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the more poetic fragments of Mother Goose） Stories with Rhyme in Parts
Nature Stories （in which the element of personification is strong）
Nonsense Tales Wonder Tales
FOR CLASSES II。 AND III。：
Nonsense Tales Wonder Tales Fairy and Folk Tales Fables Legends
Nature Stories （especially stories of animals）
FOR CLASSES IV。 AND V。：
Folk Tales Fables Myths and Allegories Developed Animal Stories
Legends： Historic and Heroic Historical Stories Humorous Adventure
Stories 〃True Stories 〃
The wonder tales most familiar and accessible to the teacher are
probably those included in the collections of Andersen and the Brothers
Grimm。 So constant is the demand for these that the following list may be
found useful； as indicating which of the stories are more easily and
effectively adapted for telling； and commonly most successful。
It must be remembered that many of these standard tales need such
adapting as has been suggested； catting them down； and ridding them of
vulgar or sophisticated detail。
From the Brothers Grimm：
The Star Dollars The Cat and the Mouse The Nail The Hare and the
Hedgehog Snow…White and Rose…Red Mother Holle Thumbling Three
Brothers The Little Porridge Pot Little Snow…White The Wolf and the
Seven Little Kids The Sea Mouse
From Andersen：
Little Tiny The Lark and the Daisy The Ugly Duckling The Seven
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
Stories of the Snow Queen The Flax The Little Match Girl The Fir…Tree
The Red Shoes Ole Lukoie Monday Saturday Sunday The Elf of the Rose
Five Peas in a Pod The Portuguese Duck The Little Mermaid （much
shortened） The Nightingale （shortened） The Girl who trod on a Loaf The
Emperor's New Clothes
Another familiar and easily attainable type of story is the classic myth；
as retold in Kupfer's Legends of Greece and Rome。＇1＇ Of these； again；
certain tales are more successfully adapted to children than others。 Among
the best for telling are：
Arachne Pandora Midas Apollo and Daphne Apollo and Hyacinthus
Narcissus Latona and the Rustics Proserpine
＇1＇ A well…nigh indispensable book for teachers is Guerber's Myths of
Greece and Rome； which contains in brief form a complete collection of
the classic myths。
CHAPTER III
ADAPTATION OF STORIES FOR TELLING
It soon becomes easy to pick out from a collection such stories as can
be well told； but at no time is it easy to find a sufficient number of such
stories。 Stories simple； direct； and sufficiently full of incident for telling；
yet having the beautiful or valuable motive we desire for children； do not
lie hidden in every book。 And even many of the stories which are most
charming to read do not answer the double demand； for the appeal to the
eye differs in many important respects from that to the ear。 Unless one is
able to change the form of a story to suit the needs of oral delivery； one is
likely to suffer from poverty of material。 Perhaps the commonest need of
change is in the case of a story too long to tell； yet embodying some one
beautiful incident or lesson； or one including a series of such incidents。
The story of The Nurnberg Stove； by Ouida；＇1＇ is a good example of the
latter kind； Ruskin's King of the Golden River will serve as an illustration
of the former。
＇1＇ See Bimbi； by Ouida。 （Chatto。 2s。）
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
The problem in one case is chiefly one of elimination； in the other it
is also in a large degree one of rearrangement。 In both cases I have
purposely chosen extreme instances； as furnishing plainer illustration。 The
usual story needs less adaptation than these； but the same kind； in its own
degree。 Condensation and rearrangement are the commonest forms of
change required。 Pure condensation is probably the easier for most persons。
With The Nurnberg Stove in mind for reference； let us see what the
process includes。 This story can be readily found by anyone who is
interested in the following example of adaptation； for nearly every library
includes in its catalogue the juvenile works of Mlle。 de la Ramee （Ouida）。
The suggestions given assume that the story is before my readers。
The story as it stands is two thousand four hundred words long；
obviously too long to tell。 What can be left out？ Let us see what must be
kept in。
The dramatic climax toward which we are working is the outcome of
August's strange exploit；his discovery by the king and the opportunity
for him to become an artist。 The joy of this climax is twofold： August may
stay with his beloved Hirschvogel； and he may learn to make beautiful
things like it。 To arrive at the twofold conclusion we must start from a
double premise；the love of the stove and the yearning to be an artist。 It
will； then； be necessary to include in the beginning of the story enough
details of the family life to show plainly how precious and necessary
Hirschvogel was to the children； and to state definitely how August had
learned to admire and wish to emulate Hirschvogel's maker。 We need no
detail beyond what is necessary to make this clear。
The beginning and the end of a story decided upon； its body becomes
the bridge from one to the other； in this case it is August's strange journey；
beginning with the catastrophe and his grief…dazed decision to follow the
stove。 The journey is long； and each stage of it is told in full。 As this is
impossible in oral reproduction； it becomes necessary to choose typical
incidents； which will give the same general effect as the whole。 The
incidents which answer this purpose are： the beginning of the journey； the
experience on the luggage train； the jolting while being carried on men's
shoulders； the final fright and suspense before the king opens the door。
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
The episode of the night in the bric…a…brac shop introduces a wholly
new and confusing train of thought； therefore； charming as it is； it must be
omitted。 And the secondary thread of narrative interest； that of the prices
for which the stove was sold； and the retribution visited on the cheating
dealers； is also 〃another story；〃 and must be ignored。 Each of these
destroys the clear sequence and the simplicity of plot which must be kept
for telling。
We are reduced； then； for the whole； to this： a brief preliminary
statement of the place Hirschvogel held in the household affections； and
the ambition aroused in August； the catastrophe of the sale； August's
decision； his experiences on the train； on the shoulders of men； and just
before the discovery； his discovery； and the denouement。
This not only reduces the story to tellable form； but it also leaves a
suggestive interest which heightens later enjoyment of the original。 I
suggest the adaptation of Kate Douglas Wiggin； in The Story Hour； since
in view of the existence of a satisfactory adaptation it seems
unappreciative to offer a second。 The one I made for my own use some
years ago is not dissimilar to this； and I have no reason to suppose it more
desirable。
Ruskin's King of the Golden River is somewhat difficult to adapt。 Not
only is it long； but its style is mature； highly descriptive； and closely
allegorical。 Yet the tale is too beautiful and too suggestive to be lost to the
story…teller。 And it is； also； so recognised a part of the standard literary
equipment of youth that teachers need to be able to introduce children to
its charm。 To make it available for telling； we must choose the most
essential events of the series leading up to the climax； and present these so
simply as to appeal to children's ears； and so brief