| OUTLINE | |||||||
| I. THE WORTH OF FAIRY TALES | |||||||
| I. | Two public tributes | 1 | |||||
| II. | The value of fairy tales in education | 3 | |||||
| 1. | They bring joy into child-life | 3 | |||||
| 2. | They satisfy the play-spirit of childhood | 4 | |||||
| 3. | They give a power of accurate observation | 6 | |||||
| 4. | They strengthen the power of emotion, develop the power of imagination, train the memory and exercise the reason | 6 | |||||
| 5. | They extend and intensify the child's social relations | 7 | |||||
| 6. | In school they unify the child's work or play | 8 | |||||
| 7. | In the home they employ leisure time profitably | 9 | |||||
| 8. | They afford a vital basis for language-training | 10 | |||||
| II. | References | 12 | |||||
| II. PRINCIPLES OF SELECTION FOR FAIRY TALES | |||||||
| I. | The interests of children | 13 | |||||
| 1. | Fairy tales must follow the law of composition and must contain the interests of children | 13 | |||||
| a. | A sense of life | 14 | |||||
| b. | The familiar | 14 | |||||
| c. | The surprise. | 15 | |||||
| d. | Sense impression | 17 | |||||
| e. | The beautiful | 18 | |||||
| f. | Wonder, mystery, magic | 19 | |||||
| g. | Adventure | 19 | |||||
| h. | Success | 20 | |||||
| i. | Action | 20 | |||||
| j. | Humor | 21 | |||||
| k. | Poetic justice | 22 | |||||
| l. | The imaginative | 23 | |||||
| m. | Animals | 24 | |||||
| n. | A portrayal of human relations, especially with children | 24 | |||||
| o. | The diminutive | 25 | |||||
| p. | Rhythm and repetition | 26 | |||||
| q. | The simple and sincere | 28 | |||||
| r. | Unity of effect | 29 | |||||
| 2. | Fairy tales must follow the law of the emotions and avoid elements opposed to the interests of the very young child | 30 | |||||
| a. | The tale of the witch | 31 | |||||
| b. | The tale of the dragon | 31 | |||||
| c. | Giant tales | 31 | |||||
| d. | Some tales of transformation | 32 | |||||
| e. | The tale of strange animal relations and strange creatures | 33 | |||||
| f. | Unhappy tales | 34 | |||||
| g. | The tale of capture | 34 | |||||
| h. | The very long tale | 35 | |||||
| i. | The complicated or the insincere tale | 36 | |||||
| II. | The fairy tale as literature | 37 | |||||
| 1. | The fairy tale must be a true classic | 38 | |||||
| 2. | The fairy tale must have mind and soul | 39 | |||||
| 3. | The fairy tale must have the distinguishing marks of literature | 40 | |||||
| a. | A power to appeal to the emotions | 41 | |||||
| 1) | Literary emotion is not personal | 41 | |||||
| 2) | Literary emotion must have justness | 41 | |||||
| 3) | Literary emotion must have vividness | 41 | |||||
| 4) | Literary emotion must have steadiness | 41 | |||||
| 5) | Literary emotion must have variety | 41 | |||||
| 6) | Literary emotion must have moral quality | 41 | |||||
| 7) | Application of the test of emotion to the fairy tales | 41 | |||||
| 8) | The value of fairy tales in the development of emotion | 44 | |||||
| b. | A power to appeal to the imagination | 45 | |||||
| 1) | Appeal to the creative imagination | 45 | |||||
| 2) | Appeal to the associative imagination | 46 | |||||
| a) | Appeal to fancy | 46 | |||||
| 3) | Appeal to the penetrative imagination | 47 | |||||
| 4) | Appeal to the contemplative imagination | 47 | |||||
| a) | Philosophy in the fairy tales | 48 | |||||
| b) | Proverbs in the fairy tales | 50 | |||||
| c) | Relation of the contemplative imagination to science | 52 | |||||
| c. | A basis of truth, or appeal to the intellect | 53 | |||||
| 1) | The truth must be idealistic | 53 | |||||
