PART ONE STORY-TELLING AND THE ARTS OF EXPRESSION—ESTABLISHING STANDARDS (continued 2)

First of all, whenever possible, he should choose stories that appeal to him, those he will enjoy giving his listeners because they fit his own moods, for he cannot hope to tell every variety of tale with consummate excellence any more than an actor can be supreme in all types of rôles. The genius of Sothern displays itself to best advantage in the tragedies of Shakespeare, while that of Henry Miller, Forbes-Robertson, or David Warfield is suited to dramas of another kind. Each of these artists tried various rôles until he found his forte. Then he kept to the field in which he could excel, concentrating all his effort upon it. So it should be with the story-teller. He should experiment with every kind of narrative, then make a specialty of the one in which he can be at his best, and use it to accomplish his most far-reaching results. Of course the mother or teacher cannot confine herself to one variety of story. Her interests being varied and many, she cannot hope to reach the height of specialization attained by the artist who has but one purpose, one aim, and never swerves from it. She must endeavor to acquire a fair degree of proficiency in the rendition of every type of story, that she may not be found wanting by her youthful auditors; but she should specialize with the kind of tale that is nearest an expression of her own moods, because in this way she can obtain the most gratifying results.

Perhaps she is particularly skilled in presenting humorous material. Then let her use that ability as a magnet to draw her hearers to the story period and to hold them through it to the end. A good plan is to begin the program with a merry tale to put the group into a happy, receptive mood, follow it with a serious one containing the message or information the children should receive, and then give another humorous one. The serious narrative may be difficult for her to handle, and may not be given with the skill and charm that mark her rendition of another type of conte, but the children, understanding that one of her delightful “funny” stories is to follow, will listen through the less desired number and unconsciously receive its lesson, because of their eagerness to hear the succeeding one. Thus, by knowing her field of excellence and making the most of it, she can carry children into other fields because of their delight in meeting her in the one in which she is most at home.

After the story is selected, the atmosphere and setting should be studied. The teller should have a clear idea of the topography of the country in which the events occur, of the customs of the people who move through it, of their homes, their modes of life, and their manner of dress, because the more into the spirit of the tale he can put himself, the more effectively will he give it. If it be a narrative of Scotland in the days of Bruce, he should try to hear the bagpipes, see the lochs and glens of the Highlands, and walk side by side with the heroes of that time. This means gleaning many fields for materials and giving something of an artist’s labor to preparation, in which, of course, he will be limited by the time at his disposal. But according to the preparation will be the result, and to believe previous thought and study unnecessary because one has natural facility for story-telling is to be gravely mistaken. Artists of the stage discovered long ago that no matter how gifted they may be, nothing can take the place of preparation. Adrienne Lecouvreur demonstrated the truth of this statement several centuries ago when she revolutionized acting, and theatrical folk are still demonstrating it, for in just this respect lies the difference between the third- and fourth-rate player and the great dramatic star. The leading man or woman who is satisfied to learn lines and do nothing more, does not get beyond stock. But one ambitious to climb to the top rung of the histrionic ladder will travel every bypath that may possibly yield him a fuller and richer comprehension of the part he has to play. Geraldine Farrar read everything obtainable about Japan and Japanese life before attempting to create the rôle of “Madame Butterfly,” and Maude Adams spent months studying the life of the Maid of Orleans, following every step of her career from the hills of Domrémy to the pyre at Rouen, before being satisfied to present “Jeanne d’Arc” at the Harvard Stadium. So it must be with the story-teller. Only the professional can devote weeks, or even days, to the preparation of one program, but every one who attempts to tell stories must know more than the plot of the tale and must have felt its events in all their possibilities, if his hearers in their turn are to feel them.

The amount of preparation necessary varies with the individual. Those possessing natural facility and those who heard much story-telling in childhood need less than those whom Nature has not gifted, or who were not so fortunate in early environment. But every one needs some preparation, and there is much slovenly, valueless story-telling because this fact is not generally recognized. Many teachers do not regard story-telling seriously enough, and devote far less thought to it than to other branches of their work, because the idea is prevalent that any one can spin a yarn or two. Consequently they accomplish little through the medium of the story. But there is another group of workers who believe that story-telling means as much today as it meant centuries ago, and its members are sending children into the libraries. As nearly as time and the conditions of their work will permit them, they are following in the footsteps of the medieval narrator. Like him, they are giving an artist’s labor to their work because they realize that great results come only through great effort. But the number of these story-tellers, compared with the workers with children, is very small, and consequently results are not yet gratifying. They can become gratifying only when child leaders cease to think that the story period is the one period of the day for which no preparation need be made, and realize that every minute devoted to previous thought and study will make the language come more spontaneously and fluently and will bring before the eyes of the listeners pictures that are clear because they first have been clear before the eyes of the teller.

Every scene in a story should be visualized until it is as vivid as a painting on a canvas. It must be studied and imagined until it shifts smoothly and rapidly into the succeeding one. Then there will be no danger of the teller having to pause and think what comes next, or of having to interpolate something that should have been introduced at an earlier stage of the tale. This is not equally easy for every one. Those who are imaginative by nature will find it no task, while for others it will be difficult at first. But no one need be discouraged. Each succeeding attempt will bring clearer pictures and smoother shifting of scenes, and gratifying results will follow labor and perseverance. It is a good plan for the beginner to jot down in outline form the successive events of the story and study them until he can carry the sequence in his mind.

When the pictures are clear and the order of events is fixed, the story should be practiced. This does not mean that it should be learned verbatim. Untrained narrators often make the mistake of memorizing paragraph by paragraph and sentence by sentence, and then giving the tale like a recitation, which is not story-telling at all. Story-telling is a constructive, creative art, and the tale that grips and convinces and inspires must be told in a manner that makes it seem like the teller’s own. Practicing the story means facing an imaginary audience and describing so vividly and clearly what is seen that others may see the pictures that pass before the mind’s eye.

Shall gesture and facial gymnastics be used? This depends entirely upon the temperament and personality of the narrator. If it is natural for him to gesticulate as he speaks, gesture will come spontaneously and will heighten the effect of the tale. But if movements of hand and head and body are not spontaneous, they will mar the rendition and scatter the interest of the listeners by dividing it between the teller and the tale. Story-telling then becomes touched with affectation and loses its artistry. It degrades the story-teller into a sort of acrobatic performer and makes him a personage upon whom the attention is centered, which is not as it should be. He is simply the medium through which the picture is made clear to the audience. He is not an actor, and should not occupy the center of the stage. As Dr. Partridge says: “The story-teller should pleasingly suggest the mood and scene of the story, then step into the background, turn down the lights on the present, and carry his hearers to a distant region, which he must make, for the time being, more real than the here and now.” This is why the story-teller is at his best away from the glare of electricity, among the shadows of a summer gloaming, or by the open hearth when the firelight is dim, because then his hearers do not see him or think of him, but only of the pictures and scenes painted by his voice and words.

Therefore let the guiding rule of the narrator be, “I must describe pictures so that others will see them, and think, not of me, but of the scenes to which I lead them.” And he must do it in his individual way. If gesture comes naturally, it belongs in the tale. If it is studied and artificial, it destroys the effect and value. Some of the greatest story-tellers of the past used no gesture, while others used body, head, and hands with wonderful effect. They were persons of strong individuality and did things in an individual way. Let the present-day story-teller profit by their example.

Change of voice in dialogue adds to clearness of pictures. Nothing is more colorless than a reading by one whose intonation is not in keeping with the part he interprets, and the story told in a monotone is boresome and valueless to the child. He associates tone and action and wants them to be true to each other. He is dissatisfied if the old witch speaks like a loving mother, while the heavy tones of the wicked giant, the gentle ones of the good fairy, and the mirthful, rippling notes of the joyous, beautiful maiden delight him and make him responsive to the tale. They transform the personages of the story into living, breathing creatures who walk in his presence and smile or frown in his face.

Pauses are wonderfully effective in heightening the interest in a story. Children fairly quiver with expectation if frequent pauses are used when the moments of suspense grow big. They creep nearer in their eagerness to hear about what happens next, fearing that they will miss a bit of the attractive thread. One small boy, asked why he took such delight in listening to a certain story-teller, said: “I don’t know if it’s the way she looks or the way she says it. She’ll be going along, telling about what happens, and all at once she’ll say, ‘And then——’ and stop a little bit until you think all kinds of things are going to happen.” This feeling is general with children, although they may not voice it, and behind the naïve words is a psychological truth. The pause heightens the dramatic effect and focuses the interest on the coming sentences.

