Muloch Craik. 1854. _The Rose and the Ring_, by William M. Thackeray. A modern edition contains the original illustrations with additions by Monsell. Crowell. 1855. _Granny's Story Box_. A collection. Illustrated by J. Knight; published by Piper, Stephenson, and Spence. 1856. _Granny's Wonderful Chair_, containing _Prince Fairy-foot_. Written by Frances Browne, a blind Irish poetess. 1863. _Water Babies_. Charles Kingsley. Sir Noel Patton. The Macmillan Company. 1865. _Stories Told to a Child, including Fairy Tales; Mopsa the Fairy_, 1869. By Jean Ingelow. 1865. _Alice's Adventures in Wonderland_, by Lewis Carroll (Charles Dodgson), with 42 illustrations by John Tenniel, published by Macmillan Company, Oxford. First edition recalled. Later editions were published by Richard Clay, London. 1869. _At the Back of the North Wind_; _The Princess and the Goblin_, 1871. By George MacDonald. Arthur Hughes. Strahan. Reprinted by Blackie. 1870. _The Brownies_; 1882, _Old-fashioned Fairy Tales_. By Juliana Ewing. 1873. _A Series of Toy-Books for Children_, by Walter Crane (1845-1914). Published by Routledge and printed in colors by Edmund Evans. Twenty-seven of these stories in nine volumes are published by John Lane, Bodley Head. _Princess Fioromonde_, 1880, _Grimm's Household Stories_, 1882, and _The Cuckoo Clock_, 1887, all by Mrs. Molesworth, were also illustrated by Crane. 1878-. _Picture-Books_, by Randolph Caldecott (1846-1886). These were sixteen in number. They are published by F. Warne. 1875-. _Stories from the Eddas; Dame Wiggins of Lee (Allen)_; and _The Pied Piper of Hamelin_. These delightful books by Kate Greenaway (1846-1901) were published by Routledge and engraved by Edmund Evans. They are now published by F. Warne. This brings the English side of the subject down to the present time. Present editions of fairy tales are given in Chapter VI. In Germany there were also many translations from the French of Perrault and D'Aulnoy. There were editions in 1764, 1770, etc. Most of those before the _Grimms' Tales_ were not important. One might mention:-- 1782. _Popular German Stories_, by Musäus. 1818. _Fables, Stories, and Tales for Children_, by Caroline Stahl. 1819. _Bohemian Folk-Tales_, by Wolfgang Gerle. 1812-1814. _Kinder und Haus-Märchen_, by Jacob and William Grimm. The second edition was published in 3 volumes in Berlin, by Reiner, in 1822. This latter work formed an era in popular literature and has been adopted as a model by all true collectors since. Concerning the modern German fairy tale, the Germans have paid such special attention to the selection and grading of children's literature that their library lists are to be recommended. Wolgast, the author of _Vom Kinderbuch_, is an authority on the child's book. The fairy tale received a high estimate in Germany and no nation has attained a higher achievement in the art of the fairy tale book. The partial list simply indicates the slight knowledge of available material and would suggest an inviting field to librarians. A great stimulus to children's literature would be given by a knowledge of what the Germans have already accomplished in this particular. In Germany a child's book, before it enters the market, must first be accepted by a committee who test the book according to a standard of excellence. Any book not coming up to the standard is rejected. A few of the German editions in use are given:-- _Bilderbücher_, by Löwensohn. _Bilderbücher_, by Scholz. _Liebe Märchen_. One form of the above, giving three tales in one volume. _Märchen_, by W. Hauff, published by Lowe. One edition, illustrated by Arthur Rackham, is published by Dutton. _The Caravan Tales_ is an edition published by Stokes. _Märchen_, by Musaus, published by Von K.A. Müller. 1777-1843. _Undine_, by La Motte Fouqué. A recent edition, illustrated by Rackham, is published by Doubleday. 1817-77. _Books_ by Otillie Wildermuth. (What of hers should be translated and included?) _Hanschen im Blaubeerenwald; Hanschens Skifart Märchen_, both by Elsa Beskow, published by Carl. _Windchen_; and _Wurzelkindern_, both by Sybille von Olfers, published by Schreiber. _Das Märchen von den Sandmannlein_, by Riemann, published by Schreiber. _Der Froschkönig_, by Liebermann, published by Scholz. _Weisst du weviel Sternlein stehen_, by Lewinski, published by Schreiber. In Sweden there appeared translations of Perrault and D'Aulnoy. _The Blue-Bird_ was oftenest printed as a chap-book. Folk-tales were collected in:-- _Swedish Tales_, a collection. H. Von Schroter. 1844. _Folk-Tales_. George Stevens and Hylten Cavallius. Sweden has given us the modern fairy tale, _The Wonderful Adventures of Nils_ (2 volumes). This delightful tale by Selma Lagerlöf, born 1858, and a winner of the Nobel prize, has established itself as a child's classic. It has been translated by V.S. Howard, published by Doubleday, 1907. In Norway we have:-- 1851. _Norske Folkeeventyr_, collected by Asbjörnsen and Moe. 1862. _Norse Tales_. The above tales translated by Sir George W. Dasent. In Denmark we have:-- _Sagas of Bodvar Biarke_. _Danske Folkeeventyr_, by M. Winther, Copenhagen, 1823. 1843-60. _Danmarks Folkesagn_, 3 vols., by J.M. Thiele. 1805-1875. _Fairy Tales_, by Hans Christian Andersen. These tales are important as marking the beginning of the modern fairy tale. They are important also as literary fairy tales and have not been equaled in modern times. In Slavonia we have:-- _Wochentliche Nachrichten_, by Busching, published by Schottky. In Hungary we have:-- 1822. _Marchen der Magyaren_, by George von Gaal. In Greece and Russia no popular tales were collected before the time of the Grimms. In Italy the two great collections of the world of fairy tales have been mentioned. Italy has also given the modern fairy tale which has been accepted as a classic: _Pinocchio_, by C. Collodi (Carlo Lorenzini). This has been illustrated by Copeland, published by Ginn; and illustrated by Folkhard, published by Dutton. In America the publication of fairy tales was at first a reprinting of English editions. In colonial times, previous to the revolution, booksellers imported largely from England. After the revolution a new home-growth in literature gradually developed. At first this was largely in imitation of literature in England. After the time of Washington Irving a distinct American adult literature established itself. The little child's toy-book followed in the wake of the grown-up's fiction. The following list[7] shows the growth of the American fairy tale, previous to 1870. Recent editions are given in Chapter VI. 1747-1840. _Forgotten Books of the American Nursery, A History of the Development of the American Story-Book_. Halsey, Rosalie V. Boston, C.E. Goodspeed & Co., 1911. 244 pp. 1785-1788. _Isaiah Thomas, Printer, Writer, and Collector. Nichols, Charles L_. A paper read April 12, 1911, before the Club of Odd Volumes.... Boston. Printed for the Club of Odd Volumes, 1912. 144 pp. List of juveniles 1787-88: pp. 132-33. 1785. _Mother Goose_. The original Mother Goose's melody, as first issued by John Newbery, of London, about A.D. 1760. Reproduced in facsimile from the edition as reprinted by Isaiah Thomas, of Worcester, Mass., A.D. 1785 (about) ... Albany, J. Munsell's Sons, 1889. 28 pp. 1787. _Banbury Chap-Books and Nursery Toy-Book Literature_ (of the eighteenth and early nineteenth centuries) ... Pearson, Edwin. With very much that is interesting and valuable appertaining to the early typography of children's books relating to Great Britain and America.... London, A. Reader, 1890: 116 pp. Impressions from wood-cut blocks by T. and J. Bewick, Cruikshank, Craig, Lee, Austin, and others. 1789. _The Olden Time Series_. Gleanings chiefly from old newspapers of Boston and Salem, Mass. Brooks, Henry M., _comp_. Boston, Ticknor & Co., 1886. 6 vols. _The Books that Children Read in 1798_ ... by T.C. Cushing: vol. 6, pp. 62-63. 1800-1825. Goodrich, S.G. _Recollections of a Lifetime_. New York, Miller, Orton, and Mulligan, 1856. 2 vols. Children's books (1800-1825): vol. 1, pp. 164-74. 1686. _The History of Tom Thumb_. John Dunton, Boston. 1728. _Chap-Books_. Benjamin Franklin, Philadelphia. 1730. _Small Histories_. Andrew Bradford, Philadelphia. These included _Tom Thumb_, _Tom Hickathrift_, and _Dick Whittington_. 1744. _The Child's New Plaything_. Draper & Edwards, Boston. Reprint. Contained alphabet in rhyme, proverbs, fables, and stories: _St. George and the Dragon_; _Fortunatus_; _Guy of Warwick_; _Brother and Sister_; _Reynard the Fox_; and _The Wolf and the Kids_. 1750. John Newbery's books. Advertised in Philadelphia _Gazette_. The _Pretty Book for Children_ probably included _Cinderella_, _Tom Thumb_, etc. 1760. All juvenile publications for sale in England. Imported and sold by Hugh Gaine, New York. 1766. _Children's books_. Imported and sold by John Mein, a London bookseller who had a shop in Boston. Included _The Famous Tommy Thumb's Story Book_; _Leo the Great Giant_; _Urax, or the Fair Wanderer_; and _The Cruel Giant, Barbarico_. 1787. All Newbery's publications. Reprinted by Isaiah Thomas, Worcester, Mass. 1794. _Arabian Nights. The Arabian Nights Entertainments_ .... The first American edition.... Philadelphia, H. & P. Rice; Baltimore, J. Rice & Co., 1794. 2 vols. 1804. _Blue Beard. A New History of Blue Beard, written by Gaffer Black Beard, for the Amusement of Little Jack Black and his Pretty Sisters_. Philadelphia, J. Adams, 1804. 31 pp. 1819. _Rip Van Winkle_. A legend included in the works of Washington Irving, published in London, 1819. 1823. _A Visit from St. Nicholas_. Clement Clark Moore, in Troy _Sentinel_, Dec. 23, 1823. Written the year before for his own family. The first really good American juvenile story, though in verse. 1825. _Babes in the Wood_. The history of the children of the wood.... To which is added an interesting account of the Captive Boy. New York, N.B. Holmes. 36 pp. Plates. 1833. _Mother Goose_. The only true Mother Goose Melodies; an exact reproduction of the text and illustrations of the original edition, published and copyrighted in Boston in 1833 by Munroe & Francis.... Boston, Lee & Shepard, 1905. 103 pp. 1836. _The Fairy Book_. With eighty-one engravings on wood, by Joseph A. Adams. New York, Harper & Bros. 1836. 301 pp. Introduction by "John Smith." Edited by C.G. Verplanck, probably. 1844. _Fairy Land, and Other Sketches for Youths_, by the author of _Peter Parley's Tales_ (Samuel G. Goodrich). Boston, J. Munroe & Co. 167 pp. Plates, Cromo. Lith. of Bouvé & Sharp, Boston. 1848. _Rainbows for Children_, by L. Maria Child, _ed_. New York, C.S. Francis & Co. 170 pp. 28 original sketches ... by S. Wallin.... B.F. Childs, wood engraver: p. 8. Advertising pages: New books published by C.S. Francis & Co., N.Y.... _The Fairy Gift and the Fairy Gem_. Four volumes of choice fairy tales. Each illustrated with 200 fine engravings by French artists: p. 2. 1851. _Wonder Book_, by Nathaniel Hawthorne. Illustrated by W. Crane, 60 designs, published by Houghton, 1910. 1852. _Legends of the Flowers_, by Susan Pindar. New York, D. Appleton & Co., 178 pp. 1853. _Fairy Tales and Legends of Many Nations_, by Charles B. Burkhardt. New York, Chas. Scribner. 277 pp. Illustrated by W. Walcutt and J.H. Cafferty. 1854. _The Little Glass Shoe, and Other Stories for Children_. Philadelphia, Charles H. Davis. 128 pp. Advertising pages: A description of illustrated juvenile books, published by Charles H. Davis: 16 pp. _A Book of Fairy Stories_: p. 9. 1854. _The History of Whittington and His Cat_. Miss Corner and Alfred Crowquill. _Dick Whittington_ is said to have been the best seller among juvenile publications for five hundred years. 1855. _Flower Fables_, by Louisa May Alcott. Boston, G.W. Briggs & Co. 182 pp. 1855. _The Song of Hiawatha_, by Henry Wadsworth Longfellow. Published now by Houghton, illustrated by Frederick Remington. 1864. _Seaside and Fireside Fairies_, by George Blum. Translated from the German of Georg Blum and Louis Wahl. By A.L. Wister. Philadelphia, Ashmead & Evans, 292 pp. 1867. _Grimm's Goblins_, selected from the _Household Stories_ of the Brothers Grimm. Jacob L.K. Grimm. Boston, Ticknor & Fields. 111 pp. 1867. _Fairy Book. Fairy Tales of All Nations_, by Edouard Laboulaye. Translated by Mary Booth. New York, Harper & Bros., 363 pp. Engravings. 