| a) | It may be realistic | 53 | |||||
| b) | It may be romantic | 53 | |||||
| 2) | Value of the appeal of literature to the intellect | 53 | |||||
| d. | A form more or less perfect | 54 | |||||
| 1) | The elements of form: words, sentences, paragraphs, and wholes | 58 | |||||
| a) | Words, the medium of language must have two powers | 54 | |||||
| (1) | Denotation, to name what they mean | 54 | |||||
| (2) | Connotation, to suggest what they imply | 54 | |||||
| b) | Suggestive power of words illustrated | 55 | |||||
| 2) | General qualities characteristic of perfect form | 57 | |||||
| a) | Precision or clearness | 57 | |||||
| (1) | Precision demands that words have denotation | 57 | |||||
| (2) | Precision appeals to the intellect | 57 | |||||
| b) | Energy or force | 57 | |||||
| (1) | Energy demands that words have connotation | 58 | |||||
| (2) | Energy appeals to the emotions and holds the attention | 58 | |||||
| c) | Delicacy or emotional harmony | 58 | |||||
| (1) | Delicacy demands that words have the power of adaptation | 58 | |||||
| (2) | Delicacy demands that form appeal to the aesthetic sense | 58 | |||||
| (3) | Delicacy is secured by selection and arrangement of words according to emotional associations | 58 | |||||
| d) | Personality | 58 | |||||
| (1) | Personality gives the charm of individuality | 58 | |||||
| (2) | Personality suggests the character of the writer | 58 | |||||
| 3) | Principles controlling the elements of form, principles of composition | 58 | |||||
| a) | The principle of sincerity | 58 | |||||
| (1) | Sincerity demands a just expression | 58 | |||||
| b) | The principle of unity | 59 | |||||
| (1) | Unity demands a central idea | 59 | |||||
| (2) | Unity demands completeness | 59 | |||||
| (3) | Unity demands no irrelevant material | 59 | |||||
| (4) | Unity demands method, sequence and climax | 59 | |||||
| c) | The principle of mass | 59 | |||||
| (1) | Mass demands that the chief parts readily catch the eye | 59 | |||||
| (2) | Mass demands harmonious proportion of parts | 59 | |||||
| d) | The principle of coherence | 59 | |||||
| (1) | Coherence demands unmistakable relation of parts | 59 | |||||
| (2) | Coherence demands this unmistakable relation be preserved by the order, forms and connections | 59 | |||||
| 4) | Form characterized by perfect adaptation of words to thought and feeling is called style | 53 | |||||
| a) | Style demands that form possess the four general qualities of form in perfection: precision, energy, delicacy, and personality | 59 | |||||
| b) | Style demands that form have its elements controlled by the four general principles: sincerity, unity, mass, and coherence | 59 | |||||
| c) | Oeyvind and Marit, a modern tale illustrating style | 60 | |||||
| d) | Three Billy-Goats Gruff, a folk-tale illustrating style | 64 | |||||
| e) | The folk-tale generally considered as to literary form | 65 | |||||
| f) | The tale by Grimm, Perrault, Dasent, Harris, Jacobs, Lang, and Andersen considered as to literary form | 67 | |||||
| g) | The tale of to-day considered as to literary form | 69 | |||||
| III. | The fairy tale as a short-story | 70 | |||||
| 1. | Characters | 71 | |||||
| a. | Characters must be unique, original, and striking | 72 | |||||
| b. | Characters of the fairy tales | 72 | |||||
| 2. | Plot | 73 | |||||
| a. | Plot must be entertaining, comical, novel, or thrilling | 73 | |||||
| b. | Plot must show a beginning, a middle, and an end | 73 | |||||
| c. | Plot must have a distinct climax | 74 | |||||
