
time when domestic life in the home is being threatened, _Snow White
and Rose Red_ gives a realistic picture of the beauty of domestic
life, its simple joys and charm. In summer there was always a nose-gay
for the Mother, and in winter there was a cheery fire with a copper
kettle over it, shining like gold. And in the evening when the snow
fell fast outside, inside was warmth and comfort. The Children sat
sewing and the Mother reading, while a lamb and a white dove beside
them enjoyed their protection and care.
The entrance of the Bear gave the Children a natural thrill of fear.
But the Mother, with beautiful hospitality, gave the Bear protection
and kindness and led them to overcome that fear. To the Bear they
showed that good nature which willingly serves; and in the tricks they
played with their comrade they showed a great strength of vitality and
that freedom which grows where there is no repression.
The Bear departed at spring-time; and as he left Snow White thought
she saw glittering gold under his coat. This seems to hint that the
tale is symbolic, typifying the change of seasons. Spring, the Bear,
took refuge in the cottage during the cold winter months; but in the
spring he had to go abroad into the forest, to guard his treasures
from the evil Dwarf of winter.
The Children again showed their sweetness and good nature when, while
gathering sticks, they came upon the Dwarf, with his wrinkled face and
snow-white beard, the end of which was caught in a split of a tree.
The contrast is delightful, between the cross and impatient Dwarf and
Rose Red who offered to fetch help, and Snow White who politely tried
to soothe his impatience by cutting off the end of his beard with her
scissors. This time the Dwarf snatched a sack of gold which lay at the
foot of the tree, and fled, most ungrateful, not even thanking the
Children. The Children had two other adventures with the Dwarf; and
these, together with their adventure with the Bear, make up the plot
of the story. They met the Dwarf a second time, one day when they went
fishing. Then Rose Red told him to be careful or he'd fall into the
water, because a great fish was pulling on the bait and his beard
became entangled in the fishing-line. Snow White again cut off the end
of his beard to free him and again he snatched his bag--this time of
pearls, lying among the rushes--and fled. One day, on going to town to
buy thread, needles, laces, and ribbons, they met the Dwarf a third
time. This time an eagle had caught him and was about to carry him
off. The Children, with compassion, held on and freed him; but again
he scolded, seized his bag of precious stones, and slipped away to his
cave. On their return from town, the Children again met the Dwarf, in
the wood, counting his treasure. Again he was very angry, but just
then the Bear arrived out of the forest and demanded the life of the
Dwarf. The Dwarf offered up in his stead, Snow White and Rose Red. But
the Bear, faithful to his old comrades, slew the Dwarf, and then
becoming a beautiful Prince, went home with the Sisters. Snow White
married the Prince and Rose Red his Brother, and they all lived with
their Mother happily in the beautiful palace.
When the Bear slew the Dwarf spring returned to the land. The Dwarf
with his snow-white beard seems to typify winter. Each time the
Dwarf's beard was cut the beard of winter became shorter, another
winter month was gone, and there remained a shorter season. The bag of
gold which the Dwarf first took might signify the golden fruit of
autumn, and the pearls and diamonds which he next took, the ice and
snow of winter. The Dwarf's beard became entangled in the fishing-line
when the icy winds of winter began to give the pond its frozen coat;
and then the animals of the wood were compelled to seek a refuge. When
the Bear came out of the wood to meet the Dwarf and slew him, the time
for the departure of winter was at hand, and spring returned to the
land.
This fairy tale evidently shows a good, interesting plot, with
something happening all the time. The climax is very distinctly
marked, everything leads up to the meeting of the Bear and the Dwarf
in the forest. The characters present interesting variety and strong
contrasts. The setting is unusually beautiful: the cottage, the wood,
the lake, the town, the hillside, the palace, and the two symbolic
rose-trees. The tale appeals to the emotions of love, kindness,
compassion, and gratitude. It presents to the imagination distinct
episodes: the home-life of the Children in the cottage, their life in
the wood, their adventure with the Bear, their three adventures with
the Dwarf, and the meeting of the Bear and the Dwarf. The conclusion
follows closely upon the climax,--the Bear, grateful to the kind
Children, saved their lives and re-transformed, became a Prince. The
happy marriage brings the tale to a close, with the palace home
guarded by the two rose-trees. The message of the tale is the possible
beauty of woman's love and character, and the loveliness of spring and
of summer.
A Modern Tale[18]
_The Elephant's Child_
_The Elephant's Child_ might be examined here more particularly
because it is unusually interesting as an example of the complete test
applied to the child's fairy tale. One need not test it as to interest
for it was written especially for children by one who could play with
them. As to literature it certainly has mind and soul; there is no
doubt about its structure or its appeal to the sympathies. The
quantity of good humor and fun it bestows upon childhood is a
permanent enrichment; for even a child's world has need of all the
good cheer and fun that can be given to it.
This tale is especially interesting also because it might be classed
as almost any one of the types of tales. It is not accumulative though
it possesses to a marked degree three characteristics of the
accumulative tale, repetition, alliteration, and all sorts of phonic
effects. And it is not an old tale. But it is not only one of the most
pleasing animal tales we possess but one of the best humorous tales
having the rare quality of freshness. It is realistic in its portrayal
of animal life; and it is highly romantic in its sense of adventure,
the heroic, the strange, and the remote.
As a short-story it shows the essentials, originality, ingenuity, and
compression. The single interest is how the Elephant got his trunk,
and everything points to the climax of his getting it. The plot is
"entertaining, novel, comical and thrilling." The structure is very
easily seen in these ten episodes:--
1. The introduction; the family; the Child; his home; his
questions; the new, fine question.
2. The Elephant's Child set out to answer his own question.
3. The Elephant's Child met Kolokolo Bird.
4. The Elephant's Child journeyed to the Limpopo.
5. The Elephant's Child met the Python.
6. The Elephant's Child met the Crocodile. He got his trunk.
(Climax.)
7. The Elephant's Child gained experience from the Python.
8. The Elephant's Child's journey home.
9. The Elephant's Child's return home.
10. Conclusion. How all elephants got trunks. Peace.
The characters are unique and interesting. They are usual animals but
unusual in what they say. They exhibit animal traits and motives but
they also show us a hidden meaning in their actions and words. They
seem living, they speak directly; yet they preserve the idea of the
fable for they are symbolic. The Elephant's Child typifies human
innocence, the inexperience of youth; the Kolokolo Bird, a friend; the
Python, experience or wisdom; and the Crocodile, guile or evil. All
the animals become very interesting because we are concerned to know
their particular reason for spanking the "'satiable Elephant's Child."
What they say is so humorous and what they do is consistent, in
harmony with their natural animal traits. The Child is the hero. He is
a very attractive character because he has that rare charm we call
temperament. He is curious, polite, and sweet, and follows his own
nose in spite of everything. He wins out with strength, experience,
and a new nose; and we are rejoiced at his triumphs. His questions are
so funny and yet they seem quite what any elephant with a bump of
curiosity might ask. To the Giraffe--"What made his skin spotty?" To
the Hippopotamus--"Why her eyes were red?" To the Baboon--"Why melons
tasted just so?" And at last, "What does the Crocodile have for
dinner?"