Above all things, there should be no stopping in the midst of a tale to correct a child. If one shows evidence of lagging interest, mention his name as if the story were being told for him. “And, John, when little Red Riding Hood reached her grandmother’s house she knocked on the door.” This makes him feel that although many children are listening to the story, it is being given solely for his benefit. It touches his pride and grips his attention long enough to enable the narrator to muster all his forces and heighten the interest in the tale so that it will abound in suspense from that point. If it fails to do that, something is wrong, either with the selection or the presentation. Perhaps the pictures are not being made clear because they were not first clear in the mind of the teller. Perhaps the story is not an interesting one to that particular group of children. It is the narrator’s business to find the reason, just as artists in Europe must learn what is at fault when their hearers hiss. Audiences on the Continent are not so polite as those in America, and there is no mistaking their feeling about a performance. When sounds of disapproval sweep over the house, the performer must rise to heights that will compel admiration or face a ruined career. Likewise, when a small boy becomes troublesome, the story-teller should not pause to correct him, but should make the tale so thrillingly fascinating that the lad forgets to be naughty. Mothers seldom meet with this problem, but settlement workers are having to solve it constantly, and they do it successfully only by knowing what lies close to the child’s interests and telling stories that touch those interests.

There are those who denounce story-telling in the schoolroom because they happen to have known of poor story-telling and the disorderly conduct that often ensues when the children’s interest is not held. Not long ago I came across this statement in the report of a lecture delivered at a teachers’ institute:

“It is to be hoped that story-telling will soon be eliminated from the primary grades, and that the spectacle of a teacher pausing in the midst of a tale to grasp a child by the arm and exclaim, ‘Here, Johnny, straighten up and listen,’ will become past history.”

It certainly is to be hoped that such story-telling will be eliminated, but it is no more fair to condemn story-telling as an art or to deprecate its value as an educational or ethical factor because there is poor story-telling, than it is to decry painting and sculpture because there are bunglers with brushes and chisels. The remedy does not lie in abolishing it, but in elevating the standard of the workers to a higher plane and in demonstrating that story-telling syncopated by scoldings and admonitions is not story-telling at all.

When shall we tell stories? Whenever, in the opinion of the teacher, a story will do more effective work than something else. Do not depend wholly on regular periods. These have a place on every school, library, or settlement program, but the story period should not be the only time for telling stories, because often a tale told at the psychological moment will make a deeper and more lasting impression than those given during a dozen regular periods. When the children are tired, tell a story for rest and relaxation. If there has been a fight or swearing, follow up the incident as soon as possible with an apt narrative. It will do more good than moralizing. If the geography class is struggling over the map of Turkey and can see nothing but a series of dots and marks on a piece of paper, put aside the formal recitation for that day and tell them of the building of the Mosque of Ahmed the First on the Golden Horn, of the merry craftsmen who raised the dome of St. Sophia, and give them some idea of how this glorious waif of the Orient came to stand on European soil. Make story-telling fit occasions and conditions instead of trying to make conditions fit story-telling.

And above all, never moralize! As one authority says, “It is bad pedagogy and worse art.” Remember what Dr. van Dyke says: “If a story is worth telling, moralizing is not necessary.” It is not only unnecessary, but harmful. The child sees for himself that virtue is rewarded and evil-doing is punished. He resents not being given credit for having sufficient intelligence to understand it, and a personal application antagonizes him.

Tell the tale in a direct, unassuming manner—not as if you are talking down to a group of children, but as if you are one of the number, talking with them. Boys and girls dislike the patronizing story-teller as much as adults dislike the patronizing person, and are quick to detect affectation and insincerity. They will not receive the message a posing raconteur has to give, because his manner of delivering it irritates and estranges them. The successful story-teller must be like the poet, a joy bringer, and he can be that only when his work is marked by sincerity and genuineness as clear as brook water.

Books on Story-Telling

Allison, S. B., and Perdue, H. A.: The Story in Primary Education.

Bailey, Carolyn Sherwin: For the Story-Teller.

Bryant, Sara Cone: How to Tell Stories to Children.

Coe, Fanny E.: First Book of Stories for the Story-Teller; Second Book of Stories for the Story-Teller.

Cowles, Julia D.: The Art of Story-Telling.

Dye, Charity: The Story-Teller’s Art.

Forbush, William B.: Story-Telling in the Home.

Keyes, Angela M.: Stories and Story-Telling.

Lindsay, Maud: The Story-Teller for Little Children.

Lyman, Edna: Story-Telling: What to Tell and How to Tell It.

McMurry, Charles A.: Special Method in Primary Reading and Oral Work, with Stories.

Partridge, Emelyn N. and George E.: Story-Telling in the Home and School.

St. John, Porter: The Story in Moral and Religious Education.

Shedlock, Marie L.: The Art of the Story-Teller.

Wiltse, Sara E.: The Place of the Story in Early Education.

Wyche, Richard Thomas: Some Great Stories and How to Tell Them.

CHAPTER EIGHT Story-Telling to Lead to an Appreciation of Literature

One of the specific aims of education is to endow children with an appreciation of literature, and to this end much of a teacher’s energy is directed. From the elementary school through the university the curriculum includes a course in English, and even in kindergarten and primary grades a point is made of introducing children to those authors whose work is conceded to have a strong appeal for them. The first, second, or third grade boy is required to read and memorize selections from Stevenson, Riley, and Eugene Field; not infrequently he is detained after school because of failure to have his lesson prepared at recitation time, and responds to the requirement in a mood that brings discouragement to his teacher.

On the other hand, there are schools in which the literature or reading hour is a period of joy, where the learning of songs of the singers of childhood is accomplished without coercion. These schools are the ones in which the teachers have learned that the acquisition of knowledge, to be of real value, must be attended with enjoyment.

It is a mistake to believe that although the function of the school is to equip the man, the aim of education is only to give enjoyment in the future. It is also the aim of education to give enjoyment now, because in this way capacity for enjoyment in the future is made possible. The boy or girl whose early association with poetry or beautiful prose is attended with displeasure and discomfort is no more likely to be drawn to the finer types of literature later than the man or woman is apt to be fond of a person, the first meeting with whom was a disagreeable experience. If we would have the man love good literature, we must first lead the child to love good literature, and we can do this only through having him enjoy good literature.

Because story-telling brings pleasure to the child, it is a most effective means of leading him to an appreciation of literature. Through the medium of the story we not only can heighten his capacity for enjoyment and elevate the standard of his taste, but we can equip him with knowledge he will never acquire if the literature period is associated with force and punishment. If a tale brings pleasing pictures before his eyes and is beautiful in theme and language, he unconsciously forms a taste for beautiful language, for he is not only getting the succession of events that make the plot, but is also absorbing words and expressions. Certain sentences stick in his memory, and teachers who have children reproduce stories know that frequently they use the exact phrases and sentences that have been used by the teller. They do not remember these for a day or an hour and then forget them; they remember them as years go by, and associate certain words with certain narratives.

William McKinley once said that the mention of willows by a river made him think of the story of Moses in the bulrushes, and brought to mind this sentence: “And she hid the basket among the rushes in a spot where willows hung over the river.” The story had been told him in childhood and brought him enjoyment, and some of the narrator’s expressions left a lasting imprint on his mind. “I believe that story, more than anything else,” he once said, “gave me a fondness for elegant English.”

James A. Garfield voiced almost the same thought, declaring that his taste for literature was shaped by stories from great authors told him by his mother during his early years, and many other men of achievement have attested to the same truth. They have proved conclusively out of their own experience that even with little children it is possible to lay a foundation upon which a noble and enduring structure can be built. We can give them an appreciation of stories and poems that are among the gems of literature.

We can also interest children in the life of an author so that they will want to know something of his work. This statement often brings the question, “How, since little children want stories that are full of action, and not biographies of men and women they never have seen?” Is it not true that the childhood of all great men contained interesting experiences, that if told as stories will lead little people to want to know about what these boys and girls did when they grew up?

Robert Louis Stevenson is a good example. Every child will listen sympathetically to the tale of the poor little rich boy who was often so ill that he could not run and play, but who made the best of things and amused himself with toys on his bed. He built cities out of blocks. He watched the lamplighter go on his evening rounds along the street, and sometimes in the summer, the dewy, Scotch summer that can be pictured so attractively to children, when he went with his nurse to the country or the shore, he put leaves and chips in the river and pretended that they were boats. He dug holes in the sand with his wooden spade and laughed to see the vagrant waves come up and fill them. The child who hears about his various experiences will become intensely interested in little Robert, and will grow to love “The Land of Counterpane,” “The River,” “At the Seashore,” and other selections from A Child’s Garden of Verses. Every time he reads or hears them he will see a picture of the wee Scotch lad whose story touched his heart.

This is no untried theory. Through story-telling, the author of Treasure Island has become a living personage and A Child’s Garden of Verses a source of delight in more than one first grade. A teacher who had charge of forty little Italians devoted fifteen minutes each morning to stories of writers and their works, and by the end of the term the children had a knowledge of Stevenson and Field that amazed the superintendent. More valuable than the knowledge acquired was the capacity for real enjoyment of some of the works of these men, enjoyment so intense that during the half hour of song and games that was a feature of every Friday, it was not unusual for a small Tony or Gulielmo to flutter a brown hand and ask to be permitted to recite:

Another teacher was rewarded for her work by hearing the mother of one of her pupils tell at a parent-teachers’ meeting of how a certain little lad amused himself while recuperating from measles by entertaining the household with songs from Stevenson and stories about little Robert, who became the big Robert that wrote the book.