| d. | Introduction must be simple | 74 | |||||
| e. | Conclusion must show poetic justice | 74 | |||||
| f. | Plot must be good narration and description | 74 | |||||
| 1) | Narration must have truth, interest, and consistency | 74 | |||||
| 2) | Description must have aptness and concreteness | 75 | |||||
| g. | Structure illustrated by Three Pigs and Briar Rose | 76 | |||||
| 3. | Setting | 77 | |||||
| a. | Setting must give the time and place, the background of the tale | 77 | |||||
| b. | Setting must arouse sensation and feeling | 77 | |||||
| c. | Effect of transformation of setting | 77 | |||||
| 1) | Story sequence preserved by setting illustrated by Robin's Christmas Song | 78 | |||||
| d. | Setting and phonics, illustrated. The Spider and the Flea | 79 | |||||
| e. | Setting illustrated. Chanticleer and Partlet | 81 | |||||
| 4. | A blending of characters, plot, and setting illustrated by The Elves and the Shoemaker | 82 | |||||
| 5. | Tests to be applied to fairy tales | 84 | |||||
| 6. | Tales examined and tested by the complete test of interests, classic, literature, short-story, narration, and description | 84 | |||||
| a. | How the Sun, Moon, and West Wind Went to Dinner (Indian) | 84 | |||||
| b. | The Straw Ox (Cossack) | 86 | |||||
| IV. | References | 87 | |||||
| III. THE TELLING OF FAIRY TALES | |||||||
| Story-telling as an Art. Introductory | 90 | ||||||
| 1. | Story-telling as an ancient art | 90 | |||||
| 2. | The place of the story in the home, library, and the school | 93 | |||||
| 3. | Principles of story-telling | 94 | |||||
| I. | The teacher's preparation. Rules | 94 | |||||
| 1. | Select the tale for some purpose | 94 | |||||
| a. | The teacher's problem of selecting the tale psychologically or logically | 95 | |||||
| 2. | Know the tale historically as folk-lore, as literature, and as a short-story | 96 | |||||
| a. | The various motives contained in the fairy tales listed | 97 | |||||
| 3. | Master the structure of the tale | 99 | |||||
| 4. | Dwell upon the life of the story | 99 | |||||
| 5. | Secure the message | 100 | |||||
| 6. | Master the form | 100 | |||||
| II. | The presentation of the tale | 102 | |||||
| 1. | Training of the voice | 103 | |||||
| a. | Study of phonetics | 103 | |||||
| 2. | Exercises in breathing | 104 | |||||
| 3. | A knowledge of gesture | 105 | |||||
| a. | Gesture precedes speech | 106 | |||||
| b. | Gesture begins in the face | 106 | |||||
| c. | Hands and arms lie close to the body in controlled emotion | 106 | |||||
| 4. | A power of personality | 106 | |||||
| 5. | Suggestions for telling | 107 | |||||
| a. | The establishment of the personal relation between the teacher and the listener | 108 | |||||
| b. | The placing of the story in a concrete situation for the child | 110 | |||||
| c. | The consideration of the child's aim in listening, by the teacher in her preparation | 112 | |||||
| 6. | The telling of the tale | 112 | |||||
| a. | The re-creative method of story-telling. Illustrated by a criticism of the telling of The Princess and the Pea | 114 | |||||
| b. | The re-creative method illustrated by The Foolish, Timid Rabbit | 116 | |||||
| 7. | Adaptation of the fairy tale. Illustrated by Thumbelina and by The Snow Man | 118 | |||||
| III. | The return from the child | 119 | |||||
| Story-telling as one phase of the art of teaching. Introductory | 119 | ||||||
| 1. | Teaching as good art and as great art; and fairy tales as subject-matter suited to accomplish high purposes in teaching | 120 | |||||
| 2. | The part the child has to play in story-telling | 121 | |||||