The setting of the tale is suggested continually in expressions which
show visual imagination of a high order: such as, "And he lived in
Africa"; "dragged him through a thorn bush"; "blew bubbles into her
ear"; "hove him into a hornet's nest"; and "from Graham's Town to
Kimberley and from Kimberley to Khama's Country, and from Khama's
Country east by north to the Limpopo."
The tale possesses most delightful humor. A verbal magic which fairly
scintillates with the comic spirit, and clinging epithets of which
Kipling is a master, suggest the exact picture needed. Humor is
secured largely through the use of the unique word; as, "_spanked_,"
"_precisely_ as Kolokolo Bird had said," and "for he was a _Tidy_
Pachyderm." Often it is increased by the use of newly coined words;
as, "hijjus," "curtiosity," "scalesome, flailsome, tail,"
"fever-trees," "self-propelling man-of-war," and "schloop of mud."
Another element of humor in the tale is the artistic use of
repetition, which has been previously referred to as one of the
child's interests. Sometimes one meaning is expressed in several
different ways; as, "immediately and directly, without stopping, for a
long time." Or we are given contrasted terms; as, "a little warm but
not at all astonished," and then later, "very warm and greatly
astonished." One main element of humor is this way in which
expressions reflect back on preceding ones. Sometimes we are given
very surprising, startling, expressions; as, "wait-a-bit-thorn-bush
"--which reminds us of the "all-alone-stone" in _Water Babies_--and
"he sang to himself down his trunk."
As to imagination, _The Elephant's Child_ is a delightful illustration
of the appeal to the associative, the penetrative, and the
contemplative imagination. While its philosophy may be understood in
part by the child it has a deeper meaning for the adult. It seems to
imply that it is the way of life to spank somebody else. It is the
stronger who spank the weaker until they become strong enough to stand
up for themselves. Then nobody spanks anybody any more and there is
peace. When the Child asked a question that no one would answer he set
out to find his own answer just as in life it often is best to work to
answer one's own questions. When the Elephant trusted the Crocodile he
got something to keep just as in life the innocent may bear the marks
of a contest though in no sense responsible for the contest.
Experience in the guise of the Python helped the Child in his contest
for life with the advice his own common sense would have offered. As
an allegory of Experience _The Elephant's Child_ does not view life as
a whole; it gives but a glimpse of life. It would say: Experience
teaches us to make the best with what we have. The way to get
experience is to try a new power, just as the Child with his trunk
tried to kill the fly and eat grass. As soon as he had received his
new power he tested it on the Hippopotamous. He won the respect of his
kind by beating them at their own game.
The emotional appeal in _The Elephant's Child_ would repay study. The
dominant emotional tone is that of the adventurous hero with his
"'satiable curtiosity." There is vividness of emotion, steadiness of
emotion, and a rich variety in the contrasts of feeling. Emotion of a
moral quality is characteristic of its implied message of worldly
wisdom but it does not leave one exactly satisfied.
The form of the story is a splendid example of a literary classic
style. A pleasing humorous touch is given to the unity of the tale by
making the Elephant's Child pick up with his new trunk, on his way
home, the melon-rinds he had scattered on his journey to the Limpopo.
The coherence in the tale is unusually fine and is secured largely by
expressions which look backward or forwards; as, "By and by when that
was finished," or "One fine morning," or "That very next morning." Any
study will show that the tale possesses the general qualities of form
and has its parts controlled by the principles of composition.
OUTLINE
I. THE WORTH OF FAIRY TALES
I. Two public tributes 1
II. The value of fairy tales in education 3
1. They bring joy into child-life 3
2. They satisfy the play-spirit of childhood 4
3. They give a power of accurate observation 6
4. They strengthen the power of emotion, develop the
power of imagination, train the memory and
exercise the reason 6
5. They extend and intensify the child's social
relations 7
6. In school they unify the child's work or play 8
7. In the home they employ leisure time profitably 9
8. They afford a vital basis for language-training 10
III. References 12
II. PRINCIPLES OF SELECTION FOR FAIRY TALES
I. The interests of children 13
1. Fairy tales must follow the law of composition
and must contain the interests of children 13
a. A sense of life 14
b. The familiar 14
c. The surprise 15
d. Sense impression 17
e. The beautiful 18
f. Wonder, mystery, magic 19
g. Adventure 19
h. Success 20
i. Action 20
j. Humor 21
k. Poetic justice 22
l. The imaginative 23
m. Animals 24
n. A portrayal of human relations, especially
with children 24
o. The diminutive 25
p. Rhythm and repetition 26
q. The simple and sincere 28
r. Unity of effect 29
2. Fairy tales must follow the law of the emotions
and avoid elements opposed to the interests of
the very young child 30
a. The tale of the witch 31
b. The tale of the dragon 31
c. Giant tales 31
d. Some tales of transformation 32
e. The tale of strange animal relations and
strange creatures 33
f. Unhappy tales 34
g. The tale of capture 34
h. The very long tale 35
i. The complicated or the insincere tale 36
II. The fairy tale as literature 37
1. The fairy tale must be a true classic 38
2. The fairy tale must have mind and soul 39
3. The fairy tale must have the distinguishing
marks of literature 40
a. A power to appeal to the emotions 41
1) Literary emotion is not personal 41
2) Literary emotion must have justness 41
3) Literary emotion must have vividness 41
4) Literary emotion must have steadiness 41
5) Literary emotion must have variety 41
6) Literary emotion must have moral quality 41
7) Application of the test of emotion to the
Fairy tales 41
8) The value of fairy tales in the development
of emotion 44
b. A power to appeal to the imagination 45
1) Appeal to the creative imagination 45
2) Appeal to the associative imagination 46
a) Appeal to fancy 46
3) Appeal to the penetrative imagination 47
4) Appeal to the contemplative imagination 47
a) Philosophy in the fairy tales 48
b) Proverbs in the fairy tales 50
c) Relation of the contemplative
imagination to science 52
c. A basis of truth, or appeal to the intellect 53
1) The truth must be idealistic 53
a) It may be realistic 53
b) It may be romantic 53
2) Value of the appeal of literature to the
intellect 53
d. A form more or less perfect 54
1) The elements of form: words, sentences,
paragraphs, and wholes 58
a) Words, the medium of language must
have two powers 54
(1) Denotation, to name what they
mean 54
(2) Connotation, to suggest what they
imply 54
b) Suggestive power of words illustrated 55
2) General qualities characteristic of perfect
form 57
a) Precision or clearness 57
(1) Precision demands that words have
denotation 57
(2) Precision appeals to the intellect 57
b) Energy or force 57
(1) Energy demands that words have
connotation 58
(2) Energy appeals to the emotions and
holds the attention 58
c) Delicacy or emotional harmony 58
