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Stories To Tell Children
Stories To Tell Children
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Stories To Tell Children
Concerning the fundamental points of method in telling a story； I have
little to add to the principles which I have already stated as necessary； in
my opinion； in the book of which this is； in a way； the continuation。 But in
the two years which have passed since that book was written； I have had
the happiness of working on stories and the telling of them； among
teachers and students all over this country； and in that experience certain
secondary points of method have come to seem more important； or at least
more in need of emphasis； than they did before。 As so often happens； I had
assumed that 〃those things are taken for granted；〃 whereas； to the beginner
or the teacher not naturally a story…teller； the secondary or implied
technique is often of greater difficulty than the mastery of underlying
principles。 The few suggestions which follow are of this practical； obvious
kind。
Take your story seriously。 No matter how riotously absurd it is； or how
full of inane repetition； remember； if it is good enough to tell； it is a real
story； and must be treated with respect。 If you cannot feel so toward it； do
not tell it。 Have faith in the story； and in the attitude of the children toward
it and you。 If you fail in this； the immediate result will be a touch of
shame… facedness； affecting your manner unfavorably； and； probably；
influencing your accuracy and imaginative vividness。
Perhaps I can make the point clearer by telling you about one of the
girls in a class which was studying stories last winter； I feel sure if she or
any of her fellow students recognizes the incident； she will not resent
being made to serve the good cause； even in the unattractive guise of a
warning example。
A few members of the class had prepared the story of 〃The Fisherman
and his Wife。〃 The first girl called on was evidently inclined to feel that it
was rather a foolish story。 She tried to tell it well； but there were parts of it
which produced in her the touch of shamefacedness to which I have
referred。
When she came to the rhyme；
〃O man of the sea； come； listen to me； For Alice； my wife； the plague
of my life； Has sent me to beg a boon of thee；〃
she said it rather rapidly。 At the first repetition she said it still more
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Stories To Tell Children
rapidly； the next time she came to the jingle she said it so fast and so low
that it was unintelligible； and the next recurrence was too much for her。
With a blush and a hesitating smile she said； 〃And he said that same thing；
you know！〃 Of course everybody laughed； and of course the thread of
interest and illusion was hopelessly broken for everybody。
Now； any one who chanced to hear Miss Shedlock tell that same story
will remember that the absurd rhyme gave great opportunity for
expression； in its very repetition； each time that the fisherman came to the
water's edge his chagrin and unwillingness was greater； and his summons
to the magic fish mirrored his feeling。 The jingle IS foolish； that is a part
of the charm。 But if the person who tells it FEELS foolish； there is no
charm at all！ It is the same principle which applies to any address to any
assemblage： if the speaker has the air of finding what he has to say absurd
or unworthy of effort； the audience naturally tends to follow his lead； and
find it not worth listening to。
Let me urge； then； take your story seriously。
Next； 〃take your time。〃 This suggestion needs explaining； perhaps。 It
does not mean license to dawdle。 Nothing is much more annoying in a
speaker than too great deliberateness； or than hesitation of speech。 But it
means a quiet realization of the fact that the floor is yours； everybody
wants to hear you； there is time enough for every point and shade of
meaning and no one will think the story too long。 This mental attitude
must underlie proper control of speed。 Never hurry。 A business…like leisure
is the true attitude of the storyteller。
And the result is best attained by concentrating one's attention on the
episodes of the story。 Pass lightly； and comparatively swiftly； over the
portions between actual episodes； but take all the time you need for the
elaboration of those。 And above all； do not FEEL hurried。
The next suggestion is eminently plain and practical； if not an all too
obvious one。 It is this： if all your preparation and confidence fails you at
the crucial moment； and memory plays the part of traitor in some
particular； if； in short； you blunder on a detail of the story； NEVER
ADMIT IT。 If it was an unimportant detail which you misstated； pass right
on； accepting whatever you said； and continuing with it； if you have been
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so unfortunate as to omit a fact which was a necessary link in the chain；
put it in； later； as skillfully as you can； and with as deceptive an
appearance of its being in the intended order； but never take the children
behind the scenes； and let them hear the creaking of your mental
machinery。 You must be infallible。 You must be in the secret of the
mystery； and admit your audience on somewhat unequal terms； they
should have no creeping doubts as to your complete initiation into the
secrets of the happenings you relate。
Plainly； there can be lapses of memory so complete； so all…embracing；
that frank failure is the only outcome； but these are so few as not to need
consideration； when dealing with so simple material as that of children's
stories。 There are times； too； before an adult audience； when a speaker can
afford to let his hearers be amused with him over a chance mistake。 But
with children it is most unwise to break the spell of the entertainment in
that way。 Consider； in the matter of a detail of action or description； how
absolutely unimportant the mere accuracy is； compared with the effect of
smoothness and the enjoyment of the hearers。 They will not remember the
detail； for good or evil； half so long as they will remember the fact that
you did not know it。 So； for their sakes； as well as for the success of your
story； cover your slips of memory； and let them be as if they were not。
And now I come to two points in method which have to do especially
with humorous stories。 The first is the power of initiating the appreciation
of the joke。 Every natural humorist does this by instinct and the value of
the power to story…teller can hardly be overestimated。 To initiate
appreciation does not mean that one necessarily gives way to mirth；
though even that is sometimes natural and effective； one merely feels the
approach of the humorous climax； and subtly suggests to the hearers that it
will soon be 〃time to laugh。〃 The suggestion usually comes in the form of
facial expression； and in the tone。 And children are so much simpler； and
so much more accustomed to following another's lead than their elders；
that the expression can be much more outright and unguarded than would
be permissible with a mature audience。
Children like to feel the joke coming； in this way； they love the
anticipation of a laugh； and they will begin to dimple； often； at your first
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unconscious suggestion of humor。 If it is lacking； they are sometimes
afraid to follow their own instincts。 Especially when you are facing an
audience of grown people and children together； you will find that the
latter are very hesitant about initiating their own expression of humor。 It is
more difficult to make them forget their surroundings then； and more
desirable to give t