1867. _The Wonderful Stories of Fuz-buz the Fly and Mother Grabem the Spider_. By S. Weir Mitchell. Philadelphia, J.B. Lippincott & Co. 79 pp. 1868. _Folks and Fairies_. Stories for little children. Lucy Comfort. New York, Harpers, 259 pp. Engravings. Advertising pages: Six fairy tales published by Harper & Bros. 1870. _Cinderella, or The Little Glass Slipper_. Boston, Fields, Osgood & Co. 1871. 8 pp. Colored plates by Alfred Fredericks. 1873. _Mother Goose_. Illustrations of Mother Goose's Melodies. By Alexander Anderson. New York. Privately printed by C.L. Moreau (Analectic Press), 1873, 36 1. 10 numb. 1. (Designed and engraved on wood.) 1870. _Beauty and the Beast_, by Albert Smith. New York, Manhattan Pub. Co., 1870. 64 pp. With illustrations by Alfred Crowquill. This brings the American child's fairy tale up to recent publications of the present day which are given in the chapter, "Sources of Material." An attempt has been made here to give a glimpse of folk and fairy tales up to the time of the Grimms, and a view of modern publications in France, Germany, England, and America. The Grimms started a revolution in folk-lore and in their lifetime took part in the collection of many tales of tradition and influenced many others in the same line of work. An enumeration of what was accomplished in their lifetime appears in the notes of _Grimm's Household Tales_, edited by Margaret Hunt, published by Bonn's Libraries, vol. II, pp. 531. etc. In modern times the Folk-Lore Society of England and America has been established. Now almost every nation has its folk-lore society and folk-tales are being collected all over the world. Altogether probably Russia has collected fifteen hundred such tales, Germany twelve hundred, Italy and France each one thousand, and India seven hundred. The work of the Grimms, ended in 1859, was continued by Emanuel Cosquin, who, in his _Popular Tales of Lorraine_, has made the most important recent contribution to folklore,--important for the European tale and important as showing the relation of the European tale to that of India. The principal recent collections of folk-lore are:-- _Legends and Fairy Tales of Ireland_. Croker. 1825. _Welsh and Manx Tales_. Sir John Rhys. 1840-. _Popular Rhymes of Scotland_. Chambers. 1847. _Tales of the West Highlands_. Campbell. 1860. _Popular Tales from the Norse_. Dasent. 1862. _Zulu Nursery Tales_. Callaway. 1866. _Old Deccan Days_. Frere. 1868. _Fireside Tales of Ireland_. Kennedy. 1870. _Indian Fairy Tales_. Miss Stokes. 1880. _Buddhist Birth Stories_. Rhys Davids. 1880. _Kaffir Folk-Lore_. Theal. 1882. _Folk-Tales of Bengal_. Day. 1883. _Wide Awake Stories_. Steel and Temple. 1884. _Italian Popular Tales_. Crane. 1885. _Popular Tales of Lorraine_. Cosquin. 1886. _Popular Tales and Fictions_. Clouston. 1887. _Folk-Tales of Kashmir_. Knowles. 1887. _Tales of Ancient Egypt_. Maspero. 1889. _Tales of the Sun_. Mrs. Kingscote. 1890. _Tales of the Punjab_. Steel. 1894. _Jataka Tales_. Cowell. 1895. _Russian Folk-Tales_. Bain. 1895. _Cossack Fairy Tales_. Bain. 1899. _New World Fairy Book_. Kennedy. 1906. _Fairy Tales, English, Celtic, and Indian_. Joseph Jacobs. 1910-11. This brings the subject down to the present time. The present-day contributions to folk-lore are found best in the records of the Folk-lore Society, published since its founding in London, in 1878; and daily additions, in the folk-lore journals of the various countries. REFERENCES Adams, Oscar Fay: _The Dear Old Story-Tellers_. Lothrop. Ashton, John: _Chap-Books of the 18th Century_. Chatto & Windus. London, 1882. Bunce, John T.: _Fairy Tales, Origin and Meaning_. Macmillan, 1878. Chamberlain, A.F.: _The Child and Childhood in Folk-Thought_. Macmillan. Clouston, W.A.: _Popular Tales and Fictions_. Edinburgh, Blackwoods, 1887. Cyclopædia: "Mythology." _Encyclopædia Britannica_. Cox, Miss Roalfe: _Cinderella_. Introduction by Lang. Nutt, 1892. Dasent, George W.: _Popular Tales from the Norse_. Introduction. Routledge. Fiske, John: _Myth and Myth-Makers_. Houghton. Field, Mrs. E.M.: _The Child and His Book_. Gardner, Darton & Co. Frazer, J.G.: _The Golden Bough_. (Spring ceremonies and primitive view of the soul.) Macmillan. Frere, Miss: _Old Deccan Days_. Introduction. McDonough. Godfrey, Elizabeth: _English Children in the Olden Time_. Dutton, 1907. Grimm, William and Jacob: _Household Tales_. Edited with valuable notes, by Margaret Hunt. Introduction by Lang. Bell & Sons, Bohn's Libraries. Guerber, Hélène A.: _Legends of the Middle Ages_. (Reynard the Fox) American Book Co. Halliwell, J.O.: _Nursery Rhymes of England_. _Ibid.: Popular Rhymes and Nursery Tales_. Smith, 1849. Halsey, Rosalie: _Forgotten Books of the American Nursery_. Goodspeed, Boston, 1911. Hartland, E.S.: _Science of Fairy Tales_. Preface. Scribner, 1891. _Ibid.: English Folk and Fairy Tales_. Camelot series, Scott, London. Hartland, Sidney: _Legend of Perseus_ (origin of a tale). Hewins, Caroline M.: _The History of Children's Books_. _Atlantic_, 61: 112 (Jan., 1888). Jacobs, Joseph: _Reynard the Fox_. Cranford Series. Macmillan. _Ibid.: Fairy Tales_. Introduction, Notes and Appendix. Putnam. Keightley, Thomas: _Fairy Mythology_. Macmillan. _Ibid.: Tales and Popular Fictions_. Whittaker & Co., London, 1834. Lang, Andrew: _Custom and Myth_. Longmans, London, 1893. Mabie, Hamilton: _Fairy Tales Every Child Should Know_. Introduction. Doubleday. MacDonald, George: _The Light Princess_. Introduction. Putnam. Magazine: "Myths and Fairy Tales." _Fortnightly Review_, May, 1872. Mitchell, Donald G.: _About Old Story-Tellers_. Scribners. 1877. Moses, Montrose: _Children's Books and Reading_. Kennerley. Mulock, Miss: _Fairy Book_. Preface. Crowell. Pearson, Edwin. _Banbury Chap-Books and Nursery Toy-Book Literature_ (18th and early 19th centuries). London. A. Reader, 1890. Perrault, Charles: _Popular Tales_. Edited by A. Lang. Introduction. Oxford, 1888. Ritson, J.: _Fairy Tales_. Pearson, London, 1831. Scott, Sir Walter: _Minstrelsy of Scottish Border_. Preface to Tamlane, "Dissertation on Fairies," p. 108. Skinner, H.M.: _Readings in Folk-Lore_. American Book Co. Steel, Flora A.: _Tales of the Punjab_. Introduction and Appendix. Macmillan. Tabart, Benj.: _Fairy Tales, or the Lilliputian Cabinet_. London, 1818. Review: _The Quarterly Review_, 1819, No. 41, pp. 91-112. Tappan, Eva M.: _The Children's Hour_. Introduction to "Folk-Stories and Fables." Houghton. Taylor, Edgar: _German Popular Stories_. Introduction by Ruskin. Chatto & Windus. Tylor, E.B.: _Primitive Culture_. Holt, 1889. Warner: _Fairy Tales. Library of the World's Best Literature_, vol. 30. Welsh, Charles: _Fairy Tales Children Love_. Introduction. Dodge. _Ibid.:_ "The Early History of Children's Books in New England." _New England Magazine_, n.s. 20: 147-60 (April, 1899). _Ibid.: A Chap-Book_. Facsimile Edition. 1915. World Book Co. _Ibid.: Mother Goose_. Facsimile Edition. 1915. World Book Co. White, Gleeson: "Children's Books and Their Illustrators." _International Studio_, Special Winter Number, 1897-98. CHAPTER V CLASSES OF FAIRY TALES But the fact that after having been repeated for two thousand years, a story still possesses a perfectly fresh attraction for a child of to-day, does indeed prove that there is in it something of imperishable worth.--Felix Adler. Whatever has, at any time, appealed to the best emotions and moved the heart of a people, must have for their children's children, political, historical, and cultural value. This is especially true of folk-tales and folk-songs.--P.P. Claxton, _United States Commissioner of Education_. I. AVAILABLE TYPES OF TALES From all this wealth of accumulated folk-material which has come down to us through the ages, we must select, for we cannot crowd the child with all the folk-stuff that folk-lore scientists are striving to preserve for scientific purposes. Moreover, naturally much of it contains the crudities, the coarseness, and the cruelties of primitive civilization; and it is not necessary that the child be burdened with this natural history of a past society. We must select from the past. In this selection of what shall be presented to the child we must be guided by two standards: First, we owe it to the child to hand on to him his literary heritage; and secondly, we must help him to make of himself the ideal man of the future. Therefore the tales we offer must contribute to these two standards. The tales selected will be those which the ages have found interesting; for the fact that they have lived proves their fitness, they have lived because there was something in them that appealed to the universal heart. And because of this fact they will be those which in the frequent re-tellings of ages have acquired a classic form and therefore have within themselves the possibility of taking upon them a perfect literary form. The tales selected will be those tales which, as we have pointed out, contain the interests of children; for only through his interests does the child rise to higher interests and finally develop to the ideal man. They will be those tales which stand also the test of a classic, the test of literature, the test of the short-story, and the test of narration and of description. The child would be handicapped in life to be ignorant of these tales. Tales suitable for the little child may be viewed under these seven classes of available types: (1) the accumulative, or clock story; (2) the animal tale; (3) the humorous tale; (4) the realistic tale; (5) the romantic tale; (6) the old tale; and (7) the modern tale. I. The Accumulative Tale. The accumulative tale is the simplest form of the tale. It may be:-- (1) A tale of simple repetition. (2) A tale of repetition with an addition, incremental iteration. (3) A tale of repetition, with variation. Repetition and rhythm have grown out of communal conditions. The old stories are measured utterances. At first there was the spontaneous expression of a little community, with its gesture, action, sound, and dance, and the word, the shout, to help out. There was the group which repeated, which acted as a chorus, and the leader who added his individual variation. From these developed the folk-tale with the dialogue in place of the chorus. Of the accumulative tales, _The House that Jack Built_ illustrates the first class of tales of simple repetition. This tale takes on a new interest as a remarkable study of phonics. If any one were so happy as to discover the phonic law which governs the euphony produced by the succession of vowels in the lines of Milton's poetry, he would enjoy the same law worked out in _The House that Jack Built_. The original, as given by Halliwell in his _Nursery Rhymes of England_, is said to be a Hebrew hymn, at first written in Chaldaic. To the Hebrews of the Middle Ages it was called the _Haggadah_, and was sung to a rude chant as part of the Passover service. It first appeared in print in 1590, at Prague. Later, in Leipzig, it was published by the German scholar, Liebrecht. It begins:-- A kid, a kid, my father bought For two pieces of money: A kid, a kid, Then came the cat and ate the kid, etc. Then follow the various repetitive stanzas, the last one turning back and reacting on all the others:-- Then came the Holy One, blessed be He, And killed the angel of death, That killed the butcher, That slew the ox, That drank the water, That quenched the fire, That burned the staff, That beat the dog, That bit the cat, That ate the kid, That my father bought For two pieces of money: A kid, a kid. The remarkable similarity to _The Old Woman, and Her Pig_[8] at once proclaims the origin of that tale also. The interpretation of this tale is as follows: The kid is the Hebrews; the father by whom it was purchased, is Jehovah; the two pieces of money are Aaron and Moses; the cat is the Assyrians; the dog is the Babylonians; the staff is the Persians; the fire is the Greek Empire and Alexander; the water is the Romans; the ox is the Saracens; the butcher is the Crusaders; and the angel of death is the Turkish Power. The message of this tale is that God will take vengeance over the Turks and the Hebrews will be restored to their own land. Another tale of simple repetition, whose fairy element is the magic key, is _The Key of the Kingdom_, also found in Halliwell's _Nursery Rhymes of England_:-- This is the key of the kingdom. In that kingdom there is a city, In that city there is