(1) Delicacy demands that words have
the power of adaptation 58
(2) Delicacy demands that form appeal
to the æsthetic sense 58
(3) Delicacy is secured by selection and
arrangement of words according to
emotional associations 58
d) Personality 58
(1) Personality gives the charm of
individuality 58
(2) Personality suggests the character
of the writer 58
3) Principles controlling the elements
of form, principles of composition 58
a) The principle of sincerity 58
(1) Sincerity demands a just expression 58
b) The principle of unity 59
(1) Unity demands a central idea 59
(2) Unity demands completeness 59
(3) Unity demands no irrelevant material 59
(4) Unity demands method, sequence
and climax 59
c) The principle of mass 59
(1) Mass demands that the chief parts
readily catch the eye 59
(2) Mass demands harmonious proportion
of parts 59
d) The principle of coherence 59
(1) Coherence demands unmistakable
relation of parts 59
(2) Coherence demands this unmistakable
relation be preserved by the
order, forms and connections 59
4) Form characterized by perfect adaptation
of words to thought and feeling is called
style 59
a) Style demands that form possess the
four general qualities of form in
perfection: precision, energy, delicacy,
and personality 59
b) Style demands that form have its
elements controlled by the four general
principles: sincerity, unity, mass, and
coherence 59
c) _Oeyvind and Marit_, a modern tale
illustrating style 60
d) _Three Billy-Goats Gruff_, a folk-tale
illustrating style 64
e) The folk-tale generally considered as to
literary form 65
f) The tale by Grimm, Perrault, Dasent,
Harris, Jacobs, Lang, and Andersen
considered as to literary form 67
g) The tale of to-day considered as to
literary form 69
III. The fairy tale as a short-story 70
1. Characters 71
a. Characters must be unique, original, and
striking 72
b. Characters of the fairy tales 72
2. Plot 73
a. Plot must be entertaining, comical, novel, or
thrilling 73
b. Plot must show a beginning, a middle, and
an end 73
c. Plot must have a distinct climax 74
d. Introduction must be simple 74
e. Conclusion must show poetic justice 74
f. Plot must be good narration and description 74
1) Narration must have truth, interest, and
consistency 74
2) Description must have aptness and
concreteness 75
g. Structure illustrated by _Three Pigs_ and
_Briar Rose_ 76
3. Setting 77
a. Setting must give the time and place, the
background of the tale 77
b. Setting must arouse sensation and feeling 77
c. Effect of transformation of setting 77
1) Story sequence preserved by setting
illustrated by _Robin's Christmas Song_ 78
d. Setting and phonics, illustrated. _The
Spider and the Flea_ 79
e. Setting illustrated. _Chanticleer and
Partlet_ 81
4. A blending of characters, plot, and setting
illustrated by _The Elves and the Shoemaker_ 82
5. Tests to be applied to fairy tales 84
6. Tales examined and tested by the complete test
of interests, classic, literature, short-story,
narration, and description 84
a. _How the Sun, Moon, and West Wind Went to
Dinner_ (Indian) 84
b. The Straw Ox (Cossack) 86
IV. References 87
III. THE TELLING OF FAIRY TALES
Story-telling as an Art. Introductory 90
1. Story-telling as an ancient art 90
2. The place of the story in the home, library, and
the school 93
3. Principles of story-telling 94
I. The teacher's preparation. Rules 94
1. Select the tale for some purpose 94
a. The teacher's problem of selecting the tale
psychologically or logically 95
2. Know the tale historically as folk-lore, as
literature, and as a short-story 96
a. The various motives contained in the fairy
tales listed 97
3. Master the structure of the tale 99
4. Dwell upon the life of the story 99
5. Secure the message 100
6. Master the form 100
II. The presentation of the tale 102
1. Training of the voice 103
a. Study of phonetics 103
2. Exercises in breathing 104
3. A knowledge of gesture 105
a. Gesture precedes speech 106
b. Gesture begins in the face 106
c. Hands and arms lie close to the body in
controlled emotion 106
4. A power of personality 106
5. Suggestions for telling 107
a. The establishment of the personal relation
between the teacher and the listener 108
b. The placing of the story in a concrete
situation for the child 110
c. The consideration of the child's aim in
listening, by the teacher in her preparation 112
6. The telling of the tale 112
a. The re-creative method of story-telling.
Illustrated by a criticism of the telling of
_The Princess and the Pea_ 114
b. The re-creative method illustrated by _The
Foolish, Timid Rabbit_ 116
7. Adaptation of the fairy tale. Illustrated by
_Thumbelina_ and by _The Snow Man_ 118
III. The return from the child 119
Story-telling as one phase of the art of teaching.
Introductory 119
1. Teaching as good art and as great art; and
fairy tales as subject-matter suited to
accomplish high purposes in teaching 120
2. The part the child has to play in story-telling 121
3. The child's return, the expression of his
natural instincts or general interests 125
1. The instinct of conversation 125
a. Language expression, oral re-telling 125
b. The formation of original little stories 126
c. Reading of the tale a form of creative
reaction 127
2. The instinct of inquiry 127
a. Appeal of the folk-tale to this instinct 128
b. The instinct of inquiry united to the instinct
of conversation, of construction, and of
artistic expression, illustrated 128
3. The instinct of construction 129
a. Clay-modelling 129
b. Construction of objects 129
4. The instinct of artistic expression 130
a. Cutting of free silhouette pictures.
Illustrated 130
b. Drawing and crayon-sketching. Illustrated 132
c. Painting. Illustrated 132
d. Song. Illustrated 133
e. Dance, rhythm plays. Illustrated 134
f. Game. Illustrated 135
g. Representation of the fairy tale. Illustrated
by _The Steadfast Tin Soldier_ 135
h. Free play and dramatization 138
1) Virtues of dramatization 138
a) It develops voice 138
b) It gives grace of movement 138
c) It develops control and poise 138
d) It strengthens attention and power of
visualization 138
e) It combines intellectual, emotional,
artistic, and physical action 138
f) It impresses many pieces of literature
effectively 138
g) It is the true Direct Moral Method and
may establish a habit 143
2) Dangers of dramatization 139
a) Dramatization often is in very poor
form 139
b) Dramatization may develop boldness
in a child 141
c) Dramatization may spoil some
literature 142
d) Dramatization has lacked sequence in
tales used from year to year 142
i. Illustrations of creative return 144
1) _The Country Mouse and the City Mouse_ as
expression in language, dramatization,
drawing, and crayon-sketching 144
2) _The Elves and the Shoemaker_ as
expression in the dramatic game 145
3) _Little Two-Eyes_ as expression in
dramatization. A fairy-play outline.
(See _Appendix_) 145
4) _Snow White_ as expression in
dramatization. (See _Appendix_) 145
5) _Sleeping Beauty_ as expression of partial
narration, dramatic game, and
dramatization combined 146
6) _The Little Lamb and the Little Fish_, an
original tale developed from a Grimm
fragmentary tale, illustrating expression
in folk-game and dramatization. (See
_Appendix_) 147
7) _The Bird and the Trees_, an original play
illustrating expression in rhythm play and
dramatization 149
8) _How the Birds came to Have Different
Nests_, an original play illustrating
language expression and dramatization.
