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Stories To Tell Children
pronunciation are essentials。 But they are。 You can no more help affecting
the meaning of your words by the way you say them than you can prevent
the expressions of your face from carrying a message； the message may be
perverted by an uncouth habit； but it will no less surely insist on
recognition。
The fact is that speech is a method of carrying ideas from one human
soul to another； by way of the ear。 And these ideas are very complex。 They
are not unmixed emanations of pure intellect； transmitted to pure intellect：
they are compounded of emotions； thoughts； fancies； and are enhanced or
impeded in transmission by the use of word…symbols which have acquired；
by association； infinite complexities in themselves。 The mood of the
moment； the especial weight of a turn of thought； the desire of the speaker
to share his exact soul…concept with you；these seek far more subtle
means than the mere rendering of certain vocal signs； they demand such
variations and delicate adjustments of sound as will inevitably affect the
listening mind with the response desired。
There is no 〃what〃 without the 〃how〃 in speech。 The same written
sentence becomes two diametrically opposite ideas； given opposing
inflection and accompanying voice…effect。 〃He stood in the front rank of
the battle〃 can be made praiseful affirmation； scornful skepticism； or
simple question； by a simple varying of voice and inflection。 This is the
more unmistakable way in which the 〃how〃 affects the 〃what。〃 Just as true
is the less obvious fact。 The same written sentiment； spoken by Wendell
Phillips and by a man from the Bowery or an uneducated ranchman； is not
the same to the listener。 In one case the sentiment comes to the mind's ear
with certain completing and enhancing qualities of sound which give it
accuracy and poignancy。 The words themselves retain all their possible
suggestiveness in the speaker's just and clear enunciation； and have a
borrowed beauty； besides； from the associations of fine habit betrayed in
the voice and manner of speech。 And； further； the immense personal
equation shows itself in the beauty and power of the vocal expressiveness；
which carries shades of meaning； unguessed delicacies of emotion；
intimations of beauty； to every ear。 In the other case； the thought is
clouded by unavoidable suggestions of ignorance and ugliness； brought by
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the pronunciation and voice； even to an unanalytical ear； the meaning is
obscured by inaccurate inflection and uncertain or corrupt enunciation； but；
worst of all； the personal atmosphere； the aroma； of the idea has been lost
in transmission through a clumsy； ill…fitted medium。
The thing said may look the same on a printed page； but it is not the
same when spoken。 And it is the spoken sentence which is the original and
the usual mode of communication。
The widespread poverty of expression in English； which is thus a
matter of 〃how；〃 and to which we are awakening； must be corrected
chiefly； at least at first； by the common schools。 The home is the ideal
place for it； but the average home of the United States is no longer a
possible place for it。 The child of foreign parents； the child of parents little
educated and bred in limited circumstances； the child of powerful
provincial influences； must all depend on the school for standards of
English。
And it is the elementary school which must meet the need； if it is to be
met at all。 For the conception of English expression which I am talking of
can find no mode of instruction adequate to its meaning； save in constant
appeal to the ear； at an age so early that unconscious habit is formed。 No
rules； no analytical instruction in later development； can accomplish what
is needed。 Hearing and speaking； imitating； unwittingly and wittingly； a
good model； it is to this method we must look for redemption from present
conditions。
I believe we are on the eve of a real revolution in English teaching；
only it is a revolution which will not break the peace。 The new way will
leave an overwhelming preponderance of oral methods in use up to the
fifth or sixth grade； and will introduce a larger proportion of oral work
than has ever been contemplated in grammar and high school work。 It will
recognize the fact that English is primarily something spoken with the
mouth and heard with the ear。 And this recognition will have greatest
weight in the systems of elementary teaching。
It is as an aid in oral teaching of English that story…telling in school
finds its second value； ethics is the first ground of its usefulness； English
the second；and after these； the others。 It is； too； for the oral uses that the
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Stories To Tell Children
secondary forms of story…telling are so available。 By secondary I mean
those devices which I have tried to indicate； as used by many American
teachers； in the chapter on 〃Specific Schoolroom Uses；〃 in my earlier
book。 They are re…telling； dramatization； and forms of seat…work。 All of
these are a great power in the hands of a wise teacher。 If combined with
much attention to voice and enunciation in the recital of poetry； and with
much good reading aloud BY THE TEACHER； they will go far toward
setting a standard and developing good habit。
But their provinces must not be confused or overestimated。 I trust I
may be pardoned for offering a caution or two to the enthusiastic advocate
of these methods；cautions the need of which has been forced upon me； in
experience with schools。
A teacher who uses the oral story as an English feature with little
children must never lose sight of the fact that it is an aid in unconscious
development； not a factor in studied； conscious improvement。 This truth
cannot be too strongly realized。 Other exercises； in sufficiency； give the
opportunity for regulated effort for definite results； but the story is one of
the play… forces。 Its use in English teaching is most valuable when the
teacher has a keen appreciation of the natural order of growth in the art of
expression： that art requires； as the old rhetorics used often to put it； 〃a
natural facility； succeeded by an acquired difficulty。〃 In other words； the
power of expression depends； first； on something more fundamental than
the art…element； the basis of it is something to say； ACCOMPANIED BY
AN URGENT DESIRE TO SAY IT； and YIELDED TO WITH
FREEDOM； only after this stage is reached can the art…phase be of any
use。 The 〃why〃 and 〃how；〃 the analytical and constructive phases； have no
natural place in this first vital epoch。
Precisely here； however； does the dramatizing of stories and the paper…
cutting； etc。； become useful。 A fine and thoughtful principal of a great
school asked me； recently； with real concern； about the growing use of
such devices。 He said； 〃Paper…cutting is good； but what has it to do with
English？〃 And then he added： 〃The children use abominable language
when they play the stories； can that directly aid them to speak good
English？〃 His observation was close and correct； and his conservatism
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more valuable than the enthusiasm of some of his colleagues who have
advocated sweeping use of the supplementary work。 But his point of view
ignored the basis of expression； which is to my mind so important。 Paper…
cutting is external to English； of course。 Its only connection is in its power
to correlate different forms of expression； and