a town, In that town there is a street, In that street there is a lane, In that lane there is a yard, In that yard there is a house, In that house there is a room, In that room there is a bed, On that bed there is a basket, In that basket there are some flowers. Flowers in the basket, basket on the bed, bed in the room, etc. _The Old Woman and Her Pig_ illustrates the second class of accumulative tale, where there is an addition, and like _Titty Mouse and Tatty Mouse_, where the end turns back on the beginning and changes all that precedes. Here there is a more marked plot. This same tale occurs in Shropshire Folk-Lore, in the _Scotch Wife and Her Bush of Berries_, in _Club-Fist_, an American folk-game described by Newell, in Cossack fairy tales, and in the Danish, Spanish, and Italian. In the Scandinavian, it is _Nanny, Who Wouldn't Go Home to Supper_, and in the Punjab, _The Grain of Corn_, also given in _Tales of Laughter_. I have never seen a child who did not like it or who was not pleased with himself for accomplishing its telling. It lends itself most happily to illustration. _Titty Mouse and Tatty Mouse_ pleases because of the liveliness of its images, and because of the catastrophe at the end, which affects the child just as the tumble of his huge pile of blocks--the crash and general upheaval delight him. This tale has so many variants that it illustrates well the diffusion of fairy tales. It is Grimm's _The Spider and the Flea_, which as we have seen, is appealing in its simplicity; the Norse _The Cock Who Fell into the Brewing Vat_; and the Indian _The Death and Burial of Poor Hen_. The curious succession of incidents may have been invented once for all at some definite time, and from thence spread to all the world. _Johnny Cake_ and _The Gingerbread Man_ also represent the second class of accumulative tale, but show a more definite plot; there is more story-stuff and a more decided introduction and conclusion. _How Jack Went to Seek His Fortune_ also shows more plot. It contains a theme similar to that of _The Bremen Town Musicians_, which is distinctly a beast tale where the element of repetition remains to sustain the interest and to preserve unity, but where a full-fledged short-story which is structurally complete, has developed. A fine accumulative tale belonging to this second class is the Cossack _Straw Ox_, which has been described under "The Short-Story." Here we have a single line of sequence which gets wound up to a climax and then unwinds itself to the conclusion, giving the child, in the plot, something of that pleasure which he feels in winding up his toy animals to watch them perform in the unwinding. _The Three Bears_ illustrates the third class of repetitive story, where there is repetition and variation. Here the iteration and parallelism have interest like the refrain of a song, and the technique of the story is like that of _The Merchant of Venice_. This is the ideal fairy story for the little child. It is unique in that it is the only instance in which a tale written by an author has become a folk-tale. It was written by Southey, and appeared in _The Doctor_, in London, in 1837. Southey may have used as his source, _Scrapefoot_, which Joseph Jacobs has discovered for us, or he may have used _Snow White_, which contains the episode of the chairs. Southey has given to the world a nursery classic which should be retained in its purity of form. The manner of the Folk, in substituting for the little old woman of Southey's tale, Goldilocks, and the difference that it effects in the tale, proves the greater interest children naturally feel in the tale with a child. Similarly, in telling _The Story of Midas_ to an audience of eager little people, one naturally takes the fine old myth from Ovid as Bulfinch gives it, and puts into it the Marigold of Hawthorne's creation. And after knowing Marigold, no child likes the story without her. Silver hair is another substitute for the little Old Woman in _The Three Bears_. The very little child's reception to _Three Bears_ will depend largely on the previous experience with bears and on the attitude of the person telling the story. A little girl who was listening to _The Three Bears_ for the first time, as she heard how the Three Bears stood looking out of their upstairs window after Goldilocks running across the wood, said, "Why didn't Goldilocks lie down beside the Baby Bear?" To her the Bear was associated with the friendly Teddy Bear she took with her to bed at night, and the story had absolutely no thrill of fear because it had been told with an emphasis on the comical rather than on the fearful. Similar in structure to _The Three Bears_ is the Norse _Three Billy-Goats_, which belongs to the same class of delightful repetitive tales and in which the sequence of the tale is in the same three distinct steps. II. The Animal Tale The animal tale includes many of the most pleasing children's tales. Indeed some authorities would go so far as to trace all fairy tales back to some ancestor of an animal tale; and in many cases this certainly can be done just as we trace _Three Bears_ back to _Scrapefoot_. The animal tale is either an old beast tale, such as _Scrapefoot_ or _Old Sultan_; or a fairy tale which is an elaborated development of a fable, such as _The Country Mouse and the City Mouse_ or the tales of _Reynard the Fox_ or Grimm's _The King of the Birds_, and _The Sparrow and His Four Children_; or it is a purely imaginary creation, such as Kipling's _The Elephant's Child_ or Andersen's _The Bronze Pig_. The beast tale is a very old form which was a story of some successful primitive hunt or of some primitive man's experience with animals in which he looked up to the beast as a brother superior to himself in strength, courage, endurance, swiftness, keen scent, vision, or cunning. Later, in more civilized society, when men became interested in problems of conduct, animals were introduced to point the moral of the tale, and we have the fable. The fable resulted when a truth was stated in concrete story form. When this truth was in gnomic form, stated in general terms, it became compressed into the proverb. The fable was brief, intense, and concerned with the distinguishing characteristics of the animal characters, who were endowed with human traits. Such were the _Fables of Æsop_. Then followed the beast epic, such as _Reynard the Fox_, in which the personality of the animals became less prominent and the animal characters became types of humanity. Later, the beast tale took the form of narratives of hunters, where the interest centered in the excitement of the hunt and in the victory of the hunter. With the thirst for universal knowledge in the days following Bacon there gradually grew a desire to learn also about animals. Then followed animal anecdotes, the result of observation and imagination, often regarding the mental processes of animals. With the growth of the scientific spirit the interest in natural history developed. The modern animal story since 1850 has a basis of natural science, but it also seeks to search the motive back of the action, it is a psychological romance. The early modern animal tales such as _Black Beauty_ show sympathy with animals, but their psychology is human. In Seton Thompson's _Krag_, which is a masterpiece, the interest centers about the personality and the mentality of the animal and his purely physical characteristics. Perhaps it is true that these physical characteristics are somewhat imaginary and over-drawn and that overmuch freedom has been used in interpreting these physical signs. In Kipling's tales we have a later evolution of the animal tale. His animals possess personality in emotion and thought. In the forest-friends of Mowgli we have humanized animals possessing human power of thinking and of expressing. In real life animal motives seem simple, one dominant motive crowds out all others. But Kipling's animals show very complex motives, they reason and judge more than our knowledge of animal life justifies. In the _Just-So Stories_ Kipling has given us the animal _pourquois_ tale with a basis of scientific truth. Of these delightful fairy tales, _The Elephant's Child_ and _How the Camel Got His Hump_ may be used in the kindergarten. Perhaps the latest evolution of the animal tale is by Charles G.D. Roberts. The animal characters in his _Kindred of the Wild_ are given animal characteristics. They have become interesting as exhibiting these traits and not as typifying human motives; they show an animal psychology. The tales have a scientific basis, and the interest is centered in this and not in an exaggeration of it. Having viewed the animal tale as a growth let us look now at a few individual tales:-- One of the most pleasing animal tales is _Henny_ _Penny_, or _Chicken Lichen_, as it is sometimes called, told by Jacobs in _English Fairy Tales_. Here the enterprising little hen, new to the ways of the world, ventures to take a walk. Because a grain of corn falls on her top-knot, she believes the sky is falling, her walk takes direction, and thereafter she proceeds to tell the king. She takes with her all she meets, who, like her, are credulous,--Cocky Locky, Ducky Daddies, Goosey Poosey, and Turky Lurky,--until they meet Foxy Woxy, who leads them into his cave, never to come out again. This is similar to the delightful Jataka tale of _The Foolish Timid Rabbit_, which before has been outlined for telling, which has been re-told by Ellen C. Babbit. In this tale a Rabbit, asleep under a palm tree, heard a noise, and thought "the earth was all breaking up." So he ran until he met another Rabbit, and then a hundred other Rabbits, a Deer, a Fox, an Elephant, and at last a Lion. All the animals except the Lion accepted the Rabbit's news and followed. But the Lion made a stand and asked for facts. He ran to the hill in front of the animals and roared three times. He traced the tale back to the first Rabbit, and taking him on his back, ran with him to the foot of the hill where the palm tree grew. There, under the tree, lay a cocoanut. The Lion explained the sound the Rabbit had heard, then ran back and told the other animals, and they all stopped running. _Brother Rabbit Takes Some Exercise_, a tale from _Nights with Uncle Remus_ is very similar to _Henny_ _Penny_ and could be used at the same time. It is also similar to Grimm's _Wolf and Seven Kids_, the English _Story of Three Pigs_, the Irish _The End of the World_, and an Italian popular tale. _The Sheep and the Pig_, adapted from the Scandinavian by Miss Bailey in _For the Children's Hour_, given also in Dasent's _Tales from the Field_, is a delightfully vivacious and humorous tale which reminds one of _Henny Penny_. A Sheep and Pig started out to find a home, to live together. They traveled until they met a Rabbit and then followed this dialogue: _R_. "Where are you going?" _S. and P_. "We are going to build us a house." _R_. "May I live with you?" _S. and P_. "What can you do to help?" The Rabbit scratched his leg with his left hind foot for a minute and said, "I can gnaw pegs with my sharp teeth and I can put them in with my paws." "Good," said the Sheep and the Pig, "you may come with us!" Then they met a gray Goose who could pull moss and stuff it in cracks, and a Cock who could crow early and waken all. So they all found a house and lived in it happily. The Spanish _Media Pollito_, or _Little Half-Chick_, is another accumulative animal tale similar to _Henny Penny_, and one which is worthy of university study. The disobedient but energetic hero who went off to Madrid is very appealing and constantly amusing, and the tale possesses unusual beauty. The interest centers in the character. The beauty lies in the setting of the adventures, as Medio Pollito came to a stream, to a large chestnut tree, to the wind, to the soldiers outside the city gates, to the King's Palace at Madrid, and to the King's cook, until in the end he reached the high point of immortalization as the weather-vane of a church steeple. _The Story of Three Pigs_ could contend with _The Three Bears_ for the position of ideal story for little people. It suits them even better than _The Three Bears_, perhaps because they can identify themselves more easily with the hero, who is a most winning, clever individual, though a Pig. The children know nothing of the standards of the