(See _Appendix_) 151
9) Andersen's _Fir Tree_ as expression in
dramatization, illustrating organization
of ideas through a play 152
IV. References 154
IV. THE HISTORY OF FAIRY TALES
I. The origin of fairy tales 158
1. The fairy tale defined 159
2. The derivation and history of the name, _fairy_ 159
a. Four senses in which _fairy_ has been used 160
3. The theories concerning the origin of fairy
tales 161
a. Fairy tales are detritus of myth 161
1) The evolution of the tale 161
b. Fairy tales are myths of Sun, Rain, Dawn,
Thunder, etc., the Aryan Theory 162
c. Fairy tales all arose in India, the
Philological theory 165
d. Fairy tales owe their origin to the identity
of early fancy 167
e. Fairy tales owe their origin to a combination
of all these theories 167
II. The transmission of fairy tales 167
1. The oral transmission of fairy tales 167
a. Examples of transmission of fairy tales: _Jack
the Giant-Killer_, _Dick Whittington_, etc. 168
2. Literary transmission of fairy tales 170
a. An enumeration of the literary collections and
books that have handed down the tales; as
_Reynard the Fox_, the _Persian King-book, The
Thousand and One Nights_, Straparola's
_Nights_, Basile's _Pentamerone_, and Perrault's
_Tales of Mother Goose_ 170
b. French publications of fairy tales 179
1) The tales of Perrault 179
2) Tales by followers of Perrault 181
3) A list of tales from the time of Perrault to
the present time 183
c. English and Celtic publications of fairy tales 183
1) Tales of Scotland and Ireland 184
2) English tales and books 184
3) A list illustrating the history of the English
fairy tale, including chap-books: _Jack the
Giant-Killer_, _Tom Hickathrift_;
old collections; etc. 184
4) A list illustrating the development of
fairy-tale illustration in England 188
d. German publications of fairy tales 192
1) A list of tales from the time of the Grimms
to the present 193
e. Fairy-tale publications of other nations 193
f. American publications of fairy tales 195
1) A list of tales from the earliest times to
1870 196
g. Recent collections of folk-lore 200
III. References 201
V. CLASSES OF FAIRY TALES
I. Available types of tales 204
1. The accumulative or clock story 205
a. Tales of simple repetition 206
1) The House that Jack Built 206
2) The Key of the Kingdom 207
b. Tales of repetition with an addition 208
1) The Old Woman and Her Pig 208
2) Titty Mouse and Tatty Mouse 208
3) Johnny Cake 209
4) The Gingerbread Man 209
5) The Straw Ox 209
c. Tales of repetition and variation 209
1) The Three Bears 209
2) The Three Billy Goats 211
2. The animal tale 211
a. The evolution of the animal tale 211
b. The animal tale may be an old beast tale 211
1) Henny Penny 213
2) The Foolish Timid Rabbit 214
3) The Sheep and the Pig 215
4) Medio Pollito 215
5) The Three Pigs 216
c. The animal tale may be an elaborated fable,
illustrated 211
d. The animal tale may be an imaginary creation,
illustrated 211
e. The Good-Natured Bear, a modern type. (See
_Appendix_) 217
3. The humorous tale 217
a. The humorous element for children 218
b. The Musicians of Bremen, a humorous type 219
c. Humorous tales mentioned previously 221
d. Drakesbill, a humorous type 221
4. The realistic tale 223
a. Lazy Jack, a realistic type of common life 224
b. The Old Woman and Her Pig, a realistic type 225
c. How Two Beetles Took Lodgings, a realistic
tale of scientific interest 226
d. Titty Mouse and Tatty Mouse, a realistic
theme transformed into a romantic tale 227
5. The romantic tale 228
a. Cinderella 228
b. Sleeping Beauty 231
c. Red Riding Hood 232
d. Puss-in-Boots. (See _Appendix_) 232
1) The Norse Lord Peter (See _Appendix_) 232
e. Tom Thumb, a romantic tale of fancy. (See
_Appendix_) 232
1) The French Little Thumb. (See _Appendix_) 232
2) The English Tom Thumb. (See _Appendix_) 232
f. Snow White and Rose Red, a highly idealized
romantic type tested by the standards
included here. (See _Appendix_) 232
6. The old tale and the modern tale 234
a. The modern tale often lacks the great art
qualities of the old tale, unity and harmony,
sincerity and simplicity 235
b. The modern tale often fails to use the
method of suggestion 235
c. The modern tale often does not stand the
test of literature 235
d. The modern tale gives richly to the primary
and elementary field 235
e. Criticism of a few modern tales 236
1) Little Beta and the Lame Giant, a good
modern tale 236
2) The Cock, the Mouse, and the Little Red
Hen, a good modern tale 238
3) Peter Rabbit, a classic; other animal
tales 239
4) The Elephant's Child, a modern animal
tale. (See _Appendix_) 239
5) A Quick-Running Squash, a good modern
tale 240
6) A few St. Nicholas fairy stories 241
7) The Hop-About-Man, a romantic modern
fairy tale 241
f. What the modern fairy tale is 243
VI. SOURCES OF MATERIAL FOR FAIRY TALES: A LIST OF FAIRY TALES,
FOLK-TALES, PICTURES, PICTURE-BOOKS, POEMS, AND BOOKS.
Basis on which lists are made. Introductory 245
I. A list of fairy tales and folk-tales suited to the
kindergarten and first grade 246
1. Tales of Perrault 246
2. Tales of the Grimms 246
3. Norse tales 247
4. English tales, by Jacobs 247
5. Modern fairy tales, by Andersen 248
6. Uncle Remus tales, by Harris 248
7. Miscellaneous tales 249
II. Bibliography of fairy tales 253
III. A list of picture-books 254
IV. A list of pictures 255
V. A list of fairy poems 256
VI. Main standard fairy-tale books 256
VII. Fairy tales of all nations 258
VIII. Miscellaneous editions of fairy tales 259
IX. School editions of fairy tales 262
APPENDIX
Illustrations of creative return 265
Tales suited for dramatization 265
Little Two-Eyes 265
Snow White 266
The Little Lamb and the Little Fish 267
How the Birds came to Have Different Nests 270
Types of tales 272
An animal tale 272
The Good-Natured Bear 272
A few romantic tales 275
Puss-in-Boots and Lord Peter 275
Tom Thumb and Little Thumb 278
Snow White and Rose Red 282
A modern tale 287
The Elephant's Child 287
NOTES:
[1: McLoughlin edition.]
[2: What if we could give the child that which is called education
through his voluntary activities, and have him always as eager as
he is at play! (_Froebel_.)
What if we could let the child be free and happy, and yet bring
to him those things which he ought to have so that he will choose
them freely!
What would be the possibilities for a future race if we would
give the child mind a chance to come out and express itself, if
we would remove adult repression, offer a stimulus, and closely
watch the product, untouched by adult skill. (_Unknown_.)
The means by which the higher selective interest is aroused, is
the exercise of selected forms of activity. (_Susan Blow_.)]
[3: _Little Two-Eyes_ and _Snow White_ are tales also suited to the
first grade for dramatization. See _Appendix_.]
[4: A similar tale is told by Miss Holbrook in _The Book of Nature
Myths_. Also by Mary McDowell as "The Three Little Christmas
Trees." A simple version of this tale, "The Three Little
Christmas Trees that Grew on the Hill," is given in _The
Story-Teller's Book_ by Alice O'Grady and Frances Throop.]
[5: Joseph Jacobs, in his Introduction to the Cranford edition, and
Ashton, in _Chap-Books of the Eighteenth Century_, furnish most
of the facts mentioned here.]
[6: This list has been compiled largely from "Children's Books and
Their Illustrators," by Gleeson White, in _The International
Studio_. Special Winter Number, 1897-98.]