In doing this sort of work, however, it is necessary to keep in mind the story interests of childhood, to remember that children are interested in children, and not begin, “When Robert Louis Stevenson was a little boy,” but rather, “Once there was a little boy who lived far away from here, and his name was Robert.” Let the approach be from the child to the man instead of from the man to the child. Focus the interest of children upon one like themselves, then lead in a natural way to the man and his achievements.

Sometimes children can be interested in a piece of literature through a story about it or suggested by it, because often one tale helps to illuminate and clarify and add interest to another.

Suppose a primary teacher or a mother wishes to take up Tennyson’s “Sweet and Low,” a piece of literature that is either a succession of vivid, delightful pictures or a vague group of words, according to the manner in which it is presented. Tell of the baby who lived with the father and mother in a fishing village on the Isle of Wight. Each day the father had to go far out to sea in a boat to catch fish to sell for money with which to buy food for his dear ones, and each night the baby laughed and crowed when he came home. Once he stayed later than usual, and baby did not want to go to bed without seeing him; but the mother sang a pretty song, saying that father would soon be home, and crooned and rocked her little one until he fell asleep. It was a pleasant evening, with a big, silver moon, and a man was out walking—a rich man who lived in a house on a hill high above the fishers’ huts. As he went by the cottage where the baby lived, he heard the mother singing, and the song was so sweet that he hurried home and wrote what it made him think about. Then follow with the poem, and the children will receive it gladly.

This same plan can be used with older children, but let the material be given in story form instead of as a series of disconnected incidents.

An excellent method is to give the story of a great writer’s work. This is effective with children of all ages, and often leads to the reading of books that otherwise would never be opened. Sometimes the objection is made that it is wrong to substitute the story of a work for the work itself, a statement no thinking person will gainsay. But this does not mean substitution. It means whetting the appetite until the child hungers for the thing you want him to have. Instead of telling him what he should read, arouse his curiosity to the point where he wants to read it, and the desired result will follow. Fifty years ago it was safe to give a boy or a girl a beautiful piece of literature and tell him he ought to read it, but it is not safe now, not because there is anything wrong with the children of our time, but because conditions are different. Books were rare and costly then, and young people read whatever came to hand. Today books are cheap and plentiful, and present-day literature plunges directly into the complications of the story. People are in a hurry to know what it is all about, because of the spirit of the age. There is less leisure now than there was half a century ago, as there is more competition, and results must be realized more rapidly than our forefathers realized them. Consequently we travel faster, get rich faster, and move more speedily in every way. Present-day literature reflects present-day spirit, and the story must begin with the opening sentence. Boys and girls simply will not go through pages of introductions and descriptions before striking the plot of the tale, no matter how beautiful those introductions and descriptions may be. They want books that get somewhere from the beginning. So the problem confronts all who are interested in the education of children: “How can we make them as eager to read Dickens, Scott, and Thackeray as they are to read Jack London and Phillips Oppenheim? How can they be made to go as gladly to Bulwer Lytton as they go to the Henty books?” By means of story-telling. Give them an idea of the plots of the masters of literature, enough to whet the desire to know more about them.

It is not sufficient just to tell the story, because it was not the plots of these writers that made them great artists. It was their manner of handling their plots, their delineation of character, the philosophy and human wisdom they put into the mouths of their heroes, and the boy or girl who does not become acquainted with these great creators during school days is likely never to know them, because he forms a taste for reading of a more ephemeral nature, and he may go through life a devourer of books, yet be only half educated.

Why is it that so many young people never look at the English classics after they leave high school, and would rather spend a morning at hard labor than in reading As You Like It or A Midsummer Night’s Dream? Because too much attention was given to the dissecting process when they studied these plays. Instead of being taught to see the beautiful and finished creation of some master, they were made to see the skeleton and to pull it to pieces. Some teachers assign a certain number of pages or paragraphs or stanzas for a lesson, and the pupils look up the words in the dictionary, point out the figures of speech, and scan the lines. Sometimes the teacher reads the assignment when it is made. Sometimes children dramatize it after they have torn it into shreds, or write a paraphrase. But the heart and soul of the masterpiece, the sheer beauty of it, are considered least of all, and students end by heartily hating something that they might have enjoyed and loved. Yet people wonder why the average American has so little appreciation of good literature, and think something is wrong with young folk who, after a high-school course in English, will read nothing but popular novels. There is nothing whatsoever the matter with the boys and girls. They simply follow the bent of all human beings and steer from the unpleasant toward the pleasant. They go to the books of the day that they can understand, because much of our great literature, presented as it is, means nothing to them. Less fortunate than youths of fifty years ago, they are not forced to read good books if they read at all. There are verdant, if less beautiful, meadows on every side where they may browse, and into them they go.

It is infinitely better that a child’s school life provide him with a capacity for the enjoyment of literature than that he have a technical knowledge of a few pieces of literature, because the latter endows him with a narrow, academic viewpoint, while the former makes possible a future growth, without a capacity for which life must be narrow and one-sided. A boy or girl may know that Shakespeare wrote Twelfth Night or Macbeth, that Milton created “The Hymn to the Nativity” or Shelley “The Skylark,” be able to paraphrase each and analyze the sentences that comprise them, and not be a bit better fitted for life than he would be without that knowledge. But he is better equipped for life if he has acquired a capacity for the enjoyment of literature, so that to read a great book gives him pleasure or causes him to respond with sympathy, and the English teacher who does not develop this capacity in children has failed in his function.

The approach to the great field of literature must be through specific examples, just as the approach to an understanding of art or architecture must be through the canvases of Raphael, Cimabue, or Giotto, or the temples that were the triumphs of Egyptian, Babylonian, or Hellenic builders. But if they are to be enjoyed, acquaintance with these specific examples must be made in a pleasurable manner. They first must be beheld in a perspective that gives glimpses of them as complete and beautiful wholes, and not through the detailed workmanship of architrave or abacus or by focusing the attention on the massing of figures according to square or triangular outline. And just as the understanding and enjoyment of one great structure or painting give added interest to every other one, so, in the realm of literature, each masterpiece enjoyed gives capacity for the enjoyment of every other masterpiece met with in the future. Therefore the story, because it is a means of flashing the entire structure on the screen and making it possible for children to see the completed whole in all its beauty, is the English teacher’s most valuable tool.

Take Evangeline as an example. Most children leave school knowing that Longfellow wrote that poem, and that Evangeline lost her lover on the wedding day and spent the remainder of her life seeking him. But you cannot coax them to read the poem again because of the memory of the time when they studied it. And the pity of it is that there is no work of American literature so appealing to boys and girls in the adolescent period as Evangeline, if it is presented wisely.

Before they are asked to study it, if the story of the Acadian girl is told sympathetically and feelingly they are touched by its pathos and fired by the idealism of its characters, and they feel the charm of life in the quaint old village of Grand Pré. If, before they are told to read it, they have gone with the heroine through the magic of the narrator’s picturing, in her wanderings over mountain and lowland, into Indian camp and sequestered mission, living among strange peoples and sleeping by strange fires, they will read it with enthusiasm. It will become a joy instead of a burden, because they will have felt something of what was in the heart of the poet who wrote it, and not merely what appeared on the printed page.

Besides the main thread of the story, there are many sub-stories that, if told in connection with the poem, will add to the child’s enjoyment and understanding of it. Sometimes a name is rich in story material, yet often it is passed over with nothing more than a definition found in the pronouncing gazetteer, and a golden opportunity is lost.

Take, for instance, the line, “Now in the Tents of Grace of the gentle Moravian missions.” There is a footnote in most editions stating, “This refers to the Moravian mission of Gnädenhütten.” But what does that signify to children, since there were many missions in those early days? But if they are told of how the Moravians came from the distant German mountains to plant the tree of their faith in the Western wilds, they grow interested. They are fascinated as the tale goes on, picturing how these simple folk founded a mission in the woods of Ohio, which they named “Gnädenhütten” or “Tents of Grace,” and telling how a massacre occurred there in 1790, not savages killing off whites, but a band of marauding British troops slaughtering Christianized Indians as they toiled peacefully in their cornfields. Then, as Evangeline roams over the Southwest, into the bayou country of Louisiana, if pictures of the early life there are painted vividly by the story-teller, if she gives some of the events of old Creole days, the children will look forward to the Evangeline period.