Greek drama, but they recognize a good thing; and when the actors in their story are great in interest and in liveliness, they respond with a corresponding appreciation. The dramatic element in _The Three Pigs_ is strong and all children love to dramatize it. The story is the Italian _Three Goslings_, the Negro _Tiny Pig_, the Indian _Lambikin_, and the German _The Wolf and Seven Kids_. This tale is given by Andrew Lang in his _Green Fairy Book_. The most satisfactory presentation of the story is given by Leslie Brooke in his _Golden Goose Book_. The German version occurred in an old poem, _Reinhart Fuchs_, in which the Kid sees the Wolf through a chink. Originally the characters must have been Kids, for little pigs do not have hair on their "chinny chin chins." One of the earliest modern animal tales is _The Good-Natured Bear_,[9] by Richard Hengist Horne, the English critic. This tale was written in 1846, just when men were beginning to gain a greater knowledge of animal life. It is both psychological and imaginative. It was brought to the attention of the English public in a criticism, _On Some Illustrated Christmas Books_,[10] by Thackeray, who considered it one of the "wittiest, pleasantest, and kindest of books, and an admirable story." It is now out of print, but it seems to be worthy of being preserved and reprinted. The story is the autobiography of a Bear, who first tells about his interesting experiences as a Baby Bear. He first gives to Gretchen and the children gathered about him an account of his experience when his Mother first taught him to walk alone. III. The Humorous Tale The humorous tale is one of the most pleasing to the little child. It pleases everybody, but it suits him especially because the essence of humor is a mixture of love and surprise, and both appeal to the child completely. Humor brings joy into the world, so does the little child, their very existence is a harmony. Humor sees contrasts, shows good sense, and feels compassion. It stimulates curiosity. Its laughter is impersonal and has a social and spiritual effect. It acts like fresh air, it clarifies the atmosphere of the mind and it enables one to see things in a sharply defined light. It reveals character; it breaks up a situation, reconstructs it, and so views life, interprets it. It plays with life, it frees the spirit, and it invigorates the soul. Speaking of humor, Thackeray, in "A Grumble About Christmas Books," 1847, considered that the motto for humor should be the same as the talisman worn by the Prioress in Chaucer:-- About hire arm a broche of gold ful shene, On which was first ywritten a crowned _A_, And after, _Amor vincit omnia_. He continued: "The works of the real humorist always have this sacred press-mark, I think. Try Shakespeare, first of all, Cervantes, Addison, poor Dick Steele, and dear Harry Fielding, the tender and delightful Jean Paul, Sterne, and Scott,--and Love is the humorist's best characteristic and gives that charming ring to their laughter in which all the good-natured world joins in chorus." The humorous element for children appears in the repetition of phrases such as we find in _Three Bears_, _Three Pigs_, and _Three Billy-Goats_; in the contrast in the change of voice so noticeable also in these three tales; in the contrast of ideas so conspicuous in Kipling's _Elephant's Child_; and in the element of surprise so evident when Johnny Cake is eaten by the Fox, or when Little Hen eats the bread, or when Little Pig outwits the Wolf. The humorous element for children also lies in the incongruous, the exaggerated, or in the grotesque, so well displayed in Lear's _Nonsense Rhymes_, and much of the charm of _Alice in Wonderland_. The humorous element must change accordingly for older children, who become surprised less easily, and whose tales therefore, in order to surprise, must have more clever ideas and more subtle fancy. _The Musicians of Bremen_ is a good type of humorous tale. It shows all the elements of true humor. Its philosophy is healthy; it views life as a whole and escapes tragedy by seeing the comic situation in the midst of trouble. It is full of the social good-comradeship which is a condition of humor. It possesses a suspense that is unusual, and is a series of surprises with one grand surprise to the robbers at their feast as its climax. The Donkey is a noble hero who breathes a spirit of courage like that of the fine Homeric heroes. His achievement of a home is a mastery that pleases children. And the message of the tale, which after all, is its chief worth--that there ought to be room in the world for the aged and the worn out, and that "The guilty flee when no man pursueth"--appeals to their compassion and their good sense. The variety of noises furnished by the different characters is a pleasing repetition with variation that is a special element of humor; and the grand chorus of music leaves no doubt as to the climax. We must view life with these four who are up against the facts of life, and whose lot presents a variety of contrast. The Donkey, incapacitated because of old age, had the courage to set out on a quest. He met the Dog who could hunt no longer, stopping in the middle of the road, panting for breath; the Cat who had only stumps for teeth, sitting in the middle of the road, wearing an unhappy heart behind a face dismal as three rainy Sundays; and the Rooster who just overheard the cook say he was to be made into soup next Sunday, sitting on the top of the gate crowing his last as loud as he could crow. The Donkey, to these musicians he collected, spoke as a leader and as a true humorist. In a simple tale like _The Bremen Town Musicians_ it is surprising how much of interest can develop: the adventure in the wood; the motif of some one going to a tree-top and seeing from there a light afar off, which appears in _Hop-o'-my-Thumb_ and in many other tales; the example of coöperation, where all had a unity of purpose; an example of a good complete short-story form which illustrates introduction, setting, characters and dialogue--all these proclaim this one of the fine old stories. In its most dramatic form, and to Jacobs its most impressive one, it appears in the Celtic tales as _Jack and His Comrades_. It may have been derived from _Old Sultan_, a Grimm tale which is somewhat similar to _The Wolf and the Hungry Dog_, in Steinhowel, 1487. _How Jack Sought His Fortune_ is an English tale of coöperation which is similar but not nearly so pleasing. A Danish tale of cooperation, _Pleiades_, is found in Lansing's _Fairy Tales_. _How Six Traveled Through the World_ is a Grimm tale which, though suited to older children, contains the same general theme. Very many of the tales suited to kindergarten children which have been mentioned in various chapters, contain a large element of humor. The nonsense drolls are a type distinct from the humorous tale proper, yet distinctly humorous. Such are the realistic _Lazy Jack_, _Henny Penny_, and _Billy Bobtail_. Then since repetition is an element of humor, many accumulative tales rank as humorous: such as _Lambikin_, _The Old Woman and Her Pig_, _Medio Pollito_, _The Straw Ox_, _Johnny Cake_, and _Three Billy-Goats_. Among the humorous tales proper are Andersen's _Snow Man_; _The Cat and the Mouse in Partnership_; _The Rabbit Who Wanted Red Wings_; _The Elephant's Child_; and very many of the Uncle Remus Tales, such as _Why the Hawk Catches Chickens_, _Brother Rabbit and Brother Tiger_, and _Heyo, House_! all in _Uncle Remus and the Little Boy_. _The Story of Little Black Mingo_ in _Tales of Laughter_, is a very attractive humorous tale, but it is more suited to the child of the second grade. _Drakesbill_ is a French humorous accumulative tale with a plot constructed similarly to that of the Cossack _Straw Ox_. Drakesbill, who was so tiny they called him Bill Drake, was a great worker and soon saved a hundred dollars in gold which he lent to the King. But as the King never offered to pay, one morning Drakesbill set out, singing as he went, "Quack, quack, quack, when shall I get my money back?" To all the objects he met and to their questions he replied, "I am going to the King to ask him to pay me what he owes me." When they begged, "Take me with you!" he was willing, but he said, "You must make yourself small, get into my mouth, and creep under my tongue!" He arrived at the palace with his companions concealed in his mouth: a Fox, a Ladder, Laughing River, and Wasp-Nest. On asking to see the King, he was not escorted with dignity but sent to the poultry-yard, to the turkeys and chickens who fought him. Then he surprised them by calling forth the Fox who killed the fowls. When he was thrown into a well, he called out the Ladder to help him. When about to be thrown into the fire, he called out the River who overwhelmed the rest and left him serenely swimming. When surrounded by the King's men and their swords he called out the Wasp-Nest who drove away all but Drakesbill, leaving him free to look for his money. But he found none as the King had spent all. So he seated himself upon the throne and became King. The element of humor here, as has been mentioned previously, is that Drakesbill, after every rebuff of fortune maintained his happy, fresh vivacity, and triumphantly repeated his one cry, "Quack, quack, quack, when shall I get my money back?" There is humor, too, in the repetition of dialogue, as on his way to the King he met the various characters and talked to them. Humor lies also in the real lively surprises which Drakesbill so effectively gave during his visit to the King. One can see how this tale might have been a satire reflecting upon a spendthrift King. IV. The Realistic Tale The realistic fairy tale has a great sympathy with humble life and desires to reproduce faithfully all life worth while. The spirit of it has been expressed by Kipling-- each in his separate star, Shall draw the Thing as he sees It, for the God of Things as They are. Sometimes the realistic story has a scientific spirit and interest. A realistic tale that is good will present not only what is true but what is possible, probable, or inevitable, making its truth impressive. Very often it does not reach this ideal. A transcript of actual life may be selected, but that is a photograph and not a picture with a strong purpose to make one point, and with artistic design. The characters, though true to life, may be lifeless and colorless, and their doings and what happens to them uninteresting. For this reason, many modern writers of tales for children, respecting the worth of the realistic, neglect to comply with what the realistic demands, and produce insipid, unconvincing tales. The realistic tale should deal with the simple and the ordinary rather than with the exceptional; and the test is not how much, but how little, credulity it arouses. Grimm's _Hans in Luck_ is a perfect realistic tale, as are Grimm's _Clever Elsa_ and the Norse _Three Sillies_, although these tales are suited to slightly older children. The drolls often appear among the realistic tales, as if genuine humor were more fresh when related to the things of actual life. The English _Lazy Jack_ is a delightful realistic droll which contains motifs that appear frequently among the tales. The Touchstone motif of a humble individual causing nobility to laugh appears in Grimm's _Dummling and His Golden Goose_. It appears also in _Zerbino the Savage_, a most elaborated Neapolitan tale retold by Laboulaye in his _Last Fairy Tales_; a tale full of humor, wit, and satire that would delight the cultured man of the world. In _Lazy Jack_ the setting is in humble life. A poor mother lived on the common with her indolent son and managed to earn a livelihood by spinning. One day the mother lost patience and threatened to send from home this idle son if he did not get work. So he set out. Each day he returned to his mother with his day's earnings. The humor lies in what he brought, in how he brought it, and in what happened to it; in the admonition of his mother, "You should have done so and so," and Jack's one reply, "I'll do so another time"; in Jack's literal use of his mother's admonition, and the catastrophe it brought him on the following day, and on each successive day, as he brought home a piece of money, a jar of milk, a cream cheese, a tom-cat, a shoulder of mutton, and at last a