Chapter 30

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.