This same method will add enjoyment to the study of other pieces of literature. The Courtship of Miles Standish, aside from the main plot, is rich in stories from the Bible. The children should look up these allusions, but the teacher should put life into them by giving the story. In fact, there is no piece of literature studied below the high school, or even during the early part of the high-school course, that cannot be presented with splendid results through the story-telling method. The concrete precedes the abstract in the order in which selections are considered, those through which a story thread runs being given in advance of the essay or treatise. By making the most of this story thread, literature study will become pleasurable and bring splendid response from the children. It requires effort and preparation, but it pays. It is worth much to the teacher who loves good literature, to look back over the years and think of the children she has led to appreciate and enjoy it. It is a tremendous satisfaction to have boys come back long after leaving her schoolroom and seek her out, because through her they learned to know something of the comfort that is to be found in good old books. One teacher, speaking of her experience, said: “It made all the effort seem richly worth while, when a broad-shouldered, sun-burned man went three hundred miles out of his way to see me on a home visit to America, and thank me for having led him to enjoy poetry.” As a boy he became intensely interested in The Lady of the Lake because his teacher gave the stories of Fitz-James and Roderick Dhu and of the clan life of the Highlands, and a pocket edition of Scott was a source of comfort to him during a surveying expedition in the wilds of West Australia, and took away the loneliness of nights spent by a camp fire with no companions save the native woodmen. He had learned to know Scott during his boyhood, and the capacity for enjoyment acquired through that association was a priceless possession to the man. If more teachers realized that story-telling is a direct road to the understanding of literature, and that it has its place in grammar and high-school grades as much as in the kindergarten, there would be less drudgery for them and more satisfying results.

Some Authors and Selections That Can Be Presented through the Story-Telling Method

Browning: Hervé Riel (Give picture of life of sailors on the Breton coast. Hervé Riel was so accustomed to taking fishing boats through the passage that the piloting of the ship did not seem any feat to him); How They Brought the Good News from Ghent to Aix; An Incident of the French Camp; The Pied Piper of Hamelin (Tell how the poet came to write this work—to entertain a child who was visiting him).

Bryant: The White-footed Deer; The Woodman and the Sandal Tree; The Donkey and the Mocking Bird, and other poems from the Spanish.

Dickens: Little Nell (Old Curiosity Shop); Tiny Tim (Christmas Carol); Nicholas Nickleby; David Copperfield, and other child characters of Dickens.

George Eliot: Maggie Tulliver Cutting her Hair, Maggie Running Away to Live with the Gypsies, Tom and the Ferrets (The Mill on the Floss); Silas Marner and Little Eppie (Silas Marner).

Irving: Legend of Sleepy Hollow (The Sketch Book); The Governor and the Notary (Other stories from Tales from the Alhambra); The Life and Voyages of Christopher Columbus (Many chapters in this contain fascinating stories, which if told to the children will lead them to read the work); Rip Van Winkle (The Sketch Book) (Tell also the German story of Peter Claus, from which Irving drew his inspiration to write this tale; also the Chinese story, “The Feast of Lanterns,” the hero of which is an oriental Rip Van Winkle).

Kingsley: How They Took the Gold Train (Westward Ho!); Water Babies; Hypatia.

Longfellow: Evangeline; Courtship of Miles Standish; Hiawatha; King Robert of Sicily; St. Francis’ Sermon to the Birds (Tell story of St. Francis of Assisi); Paul Revere’s Ride; The Emperor’s Bird’s Nest; Walther von der Vogelweide (In this connection tell story of Walther and the Minnesingers. Story can be found in Pan and His Pipes, and Other Stories, Victor Talking Machine Company).

Southey: Inchcape Rock; Bishop Hatto and the Mouse Tower; The Well of St. Keyne.

Stevenson: Treasure Island; Kidnapped; Island Nights’ Entertainment.

Tennyson: The Holy Grail (This poem is beyond the understanding of boys and girls of grammar grades, or even early high-school years, but they may be familiarized with portions of it, and the Grail story is a wonderful one to give them. It should include also the tale of “Parsifal” and “Lohengrin,” as related by Wolfram von Eschenbach and Wagner).

This list is in no way comprehensive, but the wide-awake teacher will find it suggestive of a much longer one, which is as much as the author of a single text-book may hope for.

Sources of Material to Lead to an Appreciation of Literature

Lamb, Charles and Mary: Tales from Shakespeare.

Lang, Jeanie: Stories from Shakespeare Told to the Children.

Sweetser, Kate D.: Boys and Girls from George Eliot; Boys and Girls from Thackeray; Ten Boys from Dickens.

Swinton, William, and Cathcart, George R.: Book of Tales from Fine Authors.

CHAPTER NINE Story-Telling to Awaken an Appreciation of Music

The public school aims not only to give boys and girls a training that shall equip them with ability to gain a livelihood and provide for their material wants, but to give them resources within themselves from which to draw pleasure, broaden and deepen the emotional powers, enrich the soul by endowing it with capacity to respond to the beautiful and fine, and make them more sympathetic toward the joys and sorrows of their fellows. That is why the curriculum includes a course in music, drawing, and subjects that are branches of a great art. We do not expect to make professional musicians or painters of all the children who receive instruction, but aim to give the average child, the one who will grow to be an average, ordinary man, an appreciation of the things that give color and beauty to life and make him richer in mind and happier.

Taste is formed by what is heard in youth, and the child whose early years are associated with ragtime grows to be a devotee of ragtime, while he who hears the music of the masters becomes a man who loves great music. This is why the average European has a knowledge and love of melody that amazes Americans. He has heard good music from infancy. It is sung in the public meeting places of his town and whistled in the streets. The gamin of Naples, Rome, and Venice knows the arias from the operas as well as American children know their national anthem, and Verdi, Donizetti, and Rossini are more than names to him. He has heard their melodies from infancy, and his father or uncle or some street story-teller has familiarized him with the plots of their librettos. He knows something of the artists who sing the rôles, also, because the tailor and the barber and the baker not infrequently go to hear them, and they are a topic of conversation in the home. Here in America we have not had such opportunities. With us the opera and the symphony orchestra are exotics which only a minority has been trained to enjoy, and consequently we cannot be regarded as a musical people.

It is natural that this should be so, because, as compared with Continental lands, we are very young, and youth cannot hope to compete with maturity. But artistic standards in the United States are being raised steadily. Most of our great cities now have symphony orchestras and a season of opera, while the municipal band concert is part of the life of comparatively small towns, and the programs are of a higher order than formerly. We are on the upward move, and meanwhile every leader of children should do his part in the great work of helping to elevate the national musical standard.

The schools are doing something, but not enough, because much of the instruction they give is of a technical nature, and although pupils can read in several keys and beat time correctly, it does not follow that they are acquiring a capacity for the enjoyment of good music. Until one has sufficient mental development to understand something of the price that must be paid for artistic success, much attention to the technical vitiates interest in music, just as the dissecting method of study kills interest in literature. Many teachers make more of an effort to have children learn to read music than they do to have them enjoy it, and this close attention to the mechanics of the art makes the music period burdensome instead of enjoyable. Before the child can see any incentive in learning do—re—mi, he must hear and enjoy music and must understand that do—re—mi is a key that will unlock gates into larger fields of enjoyment. Because the hour is replete with drudgery rather than joy, the discipline of the music class is often a good deal of a problem, and although it is not an ideal condition, it exists more frequently than most people realize. A teacher whose class distinguished itself in sight singing at an institute, was asked how she made its members so proficient.

“Simply by keeping a strap on my desk and using it about every seven minutes,” she replied; “and those who did not have actual contact with it kept straight because they knew it was there.”

This is perhaps an extreme case, but the school-rooms in which the music lesson is a period of nervous strain for both teacher and pupils are numerous, and it is not strange that sometimes trustees question whether it might not be well to eliminate music from the list of public-school subjects.

An adage of the old Italian school of vocalists, whose methods have given so many glorious songsters to the world, was, “To sing, you must be happy,” and one of the most celebrated prima donnas of today attributes a large measure of her success to the fact that during childhood her mother had the wisdom never to make music burdensome by forcing her to it, but played for her and sang to her without stint, giving her countless opportunities of hearing music and leading her to love it. Then when she began formal study at twelve, her teacher did not harass her with exercises, but gave simple songs that she liked to sing, songs chosen to give her voice the exercise it needed and to appeal to the natural love of melody.

We might well apply this plan to our public-school music, and arrange courses so that children will hear much good music, even if the amount of technical work has to be greatly lessened. It is here that the story may do its far-reaching work in helping to make the music period pleasurable to the children and causing them to respond with keener pleasure to a higher standard of music.

Many narrators exclaim, “It is not possible for me to lead children to appreciate the great music when I do not know the great music myself.”