donkey. The humor lies in the contrast between what Jack did and what anybody "with sense" knows he ought to have done, until when royalty beheld him carrying the donkey on his shoulders, with legs sticking up in the air, it could bear no more, and burst into laughter. This is a good realistic droll to use because it impresses the truth, that even a little child must reason and judge and use his own common sense. _The Story of the Little Red Hen_ is a realistic tale which presents a simple picture of humble thrift. Andersen's _Tin Soldier_ is a realistic tale which gives an adventure that might happen to a real tin soldier. _The Old Woman and her Pig_, whose history has been given under _The Accumulative Tale_, is realistic. Its theme is the simple experience of an aged peasant who swept her house, who had the unusual much-coveted pleasure of finding a dime, who went to market and bought a Pig for so small a sum. But on the way home, as the Pig became contrary when reaching a stile, and refused to go, the Old Woman had to seek aid. So she asked the Dog, the Stick, the Fire, etc. She asked aid first from the nearest at hand; and each object asked, in its turn sought help from the next higher power. One great source of pleasure in this tale is that each object whose aid is sought is asked to do the thing its nature would compel it to do--the Dog to bite, the Stick to beat, etc.; and each successive object chosen is the one which, by the law of its nature, is a master to the preceding one. The Dog, by virtue of ability to bite, has power over the Pig; the Stick has ability to master the Dog; and Water in its power to quench is master over Fire. Because of this intimate connection of cause and effect, this tale contributes in an unusual degree to the development of the child's reason and memory. He may remember the sequence of the plot or remake the tale if he forgets, by reasoning out the association between the successive objects from whom aid was asked. It is through this association that the memory is exercised. _How Two Beetles Took Lodgings_, in _Tales of Laughter_, is a realistic story which has a scientific spirit and interest. Its basis of truth belongs to the realm of nature study. Its narration of how two Beetles set up housekeeping by visiting an ant-hill and helping themselves to the home and furnishings of the Ants, would be very well suited either to precede or to follow the actual study of an ant-hill by the children. The story gives a good glimpse of the home of the Ants, of their manner of living, and of the characteristics of the Ants and Beetles. It is not science mollified, but a good story full of life and humor, with a basis of scientific truth. Many tales not realistic contain a large realistic element. The fine old romantic tales, such as _Cinderella_, _Sleeping Beauty_, and _Bremen Town Musicians_, have a large realistic element. In _The Little Elves_ we have the realistic picture of a simple German home. In _Beauty and the Beast_ we have a realistic glimpse of the three various ways the wealthy merchant's daughters accommodated themselves to their father's loss of fortune, which reminds us of a parallel theme in Shakespeare's _King Lear_. In _Red Riding Hood_ we have the realistic starting out of a little girl to visit her grandmother. This realistic element appeals to the child because, as we have noted, it accords with his experience, and it therefore seems less strange. In _Titty Mouse and Tatty Mouse_ the setting is realistic but becomes transformed into the romantic when natural doings of everyday life take on meaning from the unusual happening in the tale. It is realistic for Titty Mouse and Tatty Mouse to live in a little house, to get some corn, to make a pudding, and to put it on to boil. But when the pot tumbled over and scalded Titty, the romantic began. The stool which was real and common and stood by the door became transformed with animation, it talked: "Titty's dead, and so I weep"; and it hopped! Then a broom caught the same animation from the same theme, and swept; a door jarred; a window creaked; an old form ran round the house; a walnut tree shed its leaves; a little bird moulted his pretty feathers; a little girl spilled her milk; a man tumbled off his ladder; and the walnut tree fell with a crash, upsetting everything and burying Titty in the ruins. They all learned to convey the same message. The common and customary became uncommon and unusual with extraordinary life, feeling, and lively movement. Other romantic tales with a large realistic element are _The Three Bears_, _The Three Pigs_, and _The Three Billy-Goats_, animal tales which of necessity must be largely realistic, for their foundation is in the facts of the nature, habits, and traits of the animal characters they portray. V. The Romantic Tale The romantic tale reflects emotion and it contains adventure and the picturesque; it deals with dreams, distant places, the sea, the sky, and objects of wonder touched with beauty and strangeness. The purpose of the romantic is to arouse emotion, pity, or the sense of the heroic; and it often exaggerates character and incidents beyond the normal. The test of the romantic tale as well as of the realistic tale is in the reality it possesses. This reality it will possess, not only because it is true, but because it is also true to life. And it is to be remembered that because of the unusual setting in a romantic tale the truth it presents stands out very clearly with much impressiveness. _Red Riding Hood_ is a more impressive tale than _The Three Bears_. _Cinderella_ is a good type of the old romantic tale. It has a never-ending attraction for children just as it has had for all peoples of the world; for this tale has as many as three hundred and forty-five variants, which have been examined by Miss Cox. In these variants there are many common incidents, such as the hearth abode, the helpful animal, the heroine disguise, the ill-treated heroine, the lost shoe, the love-sick prince, magic dresses, the magic tree, the threefold flight, the false bride, and many others. But the one incident which claims the tale as a Cinderella tale proper, is the recognition of the heroine by means of her shoe. In the Greek _Rhodope_, the slipper is carried off by an eagle and dropped into the lap of the King of Egypt, who seeks and marries the owner. In the Hindu tale the Rajah's daughter loses her slipper in the forest where it is found by the Prince. The interpretation of _Cinderella_ is that the Maiden, the Dawn, is dull and gray away from the brightness of the sun. The Sisters are the Clouds that shadow the Dawn, and the Stepmother is Night. The Dawn hurries away from the pursuing Prince, the Sun, who, after a long search, overtakes her in her glorious robes of sunset. This tale is the Hindu _Sodewa Bai_, the Zuni _Poor Turkey Girl_, and the English _Rushen Coatie, Cap-o'-Rushes_, and _Catskin_. _Catskin_, which Mr. Burchell told to the children of the Vicar of Wakefield, is considered by Newell as the oldest of the Cinderella types, appearing in Straparola in 1550, while _Cinderella_ appeared first in Basile in 1637. _Catskin_, in ballad form as given by Halliwell, was printed in Aldermary Churchyard, England, in 1720; and the form as given by Jacobs well illustrates how the prose tale developed from the old ballad. The two most common forms of _Cinderella_ are Perrault's and Grimm's, either of which is suited to the very little child. Perrault's _Cinderella_ shows about twenty distinct differences from the Grimm tale:-- (1) It omits the Mother's death-bed injunction to Cinderella. (2) It omits the wooden shoes and the cloak. (3) The Stepmother assigns more modern tasks. It omits the pease-and-beans task. (4) It shows Cinderella sleeping in a garret instead of on the hearth. (5) It omits the Father. (6) It omits the hazel bough. (7) It omits the three wishes. (8) It substitutes the fairy Godmother for the hazel tree and the friendly doves. (9) It substitutes transformation for tree-shaking. (10) It omits the episode of the pear tree and of the pigeon-house. (11) It omits the use of pitch and axe-cutting. (12) It omits the false bride and the two doves. (13) It substitutes two nights at the ball for three nights. (14) It makes C. forgiving and generous at the end. The Sisters are not punished. (15) It contains slippers of glass instead of slippers of gold. (16) It simplifies the narrative, improves the structure, and puts in the condition, which is a keystone to the structure. (17) It has no poetical refrain. (18) It is more direct and dramatic. (19) It draws the characters more clearly. (20) Is it not more artificial and conventional? This contrast shows the Grimm tale to be the more poetical, while it is the more complex, and contains more barbarous and gruesome elements unsuited to the child of to-day. Of the two forms, the Grimm tale seems the superior tale, however, and if rewritten in a literary form suited to the child, might become even preferable. _Sleeping Beauty_, which is another romantic tale that might claim to be the most popular fairy tale, has for its theme the long sleep of winter and the awakening of spring. The Earth goddess, pricked by winter's dart, falls into a deep sleep from which she is awakened by the Sun who searches far for her. This tale is similar to the Norse _Balder_ and the Greek _Persephone_. Some of its incidents appear also in _The Two Brothers_, an Egyptian tale of the Nineteenth Dynasty of Seti II, in which the Hathors who pronounce the fate of the Prince correspond to the wicked old Fairy. The spindle whose prick caused slumber is the arrow that wounded Achilles, the thorn which pricked Siegfried, the mistle-toe which wounded Balder, and the poisoned nail of the demon in _Surya Bai_. In the northern form of the story we find the ivy, which is the one plant that can endure winter's touch. The theme of the long sleep occurs in the mediæval legend of _The Seven Sleepers of Ephesus_, in the English _The King of England and His Three Sons_, poetically as Tennyson has given it in his _Day-Dream_, and in the _Story of Brunhilde_, in _Siegfried_. Here a hedge of flames encircles Brunhilde who is awakened at the touch of Siegfried's magic sword, just as Sleeping Beauty is awakened by the Prince's kiss. The kiss may be a survival of an ancient form of worship of some local goddess. In the Hindu _Panch-Rhul Ranee_, seven ditches surmounted by seven hedges of spears, surround the heroine. Of the Perrault and Grimm versions of _Sleeping Beauty_, the Perrault version is long and complex because it contains the minor tale of the cruel stepmother added to the main tale, while the Grimm _Briar Rose_ is a model of structure easily separated into ten leading episodes. _Sleeping Beauty_ appeared in Basile's _Pentamerone_ where there is given the beautiful incident of the baby sucking the spike of flax out of its sleeping mother's fingers. The Perrault version agrees with that of Basile in naming the twins, who are Sun and Moon in the _Pentamerone_, Day and Dawn. _Red Riding Hood_ is another romantic tale[11] that could claim to be the one most popular fairy tale of all fairy tales. Similar tales occur in the story of the Greek Kronos swallowing his children, in the Algonquin legend repeated in _Hiawatha_, and in an Aryan story of a Dragon swallowing the sun and being killed by the sun-god, Indra. _Red Riding Hood_ appeals to a child's sense of fear, it gives a thrill which if not too intense, is distinctly pleasing. But it pleases less noticeably perhaps because of its atmosphere of love and service, and because it presents a picture of a dear little maid. The Grandmother's gift of love to the child, the bright red hood, the mother's parting injunction, the Wolf's change of aspect and voice to suit the child--all these directly and indirectly emphasize love, tenderness, and appreciation of simple childhood. The child's errand of gratitude and love, the play in the wood, the faith in the woodcutter's presence--all are characteristic of a typical little maid and one to be loved. There is in the tale too, the beauty of the wood--flowers, birds, and the freshness of the open air. The ending of the tale is varied. In Perrault the Wolf ate Grandmother and then ate Red Riding Hood. In Grimm one version gives it that the Hunter, hearing snoring, went to see what the old