| 3. | The child's return, the expression of his natural instincts or general interests | 125 | |||||
| 1. | The instinct of conversation | 125 | |||||
| a. | Language expression, oral re-telling | 125 | |||||
| b. | The formation of original little stories | 126 | |||||
| c. | Reading of the tale a form of creative reaction | 127 | |||||
| 2. | The instinct of inquiry | 127 | |||||
| a. | Appeal of the folk-tale to this instinct | 128 | |||||
| b. | The instinct of inquiry united to the instinct of conversation, of construction, and of artistic expression, illustrated | 128 | |||||
| 3. | The instinct of construction | 129 | |||||
| a. | Clay-modelling | 129 | |||||
| b. | Construction of objects | 129 | |||||
| 4. | The instinct of artistic expression | 130 | |||||
| a. | Cutting of free silhouette pictures. Illustrated | 130 | |||||
| b. | Drawing and crayon-sketching. Illustrated | 132 | |||||
| c. | Painting. Illustrated | 132 | |||||
| d. | Song. Illustrated | 133 | |||||
| e. | Dance, rhythm plays. Illustrated | 134 | |||||
| f. | Game. Illustrated | 135 | |||||
| g. | Representation of the fairy tale. Illustrated by The Steadfast Tin Soldier | 135 | |||||
| h. | Free play and dramatization | 138 | |||||
| 1) | Virtues of dramatization | 138 | |||||
| a) | It develops voice | 138 | |||||
| b) | It gives grace of movement | 138 | |||||
| c) | It develops control and poise | 138 | |||||
| d) | It strengthens attention and power of visualization | 138 | |||||
| e) | It combines intellectual, emotional, artistic, and physical action | 138 | |||||
| f) | It impresses many pieces of literature effectively | 138 | |||||
| g) | It is the true Direct Moral Method and may establish a habit | 143 | |||||
| 2) | Dangers of dramatization | 139 | |||||
| a) | Dramatization often is in very poor form | 139 | |||||
| b) | Dramatization may develop boldness in a child | 141 | |||||
| c) | Dramatization may spoil some literature | 142 | |||||
| d) | Dramatization has lacked sequence in tales used from year to year | 142 | |||||
| i. | Illustrations of creative return | 144 | |||||
| 1) | The Country Mouse and the City Mouse as expression in language, dramatization, drawing, and crayon-sketching | 144 | |||||
| 2) | The Elves and the Shoemaker as expression in the dramatic game | 145 | |||||
| 3) | Little Two-Eyes as expression in dramatization. A fairy-play outline. (See Appendix) | 145 | |||||
| 4) | Snow White as expression in dramatization. (See Appendix) | 145 | |||||
| 5) | Sleeping Beauty as expression of partial narration, dramatic game, and dramatization combined | 146 | |||||
| 6) | The Little Lamb and the Little Fish,an original tale developed from a Grimm fragmentary tale, illustrating expression in folk-game and dramatization. (See Appendix) | 147 | |||||
| 7) | The Bird and the Trees, an original play illustrating expression in rhythm play and dramatization | 149 | |||||
| 8) | How the Birds came to Have Different Nests, an original play illustrating language expression and dramatization. (See Appendix) | 151 | |||||
| 9) | Andersen's Fir Tree as expression in dramatization, illustrating organization of ideas through a play | 152 | |||||
| IV. | References | 154 | |||||
| IV. THE HISTORY OF FAIRY TALES | |||||||
| I. | The origin of fairy tales | 158 | |||||
| 1. | The fairy tale defined | 159 | |||||
| 2. | The derivation and history of the name, fairy | 159 | |||||
| a. | Four senses in which fairy has been used | 160 | |||||
| 3. | The theories concerning the origin of fairy tales | 161 | |||||