[7: The following list, compiled by Mr. H.H.B. Meyer, the chief
bibliographer of the Library of Congress, has been furnished
through the courtesy of the United States Bureau of Education. A
few additional books were inserted by the author. The books at
the head of the list give information on the subject.]
[8: _The Woman and Her Kid_, a version of this tale adapted from an
ancient Jewish Sacred Book, is given in _Boston Kindergarten
Stories_, p. 171.]
[9: See Appendix.]
[10: William M. Thackeray, _Miscellanies_, v. Boston: James Osgood
& Co., 1873. "Titmarsh among Pictures and Books"; "On Some
Illustrated Christmas Books," 1846.]
[11: A few romantic tales for the first grade are treated in the
Appendix: _Puss-in-Boots_, _Lord Peter_, _Tom Thumb_, _Little
Thumb_, and _Snow White and Rose Red_.]
[12: See _Appendix_.]
[13: Laura F. Kready, "Picture-Books for Little Children,"
_Kindergarten Review_, Sept., 1914.]
[14: For _Little Two-Eyes_ and _Snow White, see_ note on p. 145; for
_The Little Lamb and the Little Fish, see_ pp. 147-48; and for
_How the Birds came to have Different Nests, see_ p. 151.]
[15: _See_ note, p. 217.]
[16: _See_ note, p. 232]
[17: Reprinted in _Living Age_, Aug. 13, 1844, vol. 2, p. 1.]
[18: _See_ p. 239]
INDEX
Accumulative or clock story, 205-11.
Action, 20-21.
Adaptation of fairy tales, 117-19.
Adventure, 19-20.
Adventures of Chanticleer and Partlet, 81-82.
American fairy tales, 195-99.
Andersen, Hans C.:
tales by, tested as literary form, 69;
Steadfast Tin Soldier, 46, 49, 135-38;
Fir Tree, 151-53;
list of tales by, 248;
editions, 256-57.
Animal tale:
class, 211-17;
evolution of, 211-13;
types of, 213-17, 272-75, 287-90.
Animals:
an interest, 24;
tale of strange, 33-34.
Appendix, 265-90:
Little Two-Eyes, 265-66;
Snow White, 266-67;
The Little Lamb and the Little Fish, 267-70;
How the Birds came to Have Different Nests, 270-72;
The Good-Natured Bear, 272-75;
Puss-in-Boots and Lord Peter, 275-78;
Tom Thumb and Little Thumb, 278-82;
Snow White and Rose Red, 282-86;
The Elephant's Child, 287-90.
Arabian Nights, Thousand and One Nights, 176-78, 190, 196.
Art:
of teaching, 119-20;
in teaching, good, 120;
in teaching, great, 120-21;
in literature, good, 39-40;
in literature, fine, 39-40;
of story-telling, 90-91, 93-94;
ancient, of story-telling, 91-93.
Artistic expression, instinct of, 130-54.
Aulnoy, Comtesse d', tales of, 181-82.
Basile, 178-79.
Beaumont, Madam de, 182.
Beautiful, the, 18-19.
Beauty and the Beast,
dramatization of, 140-41;
editions of, 189, 198.
Bibliography of fairy tales, 253-54.
Bird and the Trees, 148-51.
Books, main standard fairy tale, a list, 256-58. _See_ Sources of
material.
Breathing, exercises in, 104-05.
Briar Rose, 77. _See also_ Sleeping Beauty.
Capture, tales of, 34-35.
Celtic fairy tales, 183-84.
Chap-books, 185-87, 188, 196, 198.
Characters, 71-73.
Child:
his part in story-telling, 121-25;
interests, 13-37;
instincts, 125-54;
growth:
in observation, 6, 47-48;
in reason, 6-7, 53-54;
in language, 10;
in emotion, 44-45;
in imagination, 45-53;
in experience, 54;
in intellect, 53-54;
in self-activity, 121-22;
in consciousness, 122-23;
in initiative, 122;
in purpose, 123-25;
in creative return possible to him, 123-54;
in self-expression, 124-54;
in organization of ideas, 153.
Child's Own Book, The, 190.
Cinderella,
a chap-book, 187,188, 198;
a romantic type, 228-31.
Classes of tales, 204-44:
accumulative, 205-11;
animal, 211-17;
humorous, 217-23;
realistic, 223-28;
romantic, 228-34;
old and modern, compared, 234-43;
references, 243-44.
Classic, fairy tale as a, 38-39.
Cock, the Mouse, and the Little Red Hen, 238-39.
Coherence,
principle of, 58-59;
illustrated, 62, 65.
Complicated or insincere, the, 36.
Composition:
general qualities of, 57-58;
precision, 57;
energy, 57-58;
delicacy, 58;
personality, 58;
principles of, 58-59;
sincerity, 58-59;
unity, 59;
mass, 59;
coherence, 59;
style in, 59-60.
Comte de Caylus, 182.
Concrete situation, placing of story in, 94-95, 110-11.
Connotation, 54-57.
Consciousness, development of, 122-23.
Construction, expression of instinct of, 129-30.
Conversation, expression of instinct of, 125-27.
Country Mouse and City Mouse, 144-45.
Crayon-sketching, as expression, 132.
Creative return, illustrated, 144-54. _See_ Return.
Criticism:
of life, teaching, a, 120-21;
of Oeyvind and Marit, 60-64;
of Three Billy-Goats Gruff, 64-65;
of How the Sun, Moon, and West Wind went out to Dinner, 84-86;
of Straw Ox, 86-87;
of Steadfast Tin Soldier, 135-38;
of Musicians of Bremen, 219-20;
of Drakesbill, 221-23;
of Puss-in-Boots and Norse Lord Peter, 275-78;
of Tom Thumb and Little Thumb, 278-82;
of Snow White and Rose Red, 282-86;
and of Elephant's Child, 287-90.
Danish tales, 194.
Dasent, Sir George W.,
tales by, as literary form, 68-69;
Norse tales by, 194, 247, 257.
Delicacy,
or emotional harmony, quality of, 57-58;
illustrated, 60, 61, 64.
Denotation, 54.
Description, 75.
Dick Whittington,
illustrating oral transmission of tales, 169;
a chap-book, 185, 188, 196, 198.
Diminutive, the, 25-26.
Dragon tales, 31.
Drakesbill, 221-23.
Dramatic game: Elves and the Shoemaker, 145; Sleeping Beauty, 146-47.
Dramatization,
as expression, 138-54;
virtues of, 138, 143;
dangers of, 139-43;
of Sleeping Beauty, 146-47;
of Bird and the Trees, 149-51;
of Fir Tree, 152-53;
of Little Two Eyes, 265-66;
of Snow White, 266-67;
of How the Birds came to have Different Nests, 270-72;
and of Puss-in-Boots, 276.
Drawing, as expression, 132.
Dwarf's Tailor, 237.
Editions,
main fairy tale, 256-58;
fairy tale, of all nations, 258-59;
illustrated, 254-55;
miscellaneous, of fairy tales, 259-62;
school, of fairy tales, 262-64.
Elements to be avoided, 30-36.
Elephant's Child, illustrating:
repetition, 27-28;
suggestion, 56-57;
form, 100-01;
modern animal tale, 239, 287-90.