But it is possible. Of course it is easier for one who is familiar with the masterpieces of melody to lead children to them than for one who is not; but even though the mother or teacher was not in her own childhood familiar with Mozart or Mendelssohn, she can bring children to appreciate these artists because the talking machine has made it possible. She need not try to acquaint them with the technical terms, and mechanics of music, but she can arouse an interest that is the twin sister of inspiration, and she can do it in such a way that every minute devoted to the work is filled with delight. She can tell the life story of some great composer and familiarize the child with selections from his work that will guide him away from the cheap and tawdry. She can give him incidents connected with the composition of musical gems, and a glimpse into the great treasure house of musical literature that will cause him to want to know more of the achievements of the immortal melody makers. It is not necessary that one be a musician in order to do this. Most schools and many homes are now supplied with talking machines, and the records manufactured by the different companies bring masterpieces within the reach of all. Even the catalogs are rich in suggestion, and following the cues supplied by them, a little thought and labor will bring most gratifying results. Almost all the great composers had eventful childhoods, and the early days of Mendelssohn, Mozart, Bach, Haydn, Handel, Beethoven, Chopin, Verdi, Wagner, and many others are rich in incidents that children enjoy hearing. These biographies, sources for which are listed in the appended bibliography (page 94), if told in story form and followed by selections from the artist’s works, will make an impression and arouse an interest as nothing else can do. Do not, however, make the mistake of beginning with the man and leading down to his childhood. Begin with his early years and lead up to his achievements. The child will become interested in the man only through his childhood, because children are near his own interests, while adults are not. Many inexperienced story-tellers do not understand this, and are disappointed in their failure to hold their little hearers. This was demonstrated not long ago in a university course in story-telling. An incident in the childhood of Mozart was to be given in story form to introduce some of that composer’s works to a group of children. Eighty per cent of the five hundred preparing the paper began thus: “When the great Mozart was a little boy.” That introduction meant nothing to the children, because they did not know “the great Mozart,” and were not interested in strange men. But they were intensely interested in hearing about a child who long, long ago was sailing down the Danube with his father and sister Marianne and was very much distressed because the father would have to pay duty on the harp they carried and therefore, when they reached Vienna, Marianne could not have a new dress that she sadly needed. Little eyes sparkled and little hands clapped when the children heard how, as they reached the customhouse of the Austrian capital, young Wolfgang asked his father if he might play something on the harp, and his rendition so delighted and amazed the officials that the duty was waived and Marianne was shabbily clad no longer.

There are many musical stories besides those of lives of the composers that should be given to children: tales of the violin makers of Cremona, the minnesingers, the troubadours, the meistersingers, Pan and his pipes, Apollo and the lyre, David and the harp, King Alfred and the harp, the harp at Tara, the Crusaders bringing some stringed instruments into Europe, the development of the orchestra, the evolution of the harp from the bended bow of the early tribesmen, and the making of the piano. Stories of some of the operas, especially those based on the legends of the Grail and the Rhinegold, are delightful tales to give to children.

A good way to introduce children to a composer is by combining the story of his life with selections from his work, as in the following story about Schubert. This method may be applied to the study of any composer. Libraries are rich in materials, and the talking-machine companies bring the music within the reach of all; so there is no reason why the story-teller should not do his part in making our nation a music-loving land, as well as give pleasure to the children under his guidance.

“Whoever puts a beautiful thought or melody into the world,” writes an Indian poet, “gives more than a diamond of Golconda.” Whoever helps a child to understand and enjoy beautiful thoughts and melodies, gives in almost as great a measure as their creator. He too is a builder, leaving behind him something fit to stand, and labor of that kind does not go unrequited.

A BOY OF OLD VIENNA

Little Franz could hardly wait for the sun to rise. He had lain awake all night thinking of what morning would bring, and it seemed as if the long, dark hours would never end. But now it was dawn, and he knew that very soon the sun would gild the hilltops, and then the thing of which he had dreamed for days would come to pass.

“Are you up, Franz?” his mother called from below.

“Yes,” he answered cheerily, “up and dressing.”

The mother smiled at him as he ran down into the kitchen, for she knew how eagerly he had looked forward to this day. Josef, the kindly neighbor, had promised to take him that very morning to a warehouse where many fine pianos were kept, and he would spend hours among the beautiful instruments there. No wonder he was glad! The one his father provided for him was cheap and harsh, for Herr Schubert was just a poor schoolmaster and had few coins to spend for anything besides food and clothing. But that did not keep Franz from doing wonders with his music. He learned all he could from his brothers, and worked away at the poor piano because he could not help it. Now that he was soon to touch the keyboard of a really splendid instrument, he felt like a prince in a fairy tale.

They went out of the house and along the dingy street in which the Schuberts lived. Across the Danube they passed by the old stone bridge that led to the Ringstrasse, then northward into that part of the city where the warehouses stood. Groups of citizens in holiday attire hurried by, and now and then some great lord or lady in a fine carriage passed them on the way to worship at St. Stephen’s. But Franz thought only of reaching the warehouse, and he walked so fast that Josef, who was short and fat, began to grow red in the face and pant, and he was quite as glad as the boy when they reached the building.

Franz lost no time in getting to a piano. Sunday comes just once a week, and another would not come for seven long days. He sat down at one of the lovely instruments, playing and singing as if nothing in the world mattered so much as music. He was only eleven years old, and boys of that age usually want to be out with others, engaged in the sports and games boys love. But not so with Franz Schubert. He was happiest at his music. He played and played and was so busy that he did not see a stranger come into the warehouse or hear his voice in earnest conversation with Josef.

“You say he has had no music masters?” the man asked wonderingly.

Josef shook his head. “None but his brothers, Ignace and Ferdinand, and once, for a very short time, his father sent him to a singing tutor. But he said he could teach him nothing, for when he thought to give him something new he found he had learned it already.”

“Surely he is a wonder child,” the stranger remarked. “Be sure to tell his father to bring him tomorrow and we will try him.”

Then he passed out, but Franz did not see him. Nor did he know a word that had been spoken until on the way home, when Josef told him that the emperor’s choirmaster had passed by and was so pleased with his singing and playing that he wanted him in the royal choir.

So little Franz Schubert became a choir boy, and the master wondered more and more that one so young could know so much of music.

Then he went to a boys’ school. His clothes were not very fine, for he was poor. But he wore the best he had, a light gray suit that was far from handsome. Some of the richer boys thought it funny and nicknamed him “the miller.” But when Franz passed the severe singing examination so well that he was given one of the gold-braided honor uniforms, they did not tease him again. No one else did as well in the orchestra as the little Schubert lad. No one else sang as understandingly as he, and his master and fellow students, like the royal choirmaster, called him a wonder child. Every boy in the school liked him, and Franz liked them all too, but especially a young man named Spaun. And Spaun’s name is remembered to this day just because once upon a time he was kind to little Franz Schubert. He was almost twenty when Franz was but eleven, but they were jolly companions and the best of friends.

One day Franz said, “If I had some paper I know I could write a song.”

But paper he had not, because his father could not afford to buy it. Spaun always had a little money to spend, however, so Franz got the paper and wrote the song, and after that his friend supplied him with writing material. He enjoyed doing it because he liked the lad, but he did not realize that it would mean much to the world. It did mean a great deal, however, for some of the songs Franz wrote during his school days are still sung as among the sweetest in the world, and perhaps but for Spaun’s paper they might not have been written.

Well, Franz grew up just as other boys grow, and still he went on loving music and working at it, playing and writing songs. Almost everything he read or saw made him think of a melody, and every melody that formed in his brain was beautiful.

One evening he went into a restaurant in Vienna for his dinner. He had a small copy of Shakespeare in his pocket, and as he waited to be served he took it out and read. His eye fell upon the lines:

They made him think of a song, and he looked about for paper upon which to write it. He asked the waiter to get him a piece, but the waiter could find nothing but a bill of fare. Schubert took that and wrote his melody, and when Shakespeare’s words were sung to it, the song sounded like this:

[At this point in the story run a record of “Hark, hark the lark.”]

Another time he was passing through a poor quarter of Vienna and heard a peasant serenading a girl. Schubert did not think the song a very pretty one, and he went home and wrote one that he liked better. This is how it sounds:

[Record of “The Serenade.”]

When Franz Schubert was a little child, he heard his father tell an old German story. It was called “The Erl King” and was about a witchlike creature who was supposed to take children from their parents. Franz always remembered it, and after he grew to manhood and read Goethe’s poem, “The Erl King,” a friend told him how the master came to write it. One wild winter night the poet was visiting in the home of a physician and a man came riding through the storm, seeking help for the child he had with him. The little fellow was delirious with fever and kept clinging to his father, crying and begging him not to let the Erl King take him away. The incident affected Goethe so deeply that he wrote the poem, and Schubert, hearing the story, was so touched by it that he composed wonderful music to go with the master’s words.

[Record of “The Erl King.”]

Another poem of Goethe’s that he read told of a wild rose growing on a heath. A boy saw the rose and said, “I will pluck you.” The rose said, “No, no. If you do I will prick you.” The foolish boy laughed and picked the rose, and it kept its word. This is the song Schubert made of the poem:

[Record of “Hedge Roses.”]

So you see that almost everything made Franz Schubert think of music. He wrote many, many songs and much other music, and although it is almost a hundred years since he died, his name and his works will live as long as men love melody. The greatest singers in the world use his songs over and over because rich and poor alike love them, and whenever singers want to be very sure of pleasing they sing some of the songs of him who was once a boy in old Vienna, Franz Schubert.

Sources of Material to Awaken an Appreciation of Music

Barber: Wagner Opera Stories.

Bender: Some Great Opera Stories (General Operas).

Cather, Katherine Dunlap: Pan and His Pipes and Other Stories; Boyhood Stories of Famous Men.

Chapin, Anna Alice: The Heart of Music; Makers of Song; Stories of the Wagner Operas; The Story of the Rhinegold.

Crowest, Frederick James: The Life of Verdi.