| a. | Fairy tales are detritus of myth | 161 | |||||
| 1) | The evolution of the tale | 161 | |||||
| b. | Fairy tales are myths of Sun, Rain, Dawn, Thunder, etc., the Aryan Theory | 162 | |||||
| c. | Fairy tales all arose in India, the Philological theory | 165 | |||||
| d. | Fairy tales owe their origin to the identity of early fancy | 167 | |||||
| e. | Fairy tales owe their origin to a combination of all these theories | 167 | |||||
| II. | The transmission of fairy tales | 167 | |||||
| 1. | The oral transmission of fairy tales | 167 | |||||
| a. | Examples of transmission of fairy tales: Jack the Giant-Killer, Dick Whittington, etc. | 168 | |||||
| 2. | Literary transmission of fairy tales | 170 | |||||
| a. | An enumeration of the literary collections and books that have handed down the tales; as Reynard the Fox, the Persian King-book, The Thousand and One Nights, Straparola's Nights, Basile's Pentamerone, and Perrault's Tales of Mother Goose | 170 | |||||
| b. | French publications of fairy tales | 179 | |||||
| 1) | The tales of Perrault | 179 | |||||
| 2) | Tales by followers of Perrault | 181 | |||||
| 3) | A list of tales from the time of Perrault to the present time | 183 | |||||
| c. | English and Celtic publications of fairy tales | 183 | |||||
| 1) | Tales of Scotland and Ireland | 184 | |||||
| 2) | English tales and books | 184 | |||||
| 3) | A list illustrating the history of the English fairy tale, including chap-books: Jack the Giant-Killer, Tom Hickathrift; old collections: etc. | 184 | |||||
| 4) | A list illustrating the development of fairy-tale illustration in England | 188 | |||||
| d. | German publications of fairy tales | 192 | |||||
| 1) | A list of tales from the time of the Grimms to the present | 193 | |||||
| e. | Fairy-tale publications of other nations | 193 | |||||
| f. | American publications of fairy tales | 195 | |||||
| 1) | A list of tales from the earliest times to 1870 | 196 | |||||
| g. | Recent collections of folk-lore | 200 | |||||
| III. | References | 201 | |||||
| V. CLASSES OF FAIRY TALES | |||||||
| I. | Available types of tales | 204 | |||||
| 1. | The accumulative or clock story | 205 | |||||
| a. | Tales of simple repetition | 206 | |||||
| 1) | The House that Jack Built | 206 | |||||
| 2) | The Key of the Kingdom | 207 | |||||
| b. | Tales of repetition with an addition | 208 | |||||
| 1) | The Old Woman and Her Pig | 208 | |||||
| 2) | Titty Mouse and Tatty Mouse | 208 | |||||
| 3) | Johnny Cake | 209 | |||||
| 4) | The Gingerbread Man | 209 | |||||
| 5) | The Straw Ox | 209 | |||||
| c. | Tales of repetition and variation | 209 | |||||
| 1) | The Three Bears | 209 | |||||
| 2) | The Three Billy Goats | 211 | |||||
| 2. | The animal tale | 211 | |||||
| a. | The evolution of the animal tale | 211 | |||||
| b. | The animal tale may be an old beast tale | 211 | |||||
| 1) | Henny Penny | 213 | |||||
| 2) | The Foolish Timid Rabbit | 214 | |||||
| 3) | The Sheep and the Pig | 215 | |||||
| 4) | Medio Pollito | 215 | |||||
| 5) | The Three Pigs | 216 | |||||
| c. | The animal tale may be an elaborated fable, illustrated | 211 | |||||
| d. | The animal tale may be an imaginary creation, illustrated | 211 | |||||
| e. | The Good-Natured Bear, a modern type. (See Appendix) | 217 | |||||
| 3. | The humorous tale | 217 | |||||
| a. | The humorous element for children | 218 | |||||
| b. | The Musicians of Bremen, a humorous type | 219 | |||||
| c. | Humorous tales mentioned previously | 221 | |||||
| d. | Drakesbill, a humorous type | 221 | |||||
