by Miss Carol Oppenheimer in "Suggestions Concerning Rhythm Plays," in the Kindergarten Review, April and May, 1915. Here again the fairy tales cannot be excelled in abundant situations for rhythm plays. The sea, the wind, the clouds, the sun, the moon, the stars—all nature is rich in suggestion of rhythms. The social situations furnish the rhythm of simple housekeeping tasks. In Snow White and Rose Red there are the rhythms of fishing and of chasing animals. In The Elves we have the rhythm of shoe-making and in The Straw Ox, the rhythm of spinning. The story of Thumbelina, after its eight episodes have been re-told by the children, might very attractively be re-told in eight rhythms, each rhythm expressing a single episode. And for the oldest children, a union of the oral re-telling by individual children with the re-telling in rhythms by all the children, would give much pleasure and social exhilaration. Thumbelina in her Cradle, Thumbelina and the Toad, Thumbelina and the Swallow and Thumbelina as Queen of the Flowers—these at once suggest a cradle rhythm, a toad rhythm, the flight of birds, and a butterfly dance. Because the rhythm is a lyric form it must be remembered that the part of a story suited to a rhythm play is always a part characterized by a distinct emotional element. In the performance of rhythm plays the point is to secure the adjustment of music, motion, and idea.
(f) Many of the fairy tales might arouse in the child a desire to originate a game, especially if he were accus-