Dole, Nathan Haskell: A Score of Famous Composers.

Dutton Company: The Master Musician Series.

Fryberger, Agnes: Listening Lessons in Music.

Guerber, Helène A.: Stories of the Wagner Operas.

Hensel, Sebastian: The History of the Mendelssohn Family.

Liszt, Franz: Life of Chopin.

Pictures to Use in Telling Musical Stories

Beyschlag: Orpheus and Eurydice.

Borckman: Mozart and His Sisters before Maria Theresa; Beethoven and the Rusmnowsky Quartette.

Carlo Dolci: St. Cecilia at the Organ.

Duncan: Story of Minstrelsy.

Giulio Romano: Apollo and the Muses.

Hamman: Mozart at Vienna; Preludes of Bach; Haydn Crossing the English Channel; Handel and George I of England.

Harpfer: Mozart at the Organ.

Leydendecker: Beethoven at Bonn.

Merle: Beethoven at the House of Mozart.

Rosenthal: Morning Prayers in the Family of Bach.

Schloesser: Beethoven in His Study.

Schneider: Mozart and His Sister.

Shields: Mozart Singing His Requiem.

Portraits of all the great musicians.[1]

CHAPTER TEN Story-Telling to Awaken an Appreciation of Art

The child who is surrounded by good pictures from his earliest years grows to love good pictures, and gaudily colored, cheap ones have no charm for him. His taste has been formed for the fine and true, and nothing else will satisfy him. To behold a beautiful painting gives him pleasure, while to see a glaring chromo produces an unpleasant sensation. This is not because he is different by nature from one to whom masterpieces have no meaning, but because he has learned to know them.

Here again we have one of the striking differences between the average American and the average European. The Italian, French, Austrian, or German laborer sees masterpieces from infancy. His earliest recollection of religious worship is associated with them. Every continental town has its art gallery or picture exhibit, and on certain days there is no admission fee. The laborer avails himself of this opportunity. On Sunday, when he is free from toil, he makes a festival of the occasion and takes his family to some park or place of amusement, and very frequently the jaunt includes a trip to the picture gallery. Consequently, even the children of those lands have a knowledge of the masterpieces of art far surpassing that of the average adult American.

In most respects the Italian street gamin does not differ from the guttersnipe of our own land, but in one he is vastly his superior. He knows the free days at the galleries as well as he knows the alleys of his native town, and is a liberal patron of such places on those occasions. I once made the acquaintance of a little chap in Rome who was an excellent guide. He piloted me among the treasures of the Vatican with the ease and security that bespeaks thorough knowledge, for he had been there so often that he knew in just which rooms or alcoves to find his favorites. He knew much of the artists, too, of their lives and times, their discouragements and successes. Yet this Roman street boy was no exception to his class. Along the Piazza di Spagna, in fact, on any of the highways, are dozens like him, rich in knowledge of the statues and fountains that glorify the streets and parks of the Holy City. The names of Brunelleschi, Michelangelo, Fra Angelico, Giotto, and those other men who built or carved or painted with marvelous power, are fraught with meaning to them, and it is not strange that it should be so. Children in Italy have grown up among beautiful things. For centuries beauty has been almost a religion to this joy-loving, sun-loving race, and the country of the Apennines, as Francis Hopkinson Smith says, is the one place in the world where a song or a sunset is worth more than a soldo. Consequently, the Italians are a nation of art lovers. Each individual regards the masterpieces as his property, and the reason the Italian people hate the memory of Napoleon is not only that he conquered parts of their land, but that he robbed Italy of some of her art treasures. These were things they and their fathers had seen and loved, and they could not forgive the vandal who carried them away, even after the wound left by the victor had ceased to rankle.

Here in America we have not had the opportunity of the average European, but already we have made a beginning, and we now possess a number of art galleries that deserve the name. At the present time these are found only in the large cities, but they are helping to form national standards. Meanwhile every worker with children ought to try to lead those intrusted to his care to a knowledge and appreciation of great pictures.

It is not enough to place reproductions of masterpieces in schools and homes and say nothing about them. If children are to have an appreciation of them, they must be led to see their beauty, to understand what they mean, to have some idea of the infinite patience and labor that made their creation possible. The child of an artistic bent will observe and study them without aid or guidance and unconsciously grow into loving them, because beauty in any form attracts him as a magnet draws a bar of steel. But teachers and parents do not work solely with budding genius, and in the great scheme of human advancement it may mean as much for many average children to appreciate and love art, as for one who is gifted to reach immortal heights of achievement. The average child must be led and directed. His interest must be aroused before we can hope to mold his taste as we would have it molded. He must be taught to see that a Gainsborough is more beautiful than an advertising chromo, that a face by Raphael is the expression of an inspiration that is almost divine. Only through an association that gives pleasure will he come to see and appreciate, and here again story-telling can work wonders, because through it we can intensify a child’s delight in a picture.

In the field of art the biographical tale is of immeasurable value, for the story of an artist’s life, illustrated by reproductions of his works, can be made the pathway to appreciation.

In establishing standards of art appreciation, as well as those of music, we must not lose sight of the story interests of childhood, because many a picture that is a great artistic achievement is not suitable to present to little children. The “Venus and Cupid” of Velasquez is a glorious masterpiece, but we cannot expect little folk to admire it any more than we can expect those in the rhythmic period to listen to a King Arthur story and ask to hear it again. As the little child does not know Venus and Cupid, a portrayal of them means nothing to him. But he does know horses and dogs and cats. He knows other children and babies and mothers, and therefore he enjoys pictures of animal and child life and will be interested in hearing about their portrayers.

Sir Joshua Reynolds is an excellent artist to begin with, because his best work is built around themes dear to the heart of childhood. His “Age of Innocence,” “Infant Samuel,” “Robinetta,” “Heads of Angels,” “Simplicity,” and “The Strawberry Girl” are ideal works to present to the small child, and this painter’s early years make a charming story.

Sir Edwin Landseer is another artist with whom we can acquaint little children, through the following works: “Uncle Tom and His Wife for Sale,” “Low Life and High Life,” “Dignity and Impudence,” “A Distinguished Member of the Humane Society,” “The Sick Monkey,” “King Charles Spaniels,” and many other paintings, all of which will be loved by children because they love the subjects.

Rosa Bonheur and her paintings should be used in this period. Children are especially fond of “The Horse Fair,” “Coming from the Fair,” “Brittany Sheep,” “Highland Cattle,” and “A Norman Sire.” In fact, everything this painter created, like all the work of Landseer, is fraught with interest to the child, because she was solely a portrayer of animal life.

An artist of whom little folk have been taught almost nothing is Gainsborough. Usually we think of him only as a portrait painter, because in America his likenesses of women are better known than his other pictures. But it is a mistake to associate him only with “the dashing, smashing hats worn by the Duchess of Devonshire.” Until recently only Americans who had traveled in England had an opportunity of seeing or knowing the greater part of this artist’s other work, because the British copyright law protected much of it in such a way that cheap prints could not be made. Now, however, it is possible to get good reproductions of these long-protected Gainsboroughs at a very reasonable price. Most valuable of the works of this artist to use with little children are the following: “The Market Cart,” “The Watering Place,” “Two Dogs,” “Rustic Children,” and “Study of an Old Horse.”

Murillo is an ideal painter to introduce to the little child, because his childhood story is as fascinating as his creations are glorious. Children never tire of hearing about this joyous little Spanish boy, and of the time when he transformed the family picture, turning the halo of the Christ-child into a gorgeous sombrero, and making a dog of the sheep. As they laugh or sympathize with the wonder child of Seville and feel something of the charm of life in that old city, its street children, immortalized on canvas by its most illustrious son, become comrades because little Bartolome sometimes played with them and big Bartolome painted them. There is a long list of this master’s works from which to choose, but the following are particularly enjoyed: “Mother and Child,” “The Adoration of the Shepherds,” “St. John and the Lamb,” “The Melon Eaters,” “The Dice Players,” “Beggar Boys,” “The Good Shepherd,” “The Marriage of St. Catherine,” and “The Immaculate Conception.” No attempt should be made to interpret the two last-named pictures. Familiarize little people with them and lead them to see their beauty, but waive all idea of religious symbolism until years bring maturity of thought and the child makes his own interpretation.

All Madonna pictures are interesting to little children, so by all means acquaint them with Raphael, the king. Let them drink in the beauty of “The Sistine Madonna,” “The Madonna of the Chair,” “The Madonna of the Goldfinch,” and as many others as can be obtained. The story of Raphael belongs more properly in the intermediate period than in the very early one, because so little is known of this painter’s life before he began his career. Just tell the children of the little boy who lived in far-away Urbino long, long ago. His mother died when he was a wee little fellow, and he lived alone with his father, who was very kind to him. Instead of playing much, as the other children did, he loved to sit and listen to stories about saints and good people who lived before his time. He loved to draw pictures, too, and when he grew to be a man he became a wonderful painter.

Closely following Raphael may come Correggio, through his “Holy Night,” “Repose in Egypt,” and “Cherubs.”