Elves and the Shoemaker,
illustrating: structure and short-story, 82-84;
story, 82-84; creative return, 145.
Emelyan the Fool, 170.
Emotion,
appeal to, distinguishing literary trait, 40-41;
qualities of literary, 41;
literary, in fairy tales, 41-44;
growth of, 44-45;
comparison of, in fairy tales and Shakespeare's dramas, 7, 43-44.
Energy or force, quality of, 57-58;
illustrated, 61, 64.
English fairy tales, 184-92;
collections of, 184-88;
illustrating development of illustration, 188-92;
by Jacobs, list, 247-48;
editions, 257.
Expression in:
language, 125-27;
reading, 127;
inquiry, 127-29;
construction, 129-30;
art, 130-54;
paper-cutting, 130-31;
drawing, 132;
painting, 132;
rhythm play, 133-34;
song, 132-33;
game, 134-35;
representation, 135-38;
dramatization, 138-54, 265-72.
Fairy,
derivation of, 159-60;
history of the name, 160.
Fairy tales: worth of, 1-12;
principles of selection for, 13-89;
telling of, 90-157;
history of, 158-203;
classes of, 204-44;
sources of material for, 245-64;
tributes to, 1-3;
interests in, 13-37;
as literature, 37-70;
as classics, 38-39;
possessing mind and soul, 39-40;
distinguished by marks of literature, 40;
as emotion, 41-45;
as imagination, 45-53;
philosophy in, 48-52;
proverbs in, 50;
as truth, 53-54;
as form, 54-70;
powers of words in, 54-57;
general qualities of form in, 57-58;
general principles controlling form in, 58-59;
style in, defined, 59-60;
tested as literary form, 60-70;
as a form of short-story, 70-87;
characters, 71-73;
plot, 73-77;
narration, 74-75;
description, 75;
structure, 76-77;
setting, 77-82;
three elements blended, 82-84;
tested by complete standards, 84-87;
teacher's preparation for telling, 94-102;
presentation of, by teacher, 102-19;
return of child from, 119-54;
rules for preparation of, 94-102;
selection of, 95-96;
motifs in, 96-98;
re-telling of, 101-02;
training of voice in telling, 103-04;
breathing in telling, 104-05;
gesture in telling, 105-06;
power of personality, in telling, 106-07;
suggestions for telling, 107-12;
establishment of personal relation in telling, 107-10;
placing of, in a concrete situation, 110-11;
conception of child's aim in listening to, 112;
re-creative method of telling, 112-17;
adaptation of, 117-19;
art of teaching, in telling, 119-25;
as expression of conversation, 125-27;
as expression of inquiry, 127-29;
as expression of construction, 129-30;
as expression of art, 130-54;
origin of, 158-67;
transmission of, 167-200;
French, 179-83;
Celtic, 183-84;
English, 184-92;
German, 192-93;
tales of other nations, 193-95;
American, 195-99;
collections of folklore, 200;
accumulative, 205-11;
animal, 211-17;
humorous, 217-23;
realistic, 223-28;
romantic, 228-34, 275-86;
old and modern, 234-43;
of Perrault, 246;
of the Grimms, 246-47;
Norse, 247;
English, by Jacobs, 247-48;
modern, by Andersen, 248;
Uncle Remus, by Harris, 248-49;
miscellaneous, 249-53;
bibliography of, 253-54;
in picture-books, 254-55;
in pictures, 255;
in poems, 255-56;
in standard books, 256-58;
of all nations, 258-59;
in miscellaneous editions, 259-62;
in school editions, 262-64;
in Appendix, 265-90.
Familiar, the, 14-15.
Fancy, 46, 47.
Fir Tree, 151-53.
First-grade fairy tales, 231-34, 265-86.
Folk-game, illustrated by Little Lamb and the Little Fish, 147-48,
267-70.
Folk-tales,
generally, as literary form, 65-67;
tested as literary form, 60-70;
characters of, compared with those of Shakespeare, 7, 43-44;
recent collections of, 200.
Foolish, Timid Rabbit,
illustrating method in story-telling, 116-17;
an animal type, 214.
Form,
a distinguishing literary trait, 40, 54;
perfect, 57-60;
general qualities of, 57-58;
precision, a quality, 57;
energy, a quality, 57-58;
delicacy, a quality, 58;
personality, a quality, 58;
principles controlling, 58-60:
sincerity, 58-59;
unity, 59;
mass, 59;
coherence, 59;
style in, 59-60;
illustrated: by Oeyvind and Marit, 60-64;
by Three Billy-Goats Gruff, 64-65;
folk-tales as literary, 65-70;
mastery of tale as, 100-02.
French fairy tales, 179-83.
Game, as expression, 134-35.
Gardens of the Tuileries, 1.
German fairy tales, 192-93.
Gesta Romanorum, 174-75.
Gesture,
knowledge of, 105-06;
library pamphlet relating to, 106.
Giant tales, 31-32.
Golden Egg and the Cock of Gold, 237-38.
Good-Natured Bear,
a modern animal type, 217, 272-75;
a book, 190.
Grimm, William and Jacob, 67-68;
list of tales by, 246-47;
editions by, 257;
tales by, as literary form, 67.
Harris, J.C.,
list of Uncle Remus tales by, 248-49;
tales by, as literary form, 69;
editions by, 257.
Henny Penny, 214.
History of fairy tales, 158-203;
origin of fairy tales, 158-67;
transmission of fairytales, 167-200;
oral transmission, 167-70;
literary transmission, 170-200;
references, 201-03.
Hop-About-Man, 241-43.
House that Jack Built, 206-07.
How the Birds came to Have Different Nests, 151; 270-72.
How the Sun, Moon, and West Wind went out to Dinner, 84-86.
How Two Beetles Took Lodgings, 226.
Humor in fairy tales: an interest, 21-22; 217-19.
Humorous tales, 217-23; types of, 219-23.
Imagination,
a distinguishing literary mark of fairy tales, 40, 45-53;
creative, 45;
associative, 46;
penetrative, 47;
contemplative, 47-53;
fancy, 46, 47;
exhibited in child's return, 122, 125-54.
Imaginative, the, 23.
Initiative, development of, 122, 123-25.
Instincts of child, expression of:
conversation, 125-27;
inquiry, 127-29;
construction, 129-30;
artistic expression, 130-54.
Intellect, appeal of fairy tales to, 53-54.
Interests of children, 13-37;
sense of life, 14;
the familiar, 14-15;
surprise, 15-17;
sense impression, 17-18;
the beautiful, 18-19;
wonder, mystery, magic, 19;
adventure, 19-20;
success, 20;
action, 20-21;
humor, 21-22;
poetic justice, 22-23;
the imaginative, 23;
animals, 24;
portrayal of human relations, 24-25;
the diminutive, 25-26;
rhythm and repetition, 26-28;
the simple and the sincere, 28-29;
unity of effect, 29-30;
opposed to, 30-36;
witch tales, 31;
dragon tales, 31;
giant tales, 31-32;
some tales of transformation, 32-33;
tales of strange creatures, 33-34;
unhappy tales, 34;
tales of capture, 34-35;
very long tales, 35-36;
complicated or insincere tales, 36.
