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accretions of years of fairyland… dwelling and nonsense…sharing；these
cannot understand the perplexity of one to whom the gift and the
opportunity have not 〃come natural。〃 But there are many who can
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
understand it； personally and all too well。 To these； the teachers who have
not a knack for story… telling； who feel as shy as their own youngest
scholar at the thought of it； who do not know where the good stories are；
or which ones are easy to tell； it is my earnest hope that the following
pages will bring something definite and practical in the way of suggestion
and reference。
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
HOW TO TELL STORIES TO
CHILDREN
CHAPTER I
THE PURPOSE OF STORY…TELLING IN SCHOOL
Let us first consider together the primary matter of the AIM in
educational story…telling。 On our conception of this must depend very
largely all decisions as to choice and method； and nothing in the whole
field of discussion is more vital than a just and sensible notion of this first
point。 What shall we attempt to accomplish by stories in the schoolroom？
What can we reasonably expect to accomplish？ And what； of this； is best
accomplished by this means and no other？
These are questions which become the more interesting and practical
because the recent access of enthusiasm for stories in education has led
many people to claim very wide and very vaguely outlined territory for
their possession； and often to lay heaviest stress on their least essential
functions。 The most important instance of this is the fervour with which
many compilers of stories for school have directed their efforts solely
toward the ration of natural phenomena。 Geology； zoology； botany； and
even physics are taught by means of more or less happily constructed
narratives based on the simpler facts of these sciences。 Kindergarten
teachers are familiar with such narratives： the little stories of chrysalis…
breaking； flower…growth； and the like。 Now this is a perfectly proper and
practicable aim； but it is not a primary one。 Others； to which at best this is
but secondary； should have first place and receive greatest attention。 What
is a story； essentially？ Is it a textbook of science； an appendix to the
geography； an introduction to the primer of history？ Of course it is not。 A
story is essentially and primarily a work of art； and its chief function must
be sought in the line of the uses of art。 Just as the drama is capable of
secondary uses； yet fails abjectly to realise its purpose when those are
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
substituted for its real significance as a work of art； so does the story lend
itself to subsidiary purposes； but claims first and most strongly to be
recognised in its real significance as a work of art。 Since the drama deals
with life in all its parts； it can exemplify sociological theory； it can
illustrate economic principle； it can even picture politics； but the drama
which does these things only； has no breath of its real life in its being； and
dies when the wind of popular tendency veers from its direction。 So； you
can teach a child interesting facts about bees and butterflies by telling him
certain stories； and you can open his eyes to colours and processes in
nature by telling certain others； but unless you do something more than
that and before that； you are as one who should use the Venus of Milo for
a demonstration in anatomy。
The message of the story is the message of beauty； as effective as that
message in marble or paint。 Its part in the economy of life is TO GIVE
JOY。 And the purpose and working of the joy is found in that quickening
of the spirit which answers every perception of the truly beautiful in the
arts of man。 To give joy； in and through the joy to stir and feed the life of
the spirit： is not this the legitimate function of the story in education？
Because I believe it to be such； not because I ignore the value of other
uses； I venture to push aside all aims which seem secondary to this for
later mention under specific heads。 Here in the beginning of our
consideration I wish to emphasise this element alone。 A story is a work of
art。 Its greatest use to the child is in the everlasting appeal of beauty by
which the soul of man is constantly pricked to new hungers； quickened to
new perceptions and so given desire to grow。
The obvious practical bearing of this is that story…telling is first of all
an art of entertainment； like the stage； its immediate purpose is the
pleasure of the hearer；his pleasure； not his instruction； first。
Now the story…teller who has given the listening children such pleasure
as I mean may or may not have added a fact to the content of their minds；
she has inevitably added something to the vital powers of their souls。 She
has given a wholesome exercise to the emotional muscles of the spirit； has
opened up new windows to the imagination； and added some line or
colour to the ideal of life and art which is always taking form in the heart
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of a child。 She has； in short； accomplished the one greatest aim of story…
telling；to enlarge and enrich the child's spiritual experience； and
stimulate healthy reaction upon it。 Of course this result cannot be seen and
proved as easily and early as can the apprehension of a fact。 The most one
can hope to recognise is its promise； and this is found in the tokens of that
genuine pleasure which is itself the means of accomplishment。 It is； then；
the signs of right pleasure which the story…teller must look to for her guide；
and which it must be her immediate aim to evoke。 As for the recognition
of the signs；no one who has ever seen the delight of a real child over a
real story can fail to know the signals when given； or flatter himself into
belief in them when absent。
Intimately connected with the enjoyment given are two very
practically beneficial results which the story…teller may hope to obtain； and
at least one of which will be a kind of reward to herself。 The first is a
relaxation of the tense schoolroom atmosphere； valuable for its refreshing
recreative power。 The second result； or aim； is not so obvious； but is even
more desirable； it is this： story…telling is at once one of the simplest and
quickest ways of establishing a happy relation between teacher and
children； and one of the most effective methods of forming the habit of
fixed attention in the latter。
If you have never seen an indifferent child aroused or a hostile one
conquered to affection by a beguiling tale； you can hardly appreciate the
truth of the first statement； but nothing is more familiar in the story…teller's
experience。 An amusing； butto metouching experience recently
reaffirmed in my mind this power of the story to establish friendly
relations。
My three…year…old niece； who had not seen me since her babyhood；
being told that Aunt Sara was coming to visit her； somehow confused the
expected guest with a more familiar aunt； my sister。 At sight of me； her
rush of welcome relapsed into a puzzled and hurt withdrawal； which
yielded to no explanations or proffers of affection。 All the first day she
followed me about at a wistful distance； watching me as if I might at any
moment turn into the well…known and beloved relative I ought to have