Page talk:A Study of Fairy Tales.djvu/149

@Zhaladshar: If you take a look at the following, you will see that the poem will not transclude properly. I believe this is because the end /poem tag needs to be in the body of the text instead of the footer. The same for the next page... the beginning poem tag needs to be in the body instead of the header. Also, I have been going through the text and tweaking your block center formatting, I hope you don't mind... bcs/e are really only supposed to be used when spanning multiple pages. Single pages merely need {{block center| }}. Hope I haven't stepped on any toes; I made the change on a couple pages, but thought to change all instances for uniformity's sake. I should have asked permission first, though, sorry... Londonjackbooks (talk) 21:20, 25 September 2015 (UTC)

by Professor John Dewey, in The School and Society, are: (1) the instinct of conversation or communication; (2) the instinct of inquiry or finding out things; (3) the instinct of construction or making things; and (4) the instinct of artistic expression or [of imitating and combining things].

(1) The instinct of conversation. The little child likes to talk. If you have ever listened to a little girl of five artlessly proceeding to tell a story, such as Little Black Sambo, which she had gathered from looking at a neighbor's book, but which she had not yet mastered sufficiently to grasp its central theme, reiterating the particular incidents with the enthusiasm and joy and narrative tone of the story-teller, you realized how the child likes to talk. For there appeared the charm of the story-telling mode distinct from the story it told.

Because of this instinct of conversation one form of creative reaction may be language expression. The oral reproduction of the story re-experiences the story anew. The teacher may help here by creating a situation for the re-telling. A teacher might put a little foreign boy through rapid paces in learning English by selecting a story like The Sparrow and the Crow and by managing that in the re-telling the little foreigner would be the Crow who makes the repetitive speeches, who must go to the Pond and say:—

Your name, sir, is Pond
And my name is Crow,
Please give me some water.
For if you do so
I can wash and be neat.
And the nice soup can eat,
Though I really don't know
What the sparrow can mean,
I'm quite sure, as crows go,
I'm remarkably clean.

As the Crow must go to the Deer, the Cow, the Grass, and the Blacksmith, and each time varies the beginning of his speech, four other children could represent the Crow successively, thus bringing in a social element which would relieve any one child's timidity. By that time any group of children would realize the fun they could get by playing out the simple tale; and there would be petitions to be the Deer, the Cow, etc. If the teacher sees that the characters place themselves as they should, carry out the parts naturally, and that the Crow begs with the correct rhyme, she is performing her legitimate task of suggestion and criticism that works toward developing from the first attempts of children, a good form in harmony with the story. Here, while there is free play, the emphasis is on the speeches of rhyme, so that the reaction is largely a language expression. The language expression is intimately related to all varieties of expression of which the child is capable, and may be made to dominate and use any of them, or be subordinated to them.

A most delightful form of creative reaction possible to the child in language expression, is the formation of original little stories similar to the "Toy Stories" written by Carolyn Bailey for the Kindergarten Review