Introduction, i-iii.
Inquiry, instinct of, 127-29.
Jack the Giant-Killer, 185, 186, 188, 190.
Jacobs, Joseph,
list of tales by, 247-48;
tales by, as literary form, 69;
editions by, 257.
Jatakas, 170.
Key of the Kingdom, 207-08.
Kindergarten:
play in, 5-6;
work in, unified by the fairy tale, 8-9;
language-training in, 10-11;
interests of child in, 13-37;
standards for literature in, 37-87;
standards for composition in, 54-60;
story-telling in, 94-119;
return to be expected from child in, 119-54;
standards of teaching for teacher in, 119-25;
instincts of child in, 125-54;
history of fairy tales to be used in, 158-203;
classes of tales used in, 204-44;
sources of material for fairy tales to be used in, 245-64.
King-book, Persian, The, 175-76.
Lang, Andrew, tales by, as literary form, 69.
Lambikin, 21.
Language, expression in, 125-27.
Lazy Jack, 224-25.
Life,
a sense of, 14;
criticism of, 120-21;
fairy tale a counterpart to, 8-9.
Lists: of tales, 246-53; _See_ Sources of material.
Literature,
mind and soul in, 39-40;
qualities of, 40;
fairy tale as, 37-87.
Little Lamb and the Little Fish, 147-48, 267-70.
Little Two-Eyes, 145, 265-66.
Little Thumb,
editions, 189;
tale, 232, 281-82.
Literary collections of tales, 170-200.
Logical method of selecting tales, 95-96.
Long tales, opposed to child's interests, 35-36.
Lord Peter, 232, 277.
Magpie's Nest, 151, 270-72.
Märchen Brunnen or Fairy-tale Fountain, 2-3.
Mass,
principle of, 58-59;
illustrated in: Oeyvind and Marit, 61-62;
Three Billy-Goats Gruff, 65.
Medio Pollito, 215-16.
Memory, development of, 226.
Message, of the tale, 100; of this book. _See_ Summaries.
Method of story-telling,
the recreative, 113-17;
criticism of, 114-16;
illustration of, 116-17;
direct moral, 143.
Mind, in literature, 40.
Miscellaneous,
tales, a list, 249-53;
editions, 259-62.
Modern tale,
compared with old tale, 234-43;
types of, 235-43;
what it is, 243;
tales, by Andersen, 28-29, 234, 248, 256-57.
Motifs in folk-tales, classified, 97-98.
Mother Goose,
tales of, 179-81;
her Melodies, 187, 195, 197, 198.
Musicians of Bremen, 130-31, 219-20.
Narration,
in fairy tales, 74-75;
illustrated by Sleeping Beauty, 146-47.
Norse tales, 194; a list of, 247; editions, 257.
Objectification in fairy tales, 135-38.
Oeyvind and Marit, 60-64.
Old Woman and Her Pig,
accumulative type, 207, 208;
realistic type, 225-26;
an exercise of memory, 226.
Organization of ideas,
accomplished through Fir Tree, 152-53;
social, of tale, 153-54.
Origin of fairy tales, 158-67.
Outline, 291-303.
Paper-cutting, 130-31.
Painting, as expression, 132.
Panchatantra, the Five Books, 171.
Pause, in story-telling, 104-05.
Pentamerone, The, 178-79.
Perrault, Charles,
statue of, 1;
list of tales by, 180;
tales by, tested as literary form, 68;
editions by, 257-58.
Personality,
quality of, 57-58;
in Oeyvind and Marit, 60;
in Three Billy-Goats Gruff, 64;
power of, 106-07.
Personal relation, establishment of, 107-10.
Peter Rabbit, 239.
Philosophy,
in fairy tales, 48-52;
of Uncle Remus Tales, 51-52;
of Laboulaye's Tales, 51;
of Cat and Mouse in Partnership, 48;
of Emperor's New Suit, 48-49;
of Ugly Duckling, 49-50;
of Elephant's Child, 49;
child's, 50-51.
Phonics in fairy tales, 79-81.
Pictures, list, 255.
Picture-Books, list, 254-55.
Plot,
element of fairy tale as short-story, 73-77;
structure illustrated, 76-77.
Poems, fairy, list, 255-56.
Poetic justice, 22-23.
Poetry, of teaching, 120.
Portrayal of human relations, especially with children, 24-25.
Position, of story-teller, 107.
Precision,
quality of, 57;
illustrated in: Oeyvind and Marit, 60;
Three Billy-Goats Gruff, 64.
Preparation, teacher's,
in story-telling, 94-102;
rules for telling, 94-102.
Presentation, teacher's,
of tale, 102-19;
training of voice, 103-04;
exercises in breathing, 104-05;
gesture, 105-06;
power of personality, 106-07;
suggestions for telling, 107-12;
establishment of personal relation, 108-10;
placing of story in concrete situation, 94-95, 110-11;
conception of child's aim, 112;
telling of tale, 112-19;
re-creative method of story-telling, 113-17;
adaptation of fairy tales, 117-19.
Princess and Pea, 114-16.
Principles,
of selection for fairy tales, 13-89;
interests of children, 13-37;
fairy tale as literature, 37-70;
fairy tale as short-story, 70-87;
references, 87-89.
Principles,
of composition, 58-60;
of story-telling, 94;
of teaching, 119-25;
concerning instincts of children, 124-25.
Problem, a means of developing consciousness, 122-25.
Proverbs in fairy tales, 50.
Purpose, growth in child's, 123-25.
Puss-in-Boots, 232, 275-78.
Psychological method of selecting tales, 95-96.
Quick-Running Squash, 240.
Realistic, tale, 223-28; types of, 224-28.
Reading, as expression, 127; relation of, to literature, 10-11, 127.
Reason, growth in, 6-7, 10; development of, 53-54.
Re-creative method of story-telling, 113-17.
Red Riding Hood, chap-book, 189; a romantic type, 232-34.
References;
chapter I, 12;
chapter II, 87-89;
chapter III, 154-57;
chapter IV, 201-03;
chapter V, 243-44.
Relation,
of contemplative imagination to language-training, 47-48;
of contemplative imagination to power of observation, 47-48;
of contemplative imagination to science, 52-53;
of literature to intellect, 53-54;
of sound to sense or meaning, 55;
of sound to action, 55-56;
of phonics and emotional effect, 55;
of gesture to story-telling, 105-06;
personal, between the story-teller and listener, 107-10;
of reading to story-telling, 127;
of reading to literature, 10, 11, 38, 127;
of rhyme to meaning, 56;
of fairy tales to nature study, 6, 47-48;
of fairy tales to industrial education, 71-73;
of fairy tales to child, 3-11;
of dramatization to story-telling, 138-54;
of fairy tales to literature, 37-70;
of fairy tales to composition, 54-70;
of fairy tales to story-telling, 90-91.
Repetition, 26-28, 205-11.
Representation, 135-38.
Re-telling of fairy tales, 101-02.
Return, creative, from child,
in telling of fairy tales, 119-54:
in language, 125-27;
in inquiry, 127-29;
in construction, 129-30;
in artistic expression, 130-54;
in paper-cutting, 130-31;
in drawing, 132;
in painting, 132;
in song, 132-33;
in rhythm, 133-34;
in game, 134-35;
in dance, 137, 145, 147;
in dramatization, 138-54;
illustrated, 145-54, 265-72.