lady needed. He cut open the Wolf, and Grandmother and Red Riding Hood became alive. He filled the Wolf with stones. When the Wolf awoke, he tried to run, and died. All three were happy; the Hunter took the skin, Grandmother had her cake and wine, and Red Riding Hood was safe and had her little girl's lesson of obedience. Another Grimm ending is that Little Red-Cap reached the Grandmother before the Wolf, and after telling her that she had met him, they both locked the door. Then they filled a trough with water in which the sausages had been boiled. When the Wolf tried to get in and got up on the roof, he was enticed by the odor, and fell into the trough. A great deal of freedom has been used in re-telling the ending of this tale, usually with the purpose of preventing the Wolf from eating Red Riding Hood. In regard to the conclusion of _Red Riding Hood_, Thackeray said: "I am reconciled to the Wolf eating Red Riding Hood because I have given up believing this is a moral tale altogether and am content to receive it as a wild, odd, surprising, and not unkindly fairy story." The interpretation of _Red Riding Hood_--which the children need not know--is that the evening Sun goes to see her Grandmother, the Earth, who is the first to be swallowed up by the Wolf of Night and Darkness. The red cloak is the twilight glow. The Hunter may be the rising Sun that rescues all from Night. _Red Riding Hood_ has been charmingly elaborated in Tieck's _Romantic Poems_, and a similar story appears in a Swedish popular song, _Jungfrun i'Blaskagen_, in _Folkviser_ 3; 68, 69. VI, VII. The Old Tale and the Modern Tale. The old fairy tale is to be distinguished from the modern fairy tale. Most of the tales selected have been old tales because they possess the characteristics suited to the little child. The modern fairy tale may be said to begin with Andersen's _Fairy Tales_.--Since Andersen has been referred to frequently and as a study of _The Tin Soldier_ has already been given, Andersen's work can receive no more detailed treatment here.--The modern fairy tale, since the time of Andersen, has yet to learn simplicity and sincerity. It often is long and involved and presents a multiplicity of images that is confusing. It lacks the great art qualities of the old tale, the central unity and harmony of character and plot. The _idea_ must be the soul of the narrative, and the problem is to make happen to the characters things that are expressive of the idea. The story must hold by its interest, and must be sincere and inevitable to be convincing. It must understand that the method of expression must be the method of suggestion and not that of detail. The old tale set no boundaries to its suggestion. It used concrete artistry; but because the symbol expressed less it implied more. The modern tale is more definitely intentional and it often sets boundaries to its suggestion because the symbol expresses so much. Frequently it emphasizes the satiric and critical element, and its humor often is heavy and clumsy. To be literature, as has been pointed out, besides characters, plot, setting, and dialogue, a classic must present truth; it must have emotion and imagination molded with beauty into the form of language; and it must have the power of a classic to bestow upon the mind a permanent enrichment. Any examination of the modern fairy tale very frequently shows a failure to meet these requirements. The modern tale is not so poor, however, when we mention such tales as Lewis Carroll's _Alice in Wonderland_, Oscar Wilde's _Happy Prince_, Alice Brown's _Gradual Fairy_, Frances Browne's _Prince Fairyfoot_, Miss Mulock's _Little Lame Prince_, Barrie's _Peter Pan_, Jean Ingelow's _Mopsa, the Fairy_ and _The Ouphe in the Wood_, Field's _The Story of Claus_, Stockton's _Old Pipes and the Dryad_, Kingsley's _Water Babies_, Ruskin's _King of the Golden River_, Collodi's _Pinocchio_, Maeterlinck's _Blue-Bird_, Kipling's _Just-So Stories_ and the tales of the _Jungle Books_, Selma Lagerlöf's _Wonderful Adventures of Nils_, the _Uncle Remus Tales_ of Harris, etc. But these classics are, with a few exceptions, the richness of the primary and elementary literature. The modern fairy tale suited to the kindergarten child, is at a disadvantage, for most likely it is hidden away in some magazine, waiting for appreciation to bring some attention to it. And in these complex modern days it is difficult to secure a tale whose simplicity suits the little child. Among the best tales for little people are Miss Harrison's _Hans and the Four Giants_ and _Little Beta and the Lame Giant_. In _Little Beta and the Lame Giant_ a natural child is placed in unusual surroundings, where the gentleness of the giant and the strength of love in the little girl present strong contrasts that please and satisfy. _The Sea Fairy and the Land Fairy_ in _Some Fairies I have Met_, by Mrs. Stawell, though possessing much charm and beauty, is too complicated for the little people. It is a quarrel of a Sea Fairy and a Land Fairy. It is marked by good structure, it presents a problem in the introduction, has light fancy suited to its characters, piquant dialogue, good description, visualized expressions, and it presents distinct pictures. Its method is direct and it gets immediately into the story. Its method of personification, which in this, perhaps the best story of the collection, is rather delightful, in some of the others is less happy and is open to question. _How Double Darling's Old Shoes Became Lady Slippers_, by Candace Wheeler, in _St. Nicholas_, is a really delightful modern fairy story suited to be read to the little child. It is the experience of a little girl with new shoes and her dream about her old shoes. But the story lacks in structure, there is not the steady rise to one great action, the episode of the Santa Claus tree is somewhat foreign and unnecessary, and the conclusion falls flat because the end seems to continue after the problem has been worked out. In _The Dwarf's Tailor_, by Underhill, there is much conversation about things and an indirect use of language, such as "arouse them to reply" and "continued to question," which is tedious. The humor is at times heavy, quoting proverbs, such as "The pitcher that goes too often to the well is broken at last." The climax is without interest. The scene of the Dwarfs around the fire--in which the chief element of humor seems to be that the Tailor gives the Dwarf a slap--is rather foolish than funny. The details are trite and the transformation misses being pleasing. Again there is not much plot and the story does not hold by its interest. In _The Golden Egg and the Cock of Gold_, by Scudder, the conversation is not always to the point, is somewhat on the gossipy order, is trite, and the suspense is not held because the climax is told beforehand. Mrs. Burton Harrison's _Old Fashioned Fairy Book_ is very pleasing, but it was written for her two sons, who were older children. It has the fault of presenting too great a variety of images and it lacks simplicity of structure. Its _Juliet_, or _The Little White Mouse_, which seems to be a re-telling of D'Aulnoy's _Good Little Mouse_, contains a good description of the old-time fairy dress. _Deep Sea Violets_, perhaps the best-written story in the book, gives a good picture of a maiden taken to a Merman's realm. _Rosy's Stay-at-Home Parties_ has delightful imagination similar to that of Andersen. _Five Little Pigs_, by Katherine Pyle, is a delightful little modern story, which could be used with interest by the child who knows _The Story of Three Little Pigs_. _The Little Rooster_, by Southey, is a very pleasing realistic tale of utmost simplicity which, because of its talking animals, might be included here. A criticism of this tale, together with a list of realistic stories containing some realistic fairy tales suited to the kindergarten, may be read in _Educational Foundations_, October, 1914. _The Hen That Hatched Ducks_, by Harriet Beecher Stowe, is a pleasing and sprightly humorous tale of Madam Feathertop and her surprising family of eight ducks, and of Master Gray Cock, Dame Scratchard and Dr. Peppercorn. A modern tale that is very acceptable to the children is _The Cock, the Mouse, and the Little Red Hen_, by Félicité Lefèvre, which is a re-telling of the _Story of the Little Red Hen_ combined with the story of _The Little Rid Hin_. In this tale the two old classic stories are preserved but re-experienced, with such details improvised as a clever child would himself naturally make. These additional details appeal to his imagination and give life-likeness and freshness to the tale, but they do not detract from the impression of the original or confuse the identity of the characters in the old tales. One must not forget _Peter Rabbit_--that captivating, realistic fairy tale by Beatrix Potter--and his companions, _Benjamin Bunny, Pigling Bland, Tom Kitten_, and the rest, of which children never tire. _Peter Rabbit_ undoubtedly holds a place as a kindergarten classic. In somewhat the same class of merry animal tales is _Tommy and the Wishing Stone_, a series of tales by Thornton Burgess, in _St. Nicholas_, 1915. Here the child enjoys the novel transformation of becoming a Musk-rat, a Ruffed Grouse, a Toad, Honker the Goose, and other interesting personages. A modern fairy tale which is received gladly by children is _Ludwig and Marleen_, by Jane Hoxie. Here we have the friendly Fox who grants to Ludwig the wishes he asks for Marleen. The theme parallels for the little people the charm of _The Fisherman and His Wife_, a Grimm tale suited to the second grade. Among modern animal tales _The Elephant's Child_[12], one of the _Just-So Stories_ by Rudyard Kipling, ranks high as a fairy tale produced for little children by one of the great literary masters of the short-story. A modern tale that is a bit of pure imagination and seems an attempt to follow Grimm and Andersen, is _A Quick-Running Squash_, in Aspinwall's _Short Stories for Short People_. It uses the little boy's interest in a garden--his garden.--Interest centers about the fairy, the magic seed, the wonderful ride, and the happy ending. It uses the simple, everyday life and puts into it the unusual and the wonderful where nothing is impossible. It blends the realistic and the romantic in a way that is most pleasing. _The Rich Goose_, by Leora Robinson, in the _Outlook_, is an accumulative tale with an interesting ending and surprise. _Why the Morning Glory Climbs_, by Elizabeth McCracken, in Miss Bryant's _How to Tell Stories_, is a simple fanciful tale. _The Discontented Pendulum_, by Jane Taylor, in Poulssen's _In the Child's World_, is a good illustration of the modern purely fanciful tale. _What Bunch and Joker saw in the Moon_, in _Wide-Awake Chatterbox_, about 1887, is a most delightful modern fanciful tale, although it is best suited to the child of nine or ten. _Greencap_, by Ruth Hays, in _St. Nicholas_, June, 1915, appeals to the child through the experience of Sarah Jane, whose Mother and Father traveled to India. Sarah went to live with Aunt Jane and there met Greencap who granted the proverbial "three wishes." _Alice in Wonderland_ ranks in a class by itself among modern fanciful tales but it is better suited to the child of the third and fourth grades. A modern fairy tale which is suited to the child's simplicity and which will stimulate his own desire to make a tale, is _The Doll Who Was Sister to a Princess_, one of the _Toy Stories_ by Carolyn Bailey which have been published by the _Kindergarten Review_ during 1914-15. Among modern tales selected from _Fairy Stories Re-told from St. Nicholas_, appear some interesting ones which might be read to the little child, or told in the primary grades. Among these might be mentioned:-- _The Ballad of the Blacksmith's Sons_, a modern tale in verse by Mary E. Wilkins. _Casperl_, by H.C. Bunner, a modern Sleeping Beauty tale. This tale has the virtue of not being complex and elaborate. It has the underlying idea that "People who are helping others have a strength beyond their own." _Ten Little Dwarfs_, by Sophie Dorsey, from the French of Emile Souvestre. It tells of the ten little Dwarfs who lived in the Good-wife's fingers. _Wondering Tom_, by Mary Mapes Dodge. This is a bright story of a boy who Hamlet-like, hesitated to act. Tom was always wondering. The