Chapter XVI: Story-Telling

=Value of the Story.= Story-telling is the true pedagogical
method of instruction, and to some extent of education, in early
childhood. The story has many values, spiritual and intellectual.
The wise teacher will use it to (1) entertain, (2) enlarge the
experience by giving pictures of other children, homes, lands,
social and geographic situations which no one child could
experience, (3) acquaint the child with world characters and
literature, (4) increase the vocabulary and the use of language,
(5) cultivate imagination and concentration, (6) portray the
effects of wisdom or foolishness, (7) present ideals of life, (8)
give inspiration, courage, faith, sympathy.

=What to Choose.= Stories should be selected that will give the
greatest number of these values, and that are suited to the stage
of development of the children to whom they are told. In this age
of cheap printing and authorship, the mediocre is always at hand,
and the most valuable must be searched for as precious jewels. Life
is so brief that there is not time even for all of the best.

The best story must first be true, not necessarily in a realistic
sense of having actually happened to a certain individual in a
historical time and geographical location, but it must be true
in expressing the eternal verities, the principles that govern
the universe. This rules out the tale in which error or vice
succeed, or in which brute strength conquers spiritual strength.
In the “true” myth, fairy tale, or allegory, Right eventually
triumphs as it actually does in the universe, although possibly
long delayed; wrong is punished; error and ignorance bring their
unhappy consequences; wisdom and skill conquer circumstances; and
the forces of the universe (whether presented as natural forces
or as gods, fairies, or Providence) assist those who strive for
righteousness and to assist their fellows.

It must next be vital. No less vicious and undermining than
the untrue story is the weak, sentimental, mawkish, dull, or
mediocre tale. In the reaction against such, and for want of a
guide, children of reading age resort to sensational, flamboyant,
lurid tales found on any cheap stationer’s counters and even in
respectable editions in these days. Other children unfortunately
take to such pabulum temperamentally.

It must also be positive, not negative. Moreover, the grewsome,
harrowing story, the hypocritical, the morbid, are equally a crime
against childhood.

The story must be of interest to the children. It must, therefore,
have action, dramatic quality, and for children under six,
repetition, humor of situation, fun, brevity, rhythm.

=How to Tell Stories.= For the person who “cannot tell a story” as
for the person who “cannot swim”, there is one essential: forget
_yourself_ and plunge in, and practice until you have gained
confidence.

1. Tell something in which you and the children are interested,
and keep at it repeatedly until you feel at ease.

2. Recall stories that interested you at that age.

3. Tell stories the children themselves ask for, refreshing
your memory by reading up a standard version, or by asking the
children to tell it to you.

4. Study Mother Goose, Æsop, and Bible stories as models of the
best story-telling. 5. Live the story as you tell it—see it as
pictures in your own mind. Tell it so vividly that the children
can play it out afterwards.

6. Use direct speech in telling conversation.

7. Make your pictures vivid by a few descriptive words,
especially of colors and sounds; increase your vocabulary of
adjectives.

8. Beware of making it too long, especially for very little
people.

9. Use perhaps a very few natural gestures, but do not try to act
it out. Children have not the mental ability to hear narrative
and see action at the same time.

10. Children love the same story repeated, and they want it told
_the same way_, in order to see the same pictures; therefore have
your story clear in your mind the first time you tell it.

11. If you are telling a classic or standard story, respect it as
it is, just as honestly as you would an historic or scientific
fact. If you do not wish to tell it that way, don’t tell it at
all, but don’t tinker it.

12. Do not try to memorize a story, except possibly the
conversations.

13. If a story is clearly told, the child will usually absorb and
discern the ethical principle involved, without any necessity on
your part to obtrusively “point the moral.” Sometimes a child
will draw an erroneous or unexpected inference because his
judgment is yet immature or his ethical experience is elementary
or perverted. Under such a condition, try to tell another story
that will concretely clear his thought.