Reynard the Fox,
place in the animal tale, 212;
history, 172-74;
chap-book, 185, 186, 190, 196.
Rhyme, 56.
Rhythm, in fairy tales, 26-28;
plays, 133-34.
Robin's Christmas song, 78-79.
Romantic tale, 228-34; types of, 228-34, 275-86.
St. Nicholas, Stories retold from, 241.
Sanskrit Tales, 171.
School editions of fairy tales, 262-64.
Science, relation of contemplative imagination to, 52-53.
Sea Fairy and the Land Fairy, 236-37.
Selection of fairy tales by teacher, psychological or logical, 95-96.
Sense impression, 17-18.
Setting,
element of fairy tale as short-story, 77-82;
sequence in, 78-79;
story told by, 81-82;
and phonics, 79-81.
Sheep and Pig, 215.
Short-story,
fairy tale as, 70-87:
elements of, 70-71;
ways of writing, 71;
characters, 71-73;
plot, 73-77;
narration in, 74-75;
description in, 75;
setting, 77-82;
elements of, blended, 82-84;
tales tested as, 84-87;
telling of, 90-154.
Silhouette pictures, cutting of, 130-31.
Simple and sincere, 28-29.
Sincerity, principle of, 58-59;
illustrated in: Oeyvind and Marit, 60, 61;
Three Billy-Goats Gruff, 64-65.
Sindibad, The Book of, 172.
Sleeping Beauty,
romantic type, 231-32;
uniting partial narration, dramatization, and dramatic game, 146-47.
Snow White, 145, 266-67.
Snow White and Rose Red, 232, 282-86.
Song, as expression, 132-33.
Soul, in literature, 39-40.
Sources of material for fairy tales, 245-64:
list of fairy tales and folk-tales, 246-53;
bibliography of fairy tales, 253-54;
list of picture-books, 254-55;
list of pictures, 255;
list of fairy poems, 255-56;
main standard fairy-tale books, 256-58;
fairy tales of all nations, 258-59;
miscellaneous editions of fairy tales, 259-62;
school editions of fairy tales, 262-64.
Sparrow and the Crow, as expression, 125-26.
Spider and the Flea, 79-81.
Standards,
for testing fairy tales, 84;
for selecting tales, 204-05;
for making lists, 245-46. _See_ Summaries.
Standard fairy-tale books, a list, 256-58.
Story, place of,
in home, library, and school, 93-94;
formation of original stories, 126-27.
Story-telling,
an ancient art, 91-93;
principles governing, 94;
teacher's preparation for, 94-102;
rules for, 94-102;
presentation in, 102-119;
voice in, 103-04;
breathing in, 104-05;
gesture in, 105-06;
re-creative method of, 113-17;
return from child, in, 119-54;
child's part in, 121-25.
Straparola, 178.
Straparola's Nights, 178.
Straw Ox, 86-87.
Structure, illustrated, 76-77;
study of, in story-telling, 99-100.
Study of tale as folk-lore and as literature, 96-99.
Style,
defined, 59-60;
illustrated, 60-65;
qualities of, 59-60;
principles controlling, 59-60.
Success, 20.
Suggestion,
illustrated by Pope, 55;
by Andersen, 136;
by Kipling, 56-57;
through gesture and sound, 55;
through arrangement of words and speech-tunes of voice, 56-57.
Summaries: giving message of book, 13, 37-38, 40, 70-71, 84, 158,
204-05, 235.
Surprise, 15-17.
Swedish tales, 193.
Tales:
of Mother Goose, 179-81;
of Perrault, 246;
of the Grimms, 246-47;
Norse, 247;
English, by Jacobs, 247-48;
modern fairy, by Andersen, 248;
Uncle Remus, 248-49;
miscellaneous, 249-53;
fairy, of all nations, 258-59;
literary collections of, 170-200. _See_ Fairy tales.
Teaching,
story-telling, a part of the art of, 119-25;
poetry of, 120;
good art in, 120;
great art in, 120-21;
a criticism of life, 120-21.
Telling, of fairy tales, 90-154;
art of story-telling, 90-94;
principles controlling, 94;
preparation by teacher for, 94-102;
presentation by teacher, in, 102-19;
suggestions for, 107-12;
return by child, from, 119-54;
re-creative method of, 113-17;
adaptation of tales for, 117-19;
references, 154-57.
Theories of origin of fairy tales:
detritus of myth, 161-63;
sun-myth theory, 163-64;
common Indian heritage, 165-67;
identity of early fancy, 167.
Three Bears,
illustrating surprise, 16-17;
a chap-book, 190;
accumulative, 209-11.
Three Billy-Goats Gruff, 64-65.
Three Pigs,
illustrating structure, 76;
animal type, 216.
Thumbelina,
illustrating adaptation, 118;
illustrating rhythm play, 134.
Tin Soldier,
Steadfast, as emotion, 42;
tale of imagination, 46;
as representation, 135-38;
as a game, 135, 138.
Titty Mouse and Tatty Mouse, 81, 208-09, 227-28.
Tom Hickathrift, 185, 186, 187, 196.
Tom Thumb,
chap-book tale, 185, 188, 190, 196;
romantic type, 278-81.
Tone-color, in story-telling, 105.
Training of voice, 103-04.
Transformation, tales of, 32-33; kinds of, 276.
Transmission, of tales:
oral, 167-170;
literary, 170;
illustrated by: Dog Gellert, 166;
Dick Whittington, 169;
Peruonto, 169-70.
Tributes, two public, 1-3.
Truth, basis of, in fairy tales, a distinguishing literary mark, 40,
53-54.
Tuileries, gardens of. _See_ Gardens.
Uncle Remus Tales, by Harris, 248-49; editions, 257.
Unhappy tales, 34.
Unity,
of effect, 29-30;
principle of composition, 58-59;
illustrated in: Oeyvind and Marit, 61;
Three Billy-Goats Gruff, 65.
Value,
of fairy tales in education, 3-12, 119-25;
to give joy, 3-4;
to satisfy the play-spirit, 4-6;
to develop observation, 6;
to give habits of mind, 6-7;
to strengthen emotion, 6-7, 44-45;
to extend social relations, 7-8
in home, library, and school, 8-9;
to give language-training, 10-11;
to develop imagination, 45-53;
to develop reason, 53-54;
to develop power of creative return, 119-54;
to develop self-activity, 121-22;
to develop consciousness, through problems, 122-23;
to develop initiative, 122;
to develop purpose, 123-25;
to develop self-expression, 124-54;
to strengthen originality, 127-29;
to develop organization of ideas, 153;
and to exercise memory, 226.
Version, of tale, 101-02.
Villeneuve, Madam, 182.
Voice, training of, 103-04.
Witch tales, 31.
Wolf and the Seven Kids,
expression in painting, 132;
in song, 132-33.
Words,
powers of, 54-55;
denotation, 54;
connotation, 54-55;
suggestion, 54-57.
Wonder, mystery, magic, an interest, 19.
Worth of fairy tales, 1-12:
two public tributes, 1-3;
value of fairy tales in education, 3-12;
references, 12.