story contains a fairy, Kumtoo-thepoynt, who sat on a toadstool and looked profound. It is realistic and romantic and has fine touches of humor. It tells how Wondering Tom became transformed into a Royal Ship-Builder. _How An Elf Set Up Housekeeping_, by Anne Cleve. This is a good tale of fancy. An Elf set up housekeeping in a lily and obtained a curtain from a spider, down from a thistle, a stool from a toad who lived in a green house in the wood, etc. _The Wish-Ring_, translated from the German by Anne Eichberg. This is a tale with the implied message that "The best way to secure one's best wish is to work for it." _The Hop-About Man_, by Agnes Herbertson, in _Little Folks Magazine_, is a very pleasing modern romantic fairy tale for little children. Wee Wun was a gnome who lived in the Bye-Bye meadow in a fine new house which he loved. As he flew across the Meadow he had his pockets full of blue blow-away seeds. In the Meadow he found a pair of shoes, of blue and silver, and of course he took them home to his new house. But first he scattered the blue blow-away seeds over the garden wall in the Stir-About-Wife's garden where golden dandelions grew. And the seeds grew and crowded out the dandelions. Next day Wee Wun found a large blue seed which he planted outside his house; and on the following morning a great blue blow-away which had grown in a night, made his house dark. So he went to the Green Ogre to get him to take it away. When he came home he found, sitting in his chair, the Hop-About-Man, who had come to live with him. He had been forewarned of this coming by the little blue shoes when they hopped round the room singing:-- Ring-a-ding-dill, ring-a-ding-dill, The Hop-About-Man comes over the hill. Why is he coming, and what will he see? Rickety, rackety,--one, two, three. The story then describes Wee Wun's troubles with the Hop-About-Man, who remained an unwelcome inhabitant of the house where Wee Wun liked to sit all alone. The Hop-About-Man made everything keep hopping about until Wee Wun would put all careless things straight, and until he would give back to him his blue-and-silver shoes. One day, Wee Wun became a careful housekeeper and weeded out of the dandelion garden all the blue blow-away plants that grew from the seeds he had scattered there in the Stir-About-Wife's garden, and when he came home his troubles were over, and the Hop-About-Man was gone. Perhaps one reason for the frequent failure of the modern fairy tale is that it fails to keep in harmony with the times. Just as the modern novel has progressed from the romanticism of Hawthorne, the realism of Thackeray, through the psychology of George Eliot, and the philosophy of George Meredith, so the little child's story--which like the adult story is an expression of the spirit of the times--must recognize these modern tendencies. It must learn, from _Alice in Wonderland_ and from _A Child's Garden of Verses_, that the modern fairy tale is not a _Cinderella_ or _Sleeping Beauty_, but the modern fairy tale is the child's mind. The real fairy world is the strangeness and beauty of the child mind's point of view. It is the duty and privilege of the modern fairy tale to interpret the child's psychology and to present the child's philosophy of life. REFERENCES Century Co.: _St. Nicholas Magazine_, 1915; _St. Nicholas Fairy Stories Re-told_. Gates, Josephine: "And Piped Those Children Back Again," (Pied Piper) _St. Nicholas_, Nov., 1914. Hays, Ruth: "Greencap," _St. Nicholas_, June, 1915. Hazlitt, William; _Essays_. ("Wit and Humor.") Camelot Series. Scott. Hooker, B.: "Narrative and the Fairy Tale," _Bookman_, 33: June and July, 1911, pp. 389-93, pp. 501-05. _Ibid_: "Types of Fairy Tales," _Forum_, 40: Oct., 1908, pp. 375-84. Martin, John: _John Martin's Book_ (Magazine), 1915 Meredith, George: _The Comic Spirit_. Scribners. Moulton, Alice O'Grady, and Literature Committee: "Humorous Tales" _Kindergarten Review_, Dec, 1914. Perry, Bliss: _A Study of Prose Fiction_. ("The Romantic" and "The Realistic") Houghton. CHAPTER VI SOURCES OF MATERIAL FOR FAIRY TALES: A LIST OF FAIRY TALES, PICTURES, PICTURE-BOOKS, POEMS, AND BOOKS Shall we permit our children, without scruple, to hear any fables composed by any authors indifferently, and so to receive into their minds opinions generally the reverse of those which, when they are grown to manhood, we shall think they ought to entertain?--PLATO, in _The Republic_. Any list of fairy tales for little children must be selected from those books which, as we have noted, contain the best collections of folk-lore, and from books which contain tales that rank as classics. An examination of the tales of Perrault, of Grimm, of Dasent, of Andersen, of Jacobs, of Harris, and of miscellaneous tales, to see what are suited to the little child, would result in the following lists of tales. Those most worthy of study for the kindergarten are marked with an asterisk and those suited to the first grade are marked "1." No attempt has been made to mention all the varied sources of a tale or its best version. The Boston Public Library issues a _Finding List of Fairy Tales and Folk Stories_, which may be procured easily, and the Carnegie Library at Pittsburg issues in its monthly bulletin for December, 1913, vol. 18, no. 10, a _List of Folk-Tales_, and other stories which may be dramatized. The Baker, Taylor Company, in 1914, issued a _Graded Guide to Supplementary Reading_, which contains a list of many of the best editions of folk and fairy tales suited to primary grades. A list of school editions is included in this book. But one cannot fail to be impressed with the general low literary standard of many school editions of fairy tales when judged by the standards here applied to the tales themselves.-- I. A List of Fairy Tales and Folk Tales Tales of Perrault: * CINDERELLA. 1 LITTLE THUMB. 1 PUSS-IN BOOTS. * RED RIDING HOOD. 1 SLEEPING BEAUTY. 1 THE THREE WISHES. Tales of the Grimms: 1 BIRDIE AND LENA. 1 BRIAR ROSE. * THE CAT AND THE MOUSE IN PARTNERSHIP. 1 CHANTICLEER AND PARTLET. 1. HOW THEY WENT TO THE HILLS TO EAT NUTS. 2. THE VISIT TO M KORBES. 3. THE DEATH OF PARTLETT. * CINDERELLA. * THE ELVES AND THE SHOEMAKER. THE FOX AND THE GEESE. 1 THE HARE AND THE HEDGEHOG. 1 THE HOUSE IN THE WOOD. * THE KING OF THE BIRDS. 1 LITTLE BROTHER AND SISTER 1 THE LITTLE LAMB AND THE LITTLE FISH. * LITTLE RED-CAP. 1 LITTLE SNOW WHITE. 1 LITTLE TWO-EYES. MOTHER HOLLE. 1 THE NOSE. 1 SNOW WHITE AND ROSE RED. * THE SPARROW AND HIS FOUR CHILDREN. STAR DOLLARS. * THE SPIDER AND THE FLEA. * THE STRAW, THE COAL, AND THE BEAN. * THE TOWN MUSICIANS OF BREMEN. THE WILLOW WREN AND THE BEAR. * THE WOLF AND THE SEVEN KIDS. * THE WONDERFUL PORRIDGE POT. Norse Tales: COCK AND HEN. THE COCK AND HEN A-NUTTING. THE COCK AND HEN THAT WENT TO THE DOVREFELL. COCK, CUCKOO, AND BLACK COCK. * DOLL I' THE GRASS. 1 GERTRUDE'S BIRD. 1 KATIE WOODENCLOAK (read). 1 THE LAD WHO WENT TO THE NORTH WIND. 1 LORD PETER (read). ONE'S OWN CHILDREN ABE ALWAYS PRETTIEST. * THREE BILLY GOATS. 1 THUMBIKIN (read). * WHY THE BEAR IS STUMPY-TAILED (pourquois). English Tales, by Jacobs: * THE CAT AND THE MOUSE. * HENNY PENNY. 1 THE HISTORY OF TOM THUMB. * HOW JACK WENT TO SEEK HIS FORTUNE. 1 JACK AND THE BEAN-STALK. * JOHNNY CAKE. * LAZY JACK. * THE MAGPIE'S NEST. 1 MASTER OF ALL MASTERS. * M MIACCA. 1 M VINEGAR. * THE OLD WOMAN AND HER PIG. * PUDDOCK, MOUSIE, AND RATTON. 1 SCRAPEFOOT. * THE STORY OF THREE BEARS. * THE STORY OF THREE LITTLE PIGS. * TEENY TINY. * TITTY MOUSE AND TATTY MOUSE. Modern Fairy Tales, by Andersen: * THE FIR TREE. * FIVE PEAS IN A POD. 1 THE HAPPY FAMILY (retold in _Tales of Laughter_). LITTLE IDA'S FLOWERS (read). * OLE-LUK-OLE (read to end of Thursday). THURSDAY, WEDDING OF A MOUSE. * THE PRINCESS AND THE PEA. * THE SNOW MAN. 1 THE STEADFAST TIN SOLDIER. THE TOP AND THE BALL. * THUMBELINA. WHAT THE MOON SAW: * LITTLE GIRL AND CHICKENS. * THE NEW FROCK (realistic). * LITTLE CHIMNEY SWEEP. * BEAR WHO PLAYED "SOLDIERS." * BREAD AND BUTTER. Uncle Remus Tales, by Harris, in _Nights with Uncle Remus_: * BRER RABBIT AND THE LITTLE TAR BABY. * BROTHER RABBIT AND THE LITTLE GIRL. * BROTHER RABBIT TAKES A WALK. * BROTHER RABBIT TAKES SOME EXERCISE. * CUTTA CORD-LA (similar to Wolf and Seven Kids). * How BROTHER RABBIT BROKE UP A PARTY. * How BROTHER RABBIT FRIGHTENS HIS NEIGHBORS. * How M ROOSTER LOST HIS DINNER (read). * IN SOME LADY'S GARDEN. * M BENJAMIN RAM (Brother Rabbit's Riddle). * THE MOON IN THE MILL-POND (pourquois). * WHY BROTHER BEAK HAS NO TAIL (pourquois). * WHY M DOG RUNS AFTER BROTHER RABBIT. * WHY GUINEA FOWLS ARE SPECKLED (pourquois). Uncle Remus Tales, by Harris, in _Uncle Remus and the Little Boy_: * BROTHER BILLY GOAT'S DINNER. BROTHER FOX SMELLS SMOKE. * BROTHER RABBIT AND BROTHER TIGER. * BROTHER RABBIT AND BROTHER LION (similar to _The Dog and His Shadow_). * BROTHER MUD-TURTLE'S TRICKERY. * BROTHER RABBIT'S MONEY MINT. 1 BROTHER WOLF SAYS GRACE. 1 THE FIRE TEST (Use with _Three Pigs_). FUN AT THE FERRY. * HEYO, HOUSE. THE LITTLE RABBITS. MRS. PARTRIDGE HAS A FIT. WHY BROTHER FOX'S LEGS ARE BLACK. * WHY THE HAWK CATCHES CHICKENS. Tale, by Harris, in _Little Mr. Thimblefinger_: * WHY BILLY-GOAT'S TAIL IS SHORT. Miscellaneous Tales: * THE ADVENTURES OF LITTLE FIELD MOUSE, _Stories to Tell_, Bryant. * BETA AND THE LAME GIANT, Miss Harrison, _In Storyland_. * BILLY BOBTAIL, Jane Hoxie, _Kindergarten Stories; Child-Lore Dramatic Reader_, Scribners. * BLUNDER AND THE WISHING GATE, Louise Chollet, in _Child Life in Prose_, Whittier. * THE BOY AND THE GOAT, OR THE GOAT IN THE TURNIP FIELD (Norwegian), _Primer_, Free and Treadwell; _Child-Lore Dramatic Reader_, Scribners. * THE CAP THAT MOTHER MADE OR ANDER'S NEW CAP (Swedish), _Swedish Fairy Tales_, McClurg; _For the Story-Teller_, Bailey. 1 THE CAT AND THE PARROT OR THE GREEDY CAT, _HOW to Tell Stories_, Bryant; _Tales of Laughter_, Wiggin and Smith. 1 THE CAT THAT WAITED, _Classics in Dramatic Form_, vol. I, Stevenson. * THE CAT, THE COCK, AND THE FOX, _Tales of Laughter_, Wiggin and Smith. 1 CLYTIE, _Nature Myths_, Flora Cooke. 1 THE COCK, THE MOUSE, AND THE LITTLE RED HEN, Félicité Lefèvre, Jacobs. * THE COUNTRY MOUSE AND THE CITY MOUSE, _Æsop's Fables_, Joseph Jacobs. * DAME WIGGINS AND HER CATS, Mrs. Sharp, in _Six Nursery Classics_, Heath. * THE DISCONTENTED PENDULUM, Jane Taylor, in _In the Child's World_, Poulsson. * THE DOLL WHO WAS SISTER TO A PRINCESS, THE TOY STORIES, Carolyn Bailey, _Kindergarten Review_, Dec., 1914. * DRAKESBILL, _The Story-Teller's Book_, O'Grady and Throop; _The Fairy Ring_, Wiggin and Smith; _Firelight Stories_, Bailey. * THE ELEPHANT'S CHILD, _Just-So Stories_, Kipling. 1 THE FIRST CHRISTMAS TREE, _A Little Book of Profitable Tales_, Eugene Field. 1 THE FIVE LITTLE PIGS, Katherine Pyle, in _Wide Awake Second Reader_, Little. * THE FOOLISH TIMID RABBIT, _Jataka Tales Retold_, Babbit. THE GOLDEN COCK, _That's Why Stories_, Bryce. 1 GOLDEN ROD AND ASTER, _Nature Myths_, Cooke. THE GRAIN OF CORN _(Old Woman and Her Pig), Tales of the Punjab_, Steel. 1 GREENCAP, Ruth Hays, in _St. Nicholas_, June, 1915. 1 HANS AND THE FOUR BIG GIANTS, Miss Harrison, _In Storyland_. 1 THE HEN THAT HATCHED DUCKS, Harriet Beecher Stowe, in _Child Life in Prose_, Whittier. * THE HOP-ABOUT-MAN, Agnes Herbertson, in _The Story-Teller's Book_, O'Grady and Throop; in _Little Folks' Magazine_. * THE HOUSE THAT JACK BUILT, _Six Nursery Classics_, D.C. Heath. 1 HOW BROTHER RABBIT FOOLED THE WHALE, _Stories to Tell_, Bryant. * HOW THE CAMEL GOT HIS HUMP, _Just-So Stories_, Kipling. 1 HOW THE CHIPMUNK GOT THE STRIPES ON ITS BACK, _Nature Myths_, Cooke. * HOW DOUBLE DARLING'S OLD SHOES BECAME LADY SLIPPERS, Candace Wheeler, in _St. Nicholas_, March, 1887; vol. 14, pp. 342-47. * HOW FIRE WAS BROUGHT TO THE INDIANS, _The Book of Nature Myths_, Holbrook. * HOW SUN, MOON, AND WEST WIND WENT OUT TO DINNER, _Old Deccan Days_, Frère. 1 THE JACKAL AND THE ALLIGATOR, _Stories to Tell_, Bryant. 1 THE JACKALS AND THE LION, _Stories to Tell_, Bryant. 