When you are able to tell a story spontaneously, joyfully,
forgetting yourself, losing yourself in the story and in the
children’s interest, you will be ready to study story-telling as a
science and an art, and you will have learned by your experience
some of the fundamental principles of the art.

The first requisite, however, is spontaneity, naturalness,
self-confidence. To attempt to study method before attaining
this quality is to incur the danger of substituting “finish” for
vitality.

=Times and Occasions.= For effective story-telling choose the time
when the child can give attention, and when the environment is
without disturbing influences of noise, sights, other interests,
interruptions. There are occasions, however, when the child is
restless, tired, irritable, when a story that has much of rhythm
and repetition will soothe him.

It is certainly unwise to try to secure his concentration when he
is hungry, or eager for active exercise. Bedtime stories usually
should be told before the child is undressed, and should be of a
quiet, sedative kind, that the child may not be kept awake either
through excitement, or thinking on vivid pictures.

Let the child have opportunity to absorb it into his soul.
Therefore wait for the child, in his own time, to give it back,
either by telling it, dramatizing, painting, drawing, cutting,
modeling. This will foster the child’s initiative. When the child
himself asks “What shall I do” is time enough to suggest directly
such reproduction. Meantime, as a means of suggestion, it is
valuable thus to illustrate a story yourself some time after it
is told—immediately or some hours or days later. When the child
is ready, he will imitate and ask to do it also, but his response
should be spontaneous on his part, and of his own initiative.

=Selection of Stories.= Story-telling naturally begins in the
latter part of the first year, with simple finger plays, and the
cadence of Mother Goose. Here belong “This Little Pig”, “Open the
Door”, “Ride a Cock Horse”, and other simple rhythmic nursery
rhymes.

In the second and third year, more of the simple finger plays, such
as “Here’s a Ball for Baby”, and the Mother Goose rhymes that have
much repetition, can be used. During this stage the child loves
little anecdotes about babies, dogs, cats, mother, father. In the
“tell it again” stage from two to six the child enjoys following a
sequence of incidents and seeing the pictures.

It is in the fourth or fifth year that his imagination and store of
mental pictures is sufficiently developed so that he can make up
stories of his own, and now his imagination is not yet limited by
an appreciation of realities. This is the stage when fairy tales
and myths begin. Interest in nonsense syllables, long words, rhyme,
absurdity of statement, humorous situations, is now ripening.

In the fifth and sixth year he is ready for fables, and other
animal tales such as those of the Jungle Books, for stories of
primitive life, for Hiawatha told in Longfellow’s original version.

In the sixth and seventh year his horizon is widening beyond his
own immediate home and times. He is ready for little stories about
children or grown-ups of other countries and times, for historical
incidents, great adventures. Children can now begin to follow the
continued story, and this is excellent training in concentration;
or they can be told the beginnings of a story, and the situation
left as a problem for their own imagination to work upon.

The stories that the child himself tells are always a clue both
to his interest and his mental development. The story he can tell
will represent a simpler stage in development than the story he can
appreciate and absorb.

=Where to Find Stories.= Mother Goose is the true classic of the
nursery. It must be wisely selected, however, for children. There
is much that is crude, and rude, as in all folk tales, and this
should be culled out.

Fairy tales and fables also need to be carefully selected.
Andersen’s are ideal, allegorical, true. Grimm’s and Abbott’s
are collections of German and English folklore. They, too, need
careful selection. Many of them reflect the undemocratic conditions
of an older form of government—the cruelty of the autocrat, the
superficial superiority of wealth and station, the resentment of
the oppressed. Felix Adler points out that Æsop’s Fables reflect
this resentment of the oppressed against the oppressor, and the
trickery of the former to match the power of the latter.

The great world myths, both of the Greeks and the Anglo-Saxons,
should become the early heritage of every child. Simple incidents
from the Iliad and Odyssey, from Greek and Norse mythology, from
the Siegfried stories, Beowulf, the legends of King Arthur, can be
told during the fifth and sixth year, thus giving a first speaking
acquaintance with these epics.