| 4. | The realistic tale | 223 | |||||
| a. | Lazy Jack, a realistic type of common life | 224 | |||||
| b. | The Old Woman and Her Pig, a realistic type | 225 | |||||
| c. | How Two Beetles Took Lodgings, a realistic tale of scientific interest | 226 | |||||
| d. | Titty Mouse and Tatty Mouse, a realistic theme transformed into a romantic tale | 227 | |||||
| 5. | The romantic tale | 228 | |||||
| a. | Cinderella | 228 | |||||
| b. | Sleeping Beauty | 231 | |||||
| c. | Red Riding Hood | 232 | |||||
| d. | Puss-in-Boots. (See Appendix) | 232 | |||||
| 1) | The Norse Lord Peter (See Appendix) | 232 | |||||
| e. | Tom Thumb, a romantic tale of fancy. (See Appendix) | 232 | |||||
| 1) | The French Little Thumb. (See Appendix) | 232 | |||||
| 2) | The English Tom Thumb. (See Appendix) | 232 | |||||
| f. | Snow White and Rose Red, a highly idealized romantic type tested by the standards included here. (See Appendix) | 232 | |||||
| 6. | The old tale and the modern tale | 234 | |||||
| a. | The modern tale often lacks the great art qualities of the old tale, unity and harmony, sincerity and simplicity | 235 | |||||
| b. | The modern tale often fails to use the method of suggestion | 235 | |||||
| c. | The modern tale often does not stand the test of literature | 235 | |||||
| d. | The modern tale gives richly to the primary and elementary field | 235 | |||||
| e. | Criticism of a few modern tales | 236 | |||||
| 1) | Little Beta and the Lame Giant, a good modern tale | 236 | |||||
| 2) | The Cock, the Mouse, and the Little Red Hen, a good modern tale | 238 | |||||
| 3) | Peter Rabbit, a classic; other animal tales | 239 | |||||
| 4) | The Elephant's Child, a modern animal tale. (See Appendix) | 239 | |||||
| 5) | A Quick-Running Squash, a good modern tale | 240 | |||||
| 6) | A few St. Nicholas fairy stories | 241 | |||||
| 7) | The Hop-About-Man, a romantic modern fairy tale | 241 | |||||
| f. | What the modern fairy tale is | 243 | |||||
| VI. SOURCES OF MATERIAL FOR FAIRY TALES: A LIST OF FAIRY TALES, FOLK-TALES, PICTURES, PICTURE-BOOKS, POEMS, AND BOOKS | |||||||
| Basis on which lists are made. Introductory | 245 | ||||||
| I. | A list of fairy tales and folk-tales suited to the kindergarten and first grade | 246 | |||||
| 1. | Tales of Perrault | 246 | |||||
| 2. | Tales of the Grimms | 246 | |||||
| 3. | Norse tales | 247 | |||||
| 4. | English tales, by Jacobs | 247 | |||||
| 5. | Modern fairy tales, by Andersen | 248 | |||||
| 6. | Uncle Remus tales, by Harris | 248 | |||||
| 7. | Miscellaneous tales | 249 | |||||
| II. | Bibliography of fairy tales | 253 | |||||
| III. | A list of picture-books | 254 | |||||
| IV. | A list of pictures | 255 | |||||
| V. | A list of fairy poems | 256 | |||||
| VI. | Main standard fairy-tale books | 256 | |||||
| VII. | Fairy tales of all nations | 258 | |||||
| VIII. | Miscellaneous editions of fairy tales | 259 | |||||
| IX. | School editions of fairy tales | 262 | |||||
| APPENDIX | |||||||
| Illustrations of creative return | 265 | ||||||
| Tales suited for dramatization | 265 | ||||||
| Little Two-Eyes | 265 | ||||||
| Snow White | 266 | ||||||
| The Little Lamb and the Little Fish | 267 | ||||||
| How the Birds came to Have Different Nests | 270 | ||||||
| Types of tales | 272 | ||||||
| An animal tale | 272 | ||||||
| The Good-Natured Bear | 272 | ||||||
| A few romantic tales | 275 | ||||||
| Puss-in-Boots and Lord Peter | 275 | ||||||
| Tom Thumb and Little Thumb | 278 | ||||||
| Snow White and Rose Red | 282 | ||||||
| A modern tale | 287 | ||||||
| The Elephant's Child | 287 | ||||||