1 KING SOLOMON AND THE ANTS, _Nature Myths_, Cooke. * THE LAMBIKIN, _Tales of the Punjab_, Steel; _Indian Tales_, Jacobs. * LITTLE JACK ROLLAROUND, _Stories to Tell_, Bryant. * THE LITTLE RABBIT WHO WANTED RED WINGS, _For the Story-Teller_, Bailey. * THE LITTLE RED HEN, _Stories to Tell_, Bryant. * THE LITTLE RED HIN (Irish dialect verse), _Stories to Tell_, Bryant. * THE LITTLE ROOSTER, Robert Southey, in _Boston Collection of Kindergarten Stories_, Hammett & Co. * LITTLE SPIDER'S FIRST WEB, _Primer_, Free and Treadwell. * LITTLE TOP-KNOT (Swedish), _First Reader_, Free and Treadwell. * LITTLE TUPPEN, _Fairy Stories and Fables_, Baldwin; _Primer_, Free and Treadwell. * LUDWIG AND MARLEEN, Jane Hoxie, in _Kindergarten Review_, vol. xi, no. 5. * MEDIO POLLITO, THE LITTLE HALF-CHICK (Spanish), _The Green Fairy Book_, Lang. * MEZUMI, THE BEAUTIFUL, OR THE RAT PRINCESS (Japanese), _Birch-Tree Fairy Book_, Johnson; _Tales of Laughter_, Wiggin and Smith. 1 M ELEPHANT AND M FROG, _Firelight Stories_, Bailey. 1 THE MOON'S SILVER CLOAK, _Classics in Dramatic Form_, Stevenson, vol. i. 1 THE MOUSE AND THE SAUSAGE, _Stories and Story-Telling_, Angela Keyes. * OEYVIND AND MARIT, from _The Happy Boy_, Björnstjerne Björnson, in _The Story-Teller's Book_, O'Grady and Throop; in _Child-Life in Prose_, Whittier. * PETER RABBIT, _Peter Rabbit_, Beatrix Potter. 1 THE PIGS AND THE GIANT, Pyle, in _Child-Lore Dramatic Reader_, Scribners. * THE QUICK-RUNNING SQUASH, _Short Stories for Short People_, Aspinwall. 1 THE RED-HEADED WOODPECKER, _Nature Myths_, Cooke. * THE RICH GOOSE, Leora Robinson, in _The Outlook_. * THE ROBIN'S CHRISTMAS SONG, _Birch-Tree Fairy Book_, Johnson. * (WEE) ROBIN'S YULE SONG. _Tales of Laughter_, Wiggin and Smith. * THE SHEEP AND THE PIG (Scandinavian), _For the Children's Hour_, Bailey. * THE SPARROW AND THE CROW, _Tales of the Punjab_, Steel; _Birch-Tree Fairy Book_, Johnson. * THE STRAW OX, _Cossack Fairy Tales_, Bain. * STORY OF THE MORNING-GLORY SEED, M. Eytinge, _Boston Kindergarten Stories_. 1 THE TALE OF A BLACK CAT, _Oak-Tree Fairy Book_, Johnson. 1 TOMMY AND THE WISHING-STONE, a series, by T. Burgess, in _St. Nicholas_, 1915. 1 TRAVELS OF A FOX, _Oak-Tree Fairy Book_, Johnson. 1 THE TURTLE WHO COULDN'T STOP TALKING, _Jataka Tales Retold_, Babbit. * THE UNHAPPY PINE TREE, _Classic Stories_, McMurry. 1 What Bunch And Joker Saw In The Moon, _Wide Awake Chatterbox_, about 1887. 1 The White Cat, _Fairy Tales_, D'Aulnoy; _Fairy Tales_, Vol. II, Lansing. * Why The Evergreen Trees Never Lose Their Leaves, _The Book Of Nature Myths_, Holbrook. * Why The Juniper Has Berries, _The Book Of Nature Myths_, Holbrook. * Why The Morning Glory Climbs, _How to Tell Stories_, Bryant. 1 The Wish Bird, _Classics In Dramatic Form_, Vol. II, Stevenson. II. Bibliography Of Fairy Tales Baker, Franklin T.: _Bibliography Of Children's Reading_. Introduction and lists. Teachers College, Columbia University. Baker Taylor Company, The: _Graded Guide to Supplementary Reading_. 1914. Boston Public Library: _Finding List of Fairy Tales_. Carnegie Library, Pittsburgh. _List of Folk Tales_. Bulletin, Dec, 1913, Vol. 18, No. 10. _Ibid_.: _Illustrated Editions of Children's Books_. 1915. Harron, Julia; Bacon, Corinne; and Dana, John: _American Library Economy_. Newark Free Library, Newark, New Jersey. Haight, Rachel Webb: "Fairy Tales." _Bulletin of Bibliography_, 1912. Boston Book Co. Hewins, Caroline: _A.L.A. List. Books for Boys and Girls_. Third Edition, 1913. A.L.A. Pub. Board, Chicago. Kready, Laura F.: "Picture-Books For Little Children." _Kindergarten Review_, Sept., 1914. Moulton, Alice O'Grady, and Literature Com. of I.K.U.: "Humorous Stories for Children." _Kindergarten Review_, Dec, 1914. Salisbury, G.E., and Beckwith, M.E.: _Index to Short Stories_. St. Louis Public Library. _Lists of Stories and Programs for Story Hours_. Give best versions. Widdemer, Margaret: "A Bibliography of Books and Articles Relating to Children's Reading. Part I, Children's Reading in general. Part II, History of Children's Literature, etc. Part III, Guidance of Children's Reading." _Bulletin of Bibliography_, July, 1911, Oct., 1911, and Jan., 1912. Boston Book Co. III. A List of Picture-Books[13] Beskow, Elsa: _Hanschen im Blaubeerenwald_. Stuttgart. Brooke, Leslie: _The Golden Goose Book_. F. Warne. _Ibid._: The _House in the Wood_. F. Warne. _Ibid._: _The Truth About Old King Cole_. F. Warne. Browning, Robert: _The Pied Piper_, Kate Greenaway, F. Warne; Hope Dunlap, Rand; T. Butler Stoney, Dutton. Caldecott, Randolph: _Picture-Books:_ 2. _The House that Jack Built_. F. Warne. 3. _Hey Diddle Diddle Book_. F. Warne. Coussens, P.W.: _A Child's Book of Stories_. Jessie W. Smith. Duffield. Crane, Walter: _Picture-Books:_ _Cinderella_. John Lane. _Mother Hubbard_. John Lane. _Red Riding Hood_. John Lane. _This Little Pig_. John Lane. Grimm, Jacob and William: _Cruikshank Fairy Book_. Cruikshank, Putnam. _Ibid._: _Das Deutsche Bilderbuch_. Jos. Scholz. 1. _Dörnroschen_. 2. _Aschenputtel_. 7. _Frau Holle_. 10. _Der Wolf und Sieben Geislein_. _Ibid._: _Liebe Märchen_. 10, 11, 12. Jos. Scholz. _Ibid._: _Cherry Blossom_. Helen Stratton. Blackie and Sons. Jerrold, Walter: _The Big Book of Fairy Tales_. Robinson. Blackie. Olfers, Sibylle: _Windschen_. J.F. Schreiber. _Ibid.: Wurzelkindern_. J.F. Schreiber. Sharp, Mrs.: _Dame Wiggins of Lee_. Introduction by Ruskin. Kate Greenaway. George Allen. IV. A LIST OF PICTURES Cinderella. 227, Meinhold. Dresden. 724, Meinhold. Dresden. 366, Teubner. Leipzig. _Canadian Magazine_, Dec., 1911, by Val Prinsep, A. Elves. Arthur Rackham. _St. Nicholas_, Nov., 1914. _Ibid.: Book of Pictures_. Century. Hop-o'-my-Thumb. _A Child's Own Book of Fairy Tales_. Dore. H. Pisan, engraver. Elizabeth S. Forbes. _Canadian Magazine_, Dec., 1911. Little Brother and Sister. Tempera Painting, Marianna Stokes. _Illustrated London News_, Dec., 1907. Perrault's Tales. Kay Nielsen. _Illustrated London News_, Dec., 1913. Red Riding Hood. Poster, Mary Stokes. _Ladies' Home Journal_. 230, Meinhold. Dresden. 77, Teubner. Leipzig and Berlin. G. Ferrier. Engraved for _St. Nicholas_, Braun, Clement, & Co. Supplement to _American Primary Teacher_, May, 1908. Picture, 2 ft. by 1 ft., New Specialty Shop, Phila., Pa. Sleeping Beauty. Mouat, London. _Canadian Magazine_, Dec., 1911. _Illustrated London News_, Dec., 1907. Snow White. A series. Maxfield Parrish. Picture by Elizabeth Shippen Green. Two Series. Five pictures in each. Jessie Willcox Smith. P.F. Collier & Sons. V. A LIST OF FAIRY POEMS Allingham, William: _The Fairy Folk_. The Posy Ring. Bangs, John Kendrick: _The Little Elf_. The Posy Ring. Bird, Robert: _The Fairy Folk_. A Child's Book of Old Verses. Dodsley, R.: _Red Caps of Fairies. Fuimus Troes_, Old Plays. Drayton, Michael: _Nymphal III_, Poets' Elysium. Herford, Oliver: _The Elf and the Dormouse_. The Posy Ring. Hood, Thomas: _A Plain Direction_. Heart of Oak Books, III. _Ibid._: _Queen Mab_. A Child's Book of Old Verses. Howitt, Mary: _The Fairies of the Caldon-Low_. The Posy Ring. _Ibid._: _Mabel on Midsummer Day_. The Story-Teller's Book, O'Grady and Throop. Lyly, John: _The Urchin's Dance and Song. Song of the First Fairy_. _Song of the Second Fairy_. Maydes Metamorphosis. McDermot, Jessie: _A Fairy Tale_. Fairy Tales. Rolfe. Amer. Book Co. Noyes, Alfred: _The Magic Casement_. An anthology of fairy poetry, with an introduction. Dutton. Percy, Bishop: _The Fairy Queen_. Reliques of Ancient Poetry; from The Mysteries of Love and Eloquence, London, 1658. Shakespeare, William: _Ariel's Song_; _A Fairy Song_; "_I know a bank_"; _The Song of the Fairies_. Shakespeare's Dramas. Stevenson, Robert L. _Fairy Bread_; _The Little Land_. A Child's Garden of Verses. Unknown Author: _The Fairy_. "_Oh, who is so merry_." A Child's Book of Old Verses. Duffield. Wilkins, Mary E.: _The Ballad of the Blacksmith's Sons_. Fairy Stories Retold from _St. Nicholas_. Century. VI. MAIN STANDARD FAIRY TALE BOOKS Andersen, Hans Christian: _Fairy Tales_. 2 vols. Pedersen & Stone. Houghton. _Ibid._: _Fairy Tales_. Edited by W.A. and J.K. Craigie. Oxford University Press. _Ibid._: _Fairy Stories for Youngest Children_. Lucas. Stratton. Blackie. (English edition.) _Ibid._: _Fairy Tales_. Mrs. Lucas. T.C. and W. Robinson. Dutton. _Ibid._: _Fairy Tales_. Mrs. Lucas. Helen Stratton. Dodge. _Ibid._: _Fairy Tales_. Maria L. Kirk. Lippincott. Andersen, Hans Christian: _Fairy Tales_. Edmund Dulac. Hodder & Stoughton. _Ibid.: Fairy Tales_. W.H. Robinson. Holt. _Ibid.: Fairy Tales_. Braekstad. Tegner. Introd. by Gosse. Century. Asbjörnsen, P.C.: _Fairy Tales from the Far North_. Burt. _Ibid.: Round the Yule Log_. Introd. by Gosse. Braekstad. Lippincott. Dasent, Sir George W.: _Popular Tales from the North_. Routledge. Dutton. _Ibid.: Popular Tales from the North_. Putnam. _Ibid.: Tales from the Field_. Putnam. Grimm, Jacob and William: _Household Tales_. Margaret Hunt. Bonn's Libraries, Bell & Co. _Ibid.: Household Tales_. Lucy Crane. Walter Crane. Macmillan. _Ibid.: Fairy Tales_. Helen Stratton. Dodge. _Ibid.: German Popular Stories_. Tr. Edgar Taylor. Introd. by Ruskin. 22 illustrations by Cruikshank. Chatto & Windus. _Ibid_.: _Fairy Tales_. Johann & Leinweber. McLoughlin. _Ibid.: Fairy Tales_. Arthur Rackham. Doubleday. _Ibid.: Fairy Tales_. Hope Dunlap. Rand. Harris, Joel Chandler: _Uncle Remus, His Songs and Sayings_. Appleton. _Ibid.: Nights With Uncle Remus_. Church. Houghton. _Ibid_.: _Uncle Remus and His Friends_. Frost. Houghton. _Ibid.: Uncle Remus and the Little Boy_. J.M. Comte. Small. Jacobs, Joseph: _English Fairy Tales_. 2 vols. Batten. Putnam. _Ibid.: Celtic Fairy Tales_. 2 vols. Batten. Putnam. _Ibid.: Indian Fairy Tales_. Batten. Putnam. _Ibid.: The Most Delectable History of Reynard the Fox_. Frank Calderon. Macmillan. _Ibid.: Europa's Fairy Tales_. Batten. Putnam. O'Shea, M.V.: _Old World Wonder Stories_. Heath. Perrault, Charles: _Tales of Mother Goose_. Welsh. Heath. _Ibid_.: _Fairy Tales_. Appleton. Estes. Perrault, Charles: _Tales of Passed Times_. Temple Classics. C. Robinson. Dutton. _Ibid.: Popular Tales_. Edited by Andrew Lang. French; and English translation of original edition. Oxford, Clarendon Press. VII. FAIRY TALES OF ALL NATIONS Celtic. Jacobs. 1911. Putnam. Chinese. Pitnam. 1910. Crowell. Cossack. Bain. 1899. Burt. Danish. Bay. 1899. Harper. Donegal. McManus. 1900. Doubleday. English. Jacobs. 1904. Putnam. _Ibid_.: Folk and Fairy Stories. Hartland, born 1848. Camelot series. French. DeSegur. 1799-1874. Winston. German. Grimm. 1812, 1822. Bonn's Libraries. Hungarian. Pogany. 1914. Stokes. Indian. _Old Deccan Days_. Frère. 1868. McDonough. _Ibid.: Tales of the Sun_. Mrs. Kingscote. 1890. W.H. Allen. _Ibid.: Buddhist Birth Stories_. Rhys Davids. 1880. Trubner. _Ibid.: Fairy Tales_. Stokes. 1880. Ellis & White. _Ibid.: Folk Tales of Bengal_. Day. 1883. Macmillan. _Ibid.: Wide Awake Stories_. Steel and Temple. 1884. Trubner. _Ibid.: Folk-Tales of Kashmir_. Knowles. 1887. Trubner. _Ibid.: Tales of the Punjab_. Steel. 1894. Macmillan. Irish. Yeats. 1902. Burt. Italian. Macdonell. 1911. Stokes. _Ibid_.: Crane. 1885. Macmillan. Japanese. Ozaki. 1909. Dutton. Manx. Morrison. 1899. Nutt. New World. Kennedy. 1904. Dutton. Norse. Dasent. 1820-1896. Lippincott. _Ibid_.: Mabie. 1846-. Dodd. Papuan. Kerr. 1910. Macmillan. Persian. Stephen. 1892. Dutton. _Ibid_.: Clouston. 1907. Stokes. Russian. Dole. 1907. Crowell. _Ibid_.: Bain. Bilibin. 1914. Century. Scottish. Grierson. 1910. Stokes. South African. Honey. 1910. Baker & Taylor. Welsh. Thomas. 1908. Stokes. VIII. MISCELLANEOUS EDITIONS OF FAIRY TALES D'Aulnoy, Madame: _Fairy Tales_. Trans, by Planché. Gordon Browne. McKay. _Ibid.: Fairy Tales_. Introd. by Anne T. Ritchie. Scribners. Austin, M.H.: _Basket Woman_. Houghton. Babbit, Ellen: _Jataka Tales Retold_. Century. Bailey, Carolyn: _Firelight Stories_. Bradley. Bailey and Lewis: _For the Children's Hour_. Bradley. Baldwin, James: _Fairy Stories and Fables_. Amer. Book Co. Barrie, J.M.: _Peter Pan in Kensington Gardens_. Rackham. Scribners. Baumbach, Rudolf: _Tales from Wonderland_. Simmons. Bertelli, Luigi: _The Prince and His Ants_. Holt. Bryant, Sara C.: _Best Stories to Tell to Children_. Houghton. Burgess, Thornton: _Old Mother West Wind_. Little. _Ibid.: The Adventures of Reddy Fox_. Little. _Ibid.: The Adventures of Johnny Chuck_. Little. _Ibid.: Tommy and the Wishing-stone_. Animal Tales. _St. Nicholas_, 1915. Chapin, Anna: _The Now-a-Days Fairy Book_. Jessie W. Smith. Dodd. Chisholm, Louey: _In Fairyland_. Katherine Cameron. Putnam. _Ibid.: Little Red Riding Hood; Cinderella_; (I Read Them Myself series). Dodge. Collection: _Half a Hundred Stories for Little People_. Bradley. Cooke, Flora