Van Dyck, too, may be made familiar to little children. From his works choose “Children of Charles I” and several details from this picture—“Baby Stuart,” “Charles II,” and “Henrietta.” But present first the complete picture, so that when “Baby Stuart” is seen the children will know that it is only part of a painting. Many a grown person does not realize that it is a detail from another work, and this fact should be understood by every child who sees the royal baby. Other works by this artist suitable to introduce to tiny people are “The Repose in Egypt,” “Madonna and Child,” and “The Donators.”

There are many painters whose pictures will be enjoyed by children of from five to eight, and the teacher or parent who knows art and art literature can choose for himself, keeping always in mind the story interests. To those who have little or no knowledge of art, yet who want to lead children along this path, the following list will be helpful:

Artists and Paintings That Can Be Presented to Young Children through the Story-Telling Method

Adam: Kittens; Wide Awake; The Hungry Quartette; In the Boudoir.

Botticelli: Adoration of the Magi; The Holy Family.

Bouguereau: Virgin and Angels; Virgin, Infant Jesus, and St. John; Going Home from School; The Flight into Egypt.

Delaroche: The Finding of Moses; Children of Edward IV.

Greuze: The Broken Pitcher; Innocence; Head of Girl with Apple.

Herring: Pharaoh’s Horses; Three Members of the Temperance Society; The Village Blacksmith; Farmyard.

Vigée Lebrun: Marie Antoinette and Children; Girl with Muff; Mother and Daughter.

Millet: Feeding the Hens; Feeding Her Birds; The First Step; Feeding the Nestlings.

Luca della Robbia: Singing Boys; Trumpeters and Dancing Boys; Dancing Boys with Cymbals; Children Dancing to Fife and Tambor; Madonna, Child, and Saints.

Rubens: Portrait of his Wife and Children; The Holy Family; Infant Christ, St. John, and Angels; The Virgin under an Apple Tree; The Adoration of the Magi.

Children of the intermediate period enjoy the works of the great landscape painters, Claude Lorrain, Corot, Breton, and others who portrayed the woods and fields, especially when they know something of the childhood of these men. In this period, too, they should become better acquainted with some of the artists they have already met. Add to the interest previously created in Raphael by taking up such works as “Madonna of the Fish,” “Madonna of the Well,” and “Madonna of the Diadem.” In telling the story of his life use Ouida’s beautiful tale, “The Child of Urbino,” which is so exquisitely told that there is nothing lovelier in literature. Show the children his portrait of himself, his “St. Catherine,” “St. Cecilia,” “St. John in the Desert,” “Peter and John at the Beautiful Gate,” and “The Miraculous Draught of Fishes.”

Add to the interest already created in Rubens by taking up his “Portrait of Himself,” “The Flight of Lot,” and the paintings illustrating the life of Maria de’ Medici.

Pictures representing the Crucifixion, the Descent from the Cross, and the Entombment, no matter how glorious they may be as works of art, should not be presented to children. They are too highly religious for children’s understanding, and the tragedy portrayed in them should not enter into childhood. The Madonnas and Holy Families may be used freely, because they portray dear and familiar characters and are saturated with an atmosphere of happiness that gladdens the child.

The following list will aid those who are not connoisseurs:

Artists and Paintings for Children of the Intermediate Period

Jules Breton: Song of the Lark; The Gleaners; The Reapers; The Weeders; The Recall of the Gleaners; Blessing the Wheat; The Vintagers; The End of Labor.

Jacques: The Sheepfold; Pasturage in the Forest; Shepherd and Sheep.

Millet: The Sower; The Gleaners; The Angelus; The Grafter; Sheep Shearing; Potato Planting; Bundling Wheat; Returning to the Farm; Shepherdess Knitting; Woman Churning; Labor.

There is a twofold reason for introducing children to such painters as Millet, Breton, and Jacques. Besides giving them a knowledge of the works of the artists in question and adding to their appreciation of the beautiful, it will dignify labor in their eyes to learn that it inspired these great creators. If leaders of the “back to the land” movement would make free use of the art of the world among children, if during the years when impressions made are deep and lasting they would tell stories and show pictures that have been inspired by toilers in the fields, a sentiment would be created that would tell in results, because of boys and girls having learned to respect those who till the soil and work with their hands.

Artists and Paintings That Lead to Appreciation of the Beautiful and to Respect for Labor

Corot: Dance of the Children; Dance of Nymphs; Landscape with Willows; Paysage; Pond of Ville d’Avray; The Lake.

Rembrandt: Portrait of Himself; Portrait of His Mother; The Mill; The Burgomasters.

Troyon: Return to the Farm; Going to Work; Landscape with Sheep.

Van Dyck (Add to interest already aroused): Henrietta Maria, Wife of Charles I; William of Orange and Mary Stuart; Equestrian Portrait of Charles I; Portrait of Charles I with Groom and Horse.

Velazquez: Portrait of Himself; The Tapestry Weavers; Prince Balthazar; The Lancers; Equestrian Portrait of Philip IV; Infanta Maria Theresa.

When children reach the period during which they crave the heroic, when they are eager for the great epic stories, give them the great paintings that portray epic and mythological subjects. The following list contains names of artists and works that children in this stage will enjoy:

Artists and Paintings for the Heroic and Epic Periods

Alma-Tadema: Sappho; Reading from Homer.

Burne-Jones: The Golden Stair; The First Day of Creation; Second Day of Creation; Third Day of Creation; Fourth Day of Creation; Fifth Day of Creation; Sixth Day of Creation; Hope; Circe; Enchantment of Merlin; King Cophetua and the Beggar Maid; The Furies.

Leighton: Helen of Troy; Captive Andromache; Greek Girls Playing Ball.

Michelangelo: David; Moses; Saul; The Three Fates; Jeremiah; Ezekiel; Zachariah; Isaiah; Daniel; Jonas; The Delphic Sibyl; The Cumæan Sibyl; The Libyan Sibyl.

Raphael: St. George and the Dragon.

Guido Reni: Jesus and John; St. Michael and the Dragon; Aurora; Beatrice Cenci; St. Sebastian; The Annunciation; L’Adorata.

Rossetti: The Sea Spell; The Blessed Damozel; Ancilla Domini.

Andrea del Sarto: John the Baptist; Virgin in Glory; St. Agnes; Charity.

Tintoretto: The Forge of Vulcan; Marriage at Cana; Paradise; Paolo Veronese; Feast at House of Simon; Feast at House of Levi; Europa and Jupiter.

Titian: John the Baptist; Tribute Money; Titian’s Daughter Lavinia; Flora; Head of Venus.

Turner (Mythological): Apollo and the Python; Jason in Search of the Golden Fleece; The Goddess of Discord; Dido Building Carthage; Ulysses Deriding Polyphemus. (Historical): Prince of Orange; The Death of Nelson; Boat’s Crew Recovering an Anchor; Hannibal and Army Crossing the Alps; The Field of Waterloo; Agrippina Landing with the Ashes of Germanicus; The Fighting Téméraire.

Watts: Sir Galahad; Orpheus and Eurydice; Endymion.

General Bibliography of Art Story Material

Bacon, Mary S. H.: Pictures That Every Child Should Know.

Cather, Katherine Dunlap: Boyhood Stories of Famous Men.

Collmann, Sophie Marie: Art Talks with Young Folks.

De la Ramée, Louise: Child of Urbino (“Bimbi” Stories).

Ennis, Luna May: Music in Art.

Hartmann, Sadakichi: Japanese Art.

Horne, Olive B., and Scobey, Kathrine L.: Stories of Great Artists.

Hourticq, Louis: Art in France.

Hurll, Estelle M.: The Madonna in Art.

Menefee, Maud: Child Stories from the Masters.

Sweetser, M. F.: Artist Biographies: Raphael and Leonardo, Angelo and Titian, Claude Lorrain and Reynolds, Turner and Landseer, Dürer and Rembrandt, Van Dyck and Angelico, Murillo and Allston.

Vasari, Giorgio: Lives of the Italian Painters, Sculptors, and Architects.

Waters, Clara Erskine: Saints in Art; Stories of Art and Artists.

Sources for Moderate-Priced Reproductions of Masterpieces

The Brown Pictures, Milton Bradley Company, Springfield, Mass.; Emery School Art Company, Boston, Mass.; Maison Braun et Cie., New York, N.Y.; Frederick A. Stokes Company, New York, N.Y. (has American rights to many pictures); The Perry Pictures, Malden, Mass.; The Prang Company, New York, N.Y.; The University Prints, Boston, Mass.

CHAPTER ELEVEN Dramatization

Contemporaneous with what may be termed a renaissance in story-telling is a strong sentiment in favor of dramatization. Child leaders have observed that children dramatize spontaneously, and that after they have heard a tale they often play it without suggestion from an older person. They impersonate the characters, crudely perhaps, but they represent the action and portray the story as they understand it.

