“La Belle au Bois Dormant” by, 26;
_Contes du Temps Passé avec Moralités_ credited to, 27.
“Pet Raven, The,” legend of, 317.
Physical education, story for use in connection with, 330.
Pictures,
story-telling for teaching love of, 95-106;
scenes for dramatization suggested by, 116;
to be used in Bible story-telling, 129-130.
_See_ Art.
“Pied Piper,” suitable for dramatization by little children, 112-113.
“Pigeons of Venice, The,” story of, 263.
“Poor Man and the Rich Man, The,” story of, retold from Grimm, 218.
Primitive-why story, period when child enjoys, 20.
“Prince Unexpected,” story of, 239.
“Puss in Boots,” first appearance of, 26.
“Pygmalion and Galatea,” of little meaning to young children, 37.
“Rabbit and the Easter Eggs, The,” story of, 228.
Racial tales,
fascination of, in rhythmic period, 14;
enjoyment of, by children in imaginative period, 20.
Raphael,
acquainting little children with, 100-101;
paintings by, for children of intermediate period, 102.
Realistic period in children’s story interests, 13-18.
Recitations, shortening of, to give time for story-telling, 169.
“Red Riding Hood,”
first appearance of, 26;
beginning of, 54;
climax of, 56.
Reference work necessary to story-telling, 11.
Rembrandt, story of “Wilhelmina’s Wooden Shoes” dealing with life of,
283.
Repetition in jingles, surprise element in, 57.
Repetitive stories, fascination of, in rhythmic period, 13-14.
Reynolds, Sir Joshua, pictures by, suitable for young children, 98.
Rhine, legend of the, “The Pet Raven,” 317.
Rhythmic period, story interests in, 12-18.
Richards, Laura E., _Life of Florence Nightingale_ by, 47.
“Riquet o’ the Tuft,” published by Perrault, 27.
Robin Hood,
story of, a good adventure tale, 34-35;
material for dramatic work in, 114.
Roland and Oliver, dramatic qualities in tale of, 37.
Romantic period, story interests of childhood in, 42-50.
Rubens, pictures by, suitable for children of intermediate period, 103.
Ruskin, John, on use of Bible stories, 119.
“St. George and the Dragon,” a favorite story in heroic period, 38.
Scheffel, J. V. von, _Ekkehard_ by, 49.
Schmidt, Canon, story of “The Easter Eggs” adapted from, 229.
Schools,
place given story-telling in, 8-9;
time for telling stories in, 67;
mistake of study of literature in, by dissecting process, 75-76;
value of story-telling in, 199-200.
Schubert, Franz, story concerning boyhood of, 89-93.
Science teaching,
story-telling and, 178-190;
stories to use in, 255, 325, 331.
Scottish Highlands, story-telling in, 5.
“Search for the Seven Cities, The,” by Margaret Graham Hood, 149-167.
Sentimentalism in stories, lack of response by children to, 184.
Shasta legend, “Why Grizzly Bear Goes on All Fours,” 299.
Shedlock, Marie L., five minutes of silence after each story advocated
by, 57.
“Shepherd Who Turned Back, The,” Syrian legend retold, 311.
Sicily, knowledge of classics possessed by peasants of, 18.
“Silver Cones, The,” story of, 222.
Slavic wonder tale, “Prince Unexpected,” 239.
“Sleeping Beauty,”
“Brier Rose” a modification of same story, 25;
published by Perrault, 26.
Social instincts, development of, by use of stories with geographical
or historical background, 170-171.
Southey, Robert, “The Three Bears” by, 28.
Spyri, Johanna,
_Moni the Goat Boy_ by, 49;
story of “The Silver Cones” adapted from, 222.
Stevenson, R. L., interesting children in works of, by telling stories
about, 71-73.
Story interests of childhood,
in rhythmic period, 12-18;
in imaginative period, 20-30;
in heroic period, 32-41;
in romantic period, 42-50.
“Story of a Salmon, The,” by David Starr Jordan, 255.
“Story of a Stone, The,” by David Starr Jordan, 331.
Story-telling,
purpose and aim of, 1-11;
interests in rhythmic period, 12-18;
interests in imaginative period, 20-30;
interests in heroic period, 32-41;
interests in romantic period, 42-50;
building the story, 52-57;
telling the story, 58-68;
and appreciation of literature, 69-82;
to awaken an appreciation of music, 83-93;
and appreciation of art, 95-106;
and dramatization, 107-117;
Bible stories, 118-131;
teaching of ethics, 132-140;
to intensify interest in history, 143-167;
to intensify interest in geography, 168-177;
and nature study, 178-190;
in teaching domestic science and manual training, 192-197;
general statement as to value of, 198-201.
Story-writing, course in, recommended for the professional
story-teller, 52.
Straparola, publisher of first collection of fairy tales, 26.
Supernatural beliefs,
primitive man’s, as revealed in fairy tales, 25-27;
effect of physical features of different regions upon, and so upon
fairy tales, 27.
Surprise element in stories, 55-57.
Suspense,
element of, 6, 55;
increase in, by use of pauses, 64-65.
Swedish legend, “The Emperor’s Vision,” 306.
“Sweet and Low,” suggested method of interesting children in, 73-74.
Swiss legends retold, 274, 311.
Syrian legend, “The Shepherd Who Turned Back,” 311.
Talking machines, use of, for introducing children to music, 86, 89.
Tell, William, stories of, suitable for children in heroic period, 39.
Thuringian folk tales,
gathered and preserved by the Grimms, 27;
retold, 204, 209, 212, 218, 226, 227.
Totemistic theory, Lang’s, 3, 25.
“Ugly Duckling,”
unsuitable for children who have never been in country, 15;
surprise element in climax of, 56.
Van Dyck, Anthony, familiarizing little children with paintings by,
101.
Van Dyke, Henry,
on avoidance of moralizing in story-telling, 67;
works of, a help to the Bible story-teller, 123.
Vedas, theory of origin of fairy stories in the, 25.
“Venice, The Pigeons of,” story of, 263.
Vincent, Jacques, fascination of stories by, 50.
Vocational training, use of story-telling in, 192-197.
Welsh folk tale, “The Greedy Cobbler,” 251.
“Why Grizzly Bear Goes on All Fours,” Shasta legend, 299.
“Why the Japanese Love the Stork,” Japanese legend, 296.
“Wilhelmina’s Wooden Shoes,” story of, 283.
“Wonderful Builders, The,” story of, 188-190.
Wonder tales, period when child enjoys, 20.