The following list is suggestive of types adapted to each age; it
does not attempt to be exhaustive. There is so much of the classic
and permanently good, far more than any one child could possibly
absorb, that it is a double loss to the child if he is given the
trashy and mediocre. The ambitious parent needs to take care that
the child has time to think over, feel vividly, see clearly, the
tales he is told, and that too much is not given in one year.

A Guide to Stories and Poetry

=Six Months to Two Years.= Rhythm, repetition, simple
word-pictures of familiar objects or experiences; nonsense
syllables.

=Six Months to One Year.= Chanting or singing nursery rhymes.
Reading of great rhythmic poetry for sake of rhythm and feeling.

One to Two Years

Mother Goose:
Ride a Cock Horse
Jack and Jill
Humpty Dumpty
Hey Diddle Diddle
Baby Bunting
Rock-a-bye, Baby

Poems and Songs:
Sleep, Baby, Sleep
What does Little Birdie Say
Wee Willie Winkie (Brewer)
Hush, my Dear (Watts)

Stories:
Simple incidents of children, animals, birds

Folk Tales:
Three Bears
Old Woman and Her Pig

Two to Three Years

Mother Goose:
Little Boy Blue
Little Bo-peep
Little Tom Tucker
Little Miss Muffet
Pease Porridge Hot
Hickory, Dickory, Dock
Old Mother Hubbard
Cock Robin

Poetry:
Little Drops of Water
I Love Little Pussy
I Saw a Ship A-Sailing
Lady Moon (Houghton)
Friendly Cow (Stevenson)
Little Lamb, Who Made Thee (Blake)

Folk and Fairy Tales:
Three Little Pigs
Henny Penny
Goody Two Shoes
Slovenly Peter
Elves and Shoemaker
Babes in the Woods

Greek Myths:
Apollo and his Sheep
Mercury

Norse Myths:
Thor and his Chariot
Frey and her Weaving

Bible Stories:
Moses in Bulrushes
Christ Child in Manger

Three to Four Years

Mother Goose:
Song of Sixpence
Lucy Locket
Old King Cole
Simple Simon
There Was a Crooked Man
If All the World Were Paper
The Man in the Moon
Three Little Kittens

Poetry:
Twinkle, Twinkle, Little Star
My Shadow (Stevenson)
The Baby (MacDonald)
Spring (Nash)
Owl and Pussy Cat (Lear)
The Jabberwocky (Dodgson)
Pied Piper (Browning)
How the Waters Come Down at Lodore (Southey)

Folk and Fairy Tales:
Tom Thumb
Sleeping Beauty
Jack and Beanstalk
Diamonds and Toads
Rose Red and Snow White
Jungle Books

Greek Myths:
Arachne
Latona and Frogs
King Midas
Narcissus
Phaëton

Norse Myths:
Thor and his Glove
Thor and his Hammer
Thor at Jotenheim

Bible Stories:
Jesus blessing little children
Jesus healing Jairus’ daughter
Garden of Eden
The Flood and the Ark
David and his Harp
Daniel
Elijah and Ravens

Four to Six Years

Mother Goose:
One, Two, Buckle My Shoe
As I Was Going to St. Ives
When Good King Arthur Ruled this Land
Where Are You Going, My Pretty Maid

Poetry:
Which Way Does the Wind Blow?
Robin Redbreast (Allingham)
The Fairies (Allingham)
Laughing Song (Blake)
The Year’s at the Spring (Browning)
Ariel’s Song (Shakespeare)
Come, Follow, Follow (Shakespeare)
Lullaby for Titania (Shakespeare)
Answer to Child’s Question (Coleridge)
Nonsense Songs (Lear)
Love Songs of Childhood (Field)
Book of Joyous Children (Riley)
Child’s Garden of Verses (Stevenson)
Hiawatha (Longfellow)
America

Biography, History and Travel:
Robinson Crusoe
Columbus’ Voyages
Mayflower and Pilgrims
Paul Revere
John Smith and Pocahontas
Betsy Ross and the flag
Stories from childhood of Benjamin Franklin
Abraham Lincoln
Edison
Mozart

Norse Myths:
Journey of Thor
Finding of the Hammer
Loki’s Tricks
Youth of Siegfried

Folk and Fairy Tales:
Dick Whittington
Ugly Duckling
Discontented Fir Tree
Epaminondas
Thumbelina
Beauty and Beast
Gulliver’s Travels
Just So Stories
Uncle Remus
King of Golden River

Fables:
Dog in Manger
Lion and Mouse
Hare and Tortoise
Bundle of Sticks
Ant and Grasshopper
Sun and Wind
Boy who cried “Wolf”

Greek Myths:
Ceres and Persephone
Philemon and Baucis
Orpheus and Eurydice
Io and the Gadfly
Pygmalion and Galatea
Ulysses
Callisto and Arcas
The Wooden Horse
Jason and the Golden Fleece
Vulcan

Bible Stories:
Creation Story
Child Samuel
Joseph and his Brethren
Children of Israel in Egypt
The Passover
Journey to the Promised Land
David and Goliath
Samson
Ruth
The Boy Jesus
Jesus feeding the Multitude
The Resurrection

Juveniles:
The Goops
Alice in Wonderland
Through a Looking Glass
Rip Van Winkle

Six to Nine Years

Poetry:
Piccola (Thaxter)
The Sandpiper (Thaxter)
Song of Spring (Hemans)
Pilgrim Fathers ”
Bugle Song (Tennyson)
Sweet and Low ”
The Brook ”
We are Seven (Wordsworth)
The Daffodils ”
My Heart Leaps Up (Wordsworth)
The Cloud (Shelley)
Ode to Skylark ”
The Children’s Hour (Longfellow)
Village Blacksmith (Longfellow)
Psalm of Life (Longfellow)
Building of Ship ”
Evangeline ”
Tales of Wayside Inn (Longfellow)
A Morning Song (Heywood)
Hark! Hark! the Lark (Shakespeare)
Indian Summer (Whittier)
Barefoot Boy ”
For a’ That (Burns)
Highland Mary (Burns)
Annie Laurie
Wind and Moon (Macdonald)
Old Oaken Bucket (Woodworth)
Robert of Lincoln (Bryant)
Vision of Sir Launfal (Lowell)
Lochinvar (Scott)
Midsummer Night’s Dream (Shakespeare)

Folk and Fairy Tales:
Andersen’s Fairy Tales
Jataka Tales
At Back of North Wind (Macdonald)
Arabian Nights

Greek Myths:
Labors of Hercules
Laocoön
The Odyssey
Tales from Ovid

Norse Myths:
Sigurd the Volsung (Morris)

Classic Tales: (selections)
Canterbury Tales
Fairie Queene
Tales from Shakespeare
Pilgrim’s Progress

Legends:
Beowulf
King Arthur
Robin Hood
American Indian Legends

Bible Stories:
Life of Jesus, including Crucifixion
Abraham
Jacob
Joseph
Moses
Joshua
David
Solomon
Daniel
Esther
Elijah
Paul

Biography, History, Travel, Science:
Local pioneer history
Pilgrim Fathers
William Penn
Washington
Lincoln
Significant historic tales from
England
Vikings
Pharaohs
Greek
Roman
Incidents from life of
Homer
Copernicus
Galileo
Caxton
Eli Whitney
Longfellow
Whittier
Harriet Beecher Stowe
Swiss Family Robinson
Darwin’s Voyage of Beagle
The Snow Baby (Peary)

Juveniles:
Pinocchio (Collodi)
Hans Brinker (Dodge)
Birds’ Christmas Carol (Wiggin)
Mrs. Wiggs (Rice)
Five Little Peppers (Sidney)