This they do because the dramatic instinct is a universal instinct. We are all born imitators, and we like to experience the feelings and experiences of others. That is why the little girl impersonates her mother and takes delight in dressing in grown-up attire and playing lady. It is what actuates the boy to play Indian or soldier or fireman. He wants to live through the experiences of Indians and soldiers and firemen; so he goes into the world of make-believe and acts the part. During that time he is a larger and a different personality. He is not a little boy who must go to bed before he wants to, and must stay inside the yard when he longs to be out on the highway; he is a grown man in a uniform dashing along on an engine; he is a mighty chief in feathers and war paint, leading his tribe against the enemy or speaking words of wisdom around the council fire.

There was a time when this sort of play was believed to be of no value beyond that of a romp that helped to stretch the muscles, but today there is a very different attitude toward it. Close observation of children and a more general knowledge of psychology have brought educators to realize that imitative play is a big factor in mental development. As the boy impersonates a fireman or Indian he must choose movements in keeping with the part and reject those not in keeping with it. He must select and evaluate, and in doing this he is acquiring a power of discrimination that will be of great value to him later.

The childhood of many famous men of the past was distinguished by an unusual amount of imitative play, a free expression of the dramatic instinct. Goethe, in his memories, speaks lovingly of his early years thus:

Continuing, he tells of the tales he heard, and what they meant to him as he played them:

Sometimes I was a prince and sometimes a peasant. Now I was rewarded for being a bountiful and considerate king, then punished according to the deserts of a wicked and revengeful giant; and always as I played these parts I was learning the unchangeable laws of life.

What Goethe learned through acting tales his mother told him, the child of today is learning as he dramatizes stories, although not always in as great a measure as was learned by the author of Faust and Werther. But he is learning according to his ability and within his limitations. When he has played the part, the laws involved in it become fixed principles with him, and a big step is taken in the direction of his moral training. Because of a growing recognition of this truth the present strong interest in dramatization in schools is becoming general throughout the country. Teachers are beginning to realize that they can give no more eloquent sermon on truthtelling than to tell the story of “The Boy Who Cried Wolf,” and then let the children dramatize it. There is no more effective means of giving a lesson in contentment than presenting the tale of the pig who thought his life hard and leading the boys and girls to play it.

Therefore it follows that dramatization should be encouraged, and to be most far-reaching in its results, it should be done by means of story-telling, because by proceeding from the story to the action the child creates the play and makes it his own.

There are many books of plays for children, carefully written and adapted to their interests in word, style, and theme. But such plays do not mean as much to the child as those he makes for himself. They are not as much his own, and consequently they contribute less toward his growth and development.

The natural way is for the child to hear the story and then act it. Therefore every story-teller should have in his possession a number of tales with dramatic possibilities. He should tell one of these vividly and dramatically, using much dialogue, and then, while it is still fresh in the minds of the children, encourage them to play it. It is well to use the published plays also, because there are many excellent ones, but the narrator should read them over, get the plot, and tell the story, before putting them into the hands of the children.

Shall dialogue be dictated by the story-teller and the children drilled in their parts? No. Conversation used in telling the tale will suggest to the children what to say, and they will make up their own parts. They must be led and directed, but help from the teacher or leader should be given in such a way that the children feel they are making the play themselves. Help them by questions that will lead them to think and act instead of telling them what to do and say.

Suppose “The Pied Piper of Hamelin” is to be dramatized. After the story has been told, say to the children, “Do you want to play it?” Of course they will want to. Then, by questioning, lead them to constructive effort.

How many people shall we need? Immediately the answers will come, and as the different characters are named make a list, thus getting the cast. Who can be the mayor, members of the council, the piper, rats, mothers and fathers, lame boy, etc.?

There will be two divisions, those who are forward, eager to take a prominent part, and the shy, retiring ones who will not offer. This latter group must not be ignored, and to draw its members into the work requires much tact. Sometimes when it is impossible to get a child to take a speaking part, he can be encouraged to be one of a group of “supers,” as they are called on the professional stage, because although he lacks the confidence necessary to make him lift his voice, his diffidence vanishes in doing pantomime with a number of other children. He will be a rat or a citizen when he cannot be coaxed or driven into being the piper, and after many pantomime performances he gains the confidence in himself that enables him to take a speaking part.

One of the difficulties incident to dramatization in the schoolroom is that the same children always clamor to take the star parts, and sometimes sulk if not permitted to do so, or sneer at the efforts of others. This situation must be met as any other problem in discipline is met, by skill on the part of the teacher and by inculcating a sense of fairness and courtesy that holds selfishness in check. Lead the child to see that what gives him pleasure gives some one else pleasure also, and that it is the right of each member of the class to experience that pleasure. Once the boy or girl realizes that well-bred people are considerate and do not deride the efforts of others, no matter how imperfect their achievement may be, the dramatization period loses its greatest bugbear and shy children do not hesitate to take part because of fear that they will be laughed at. This result cannot be brought about instantly, but persistence and tact will finally accomplish it.

Do not be discouraged because it seems that some of the shy or less capable children will never take a speaking part. Sometimes even after they perform in pantomime they still hang back and will speak only in chorus. But this last is at least a step in the desired direction. Keep working them in groups, and gradually from group speaking they will advance to individual speaking. Sometimes this process is slow and discouraging, but the teacher should remember that mental development is never a mushroom growth, and that great achievement is not wrought in a day. The marble block yields so slowly to the shaping of the sculptor’s chisel that sometimes it seems it never will take the form he visions for it, but ceaseless effort always brings results. So it is with the teacher in molding human material. Results are sure to come if persistence and patience are unflagging and faith is deep and strong. It is worth much for a shy, self-conscious child to grow to the point where he can lose himself in the rôle of a play, and no matter how crudely he does it, he should be encouraged and given frequent opportunities to express himself, because as a means of self-development his crude performance is of as much value as the artistic one of the talented child, although it may be less enjoyable to spectators.

With little children especially, it is desirable to use some play whose cast will include every member of the class. It gives the eager child a chance to be “in it,” as children say, and makes it easier to draw the diffident child to participate, because he wants to do what all the others are doing. “The Pied Piper” is ideal for this, because of the flexibility of groups. There can be enough rats, parents, children, or council members to include twenty or forty children, and the larger the groups the more intense the interest.

After the cast is decided upon, plan the scenes, again by questioning the children. What is the first thing to be done and where is it done? Thus, by question and suggestion, work up the lines. In other words, have the children create the parts themselves and they will play them spontaneously. The production may not be highly artistic, but it will have greater educational value than one worked out by an adult and merely acted by the children. After it has been created in this way it may be put into finished permanent form. Little children may practice it until they memorize the lines, while those in the grammar grades may write parts, thus making a play that can be used many times. This sort of work is very valuable, and may form a composition or language exercise that will be enjoyed by the class.

Another method is to have the various members suggest lines to be spoken by the different characters and choose the best for the play. Sometimes a child who does little in the usual composition work and never gets a high mark, will suggest an excellent line or sentence, and to have it go into the play is a tremendous joy to him, especially if he doubts his own ability. Another plan that makes the class interest keen, is for each member to plan or write a scene, and without the members knowing the authorship of the various papers, have them read, and select the best by vote, whereupon the name of the writer is revealed. This method can be used in writing parts for one character or for all the characters, and in several other ways that will be of much value to the children.

Of course the teacher or leader must be the guiding spirit, because a well-built, correctly proportioned plot is necessary. But her suggestion should be chiefly by way of question, leaving the children to feel that they, and not the instructor, are doing the work, although in reality the teacher’s judgment is the foundation upon which the structure stands, and she must use it in building the play just as she uses it in telling the story.

For little people there are many stories with dramatic possibilities, some of which may be acted wholly in pantomime, some with combined pantomime and spoken parts, and others entirely of spoken parts. In working with foreign children it is well to begin with pantomime plays, as the child who knows he cannot express himself easily in English will always balk at taking a speaking part. Some of Æsop’s fables lend themselves particularly well to pantomime, especially “The Lion and the Mouse,” “The Fox and the Grapes,” “The Dog and His Shadow,” and “The Hare and the Tortoise.” The Dramatic Festival, by Craig, and Festivals and Plays, by Chubb, give valuable suggestions for pantomime work, as well as a list of plays adapted to it, and the worker with older children will also find these books to be excellent guides.

There is an equally large amount of material for dramatic work with older children. Hiawatha never fails to delight fourth and fifth grade boys and girls. Robin Hood in dramatic form is loved even more than in story, as are some of the exploits of King Arthur and his knights and of Pwyll, the hero of the Mabinogion. Any of these tales may be carried out simply or may be worked into elaborate performances with costumes and stage settings. If the latter be the choice, much pleasure and useful experience will come to the children through making the properties. Any boy who can whittle can fashion spears and swords, and gold and silver paper is wonderfully effective in supplying glitter. Does a knight need colored hose to be in keeping with his doublet? Let him borrow a pair of his mother’s or sister’s white ones and coat them with blackboard crayon of the desired hue. One laundering will make them spotless again, and there is no outlay of money for something that must be discarded at the end of the performance. Helmets, shields, and pilgrim hats can be made by the manual-training boys, and girls in the domestic-science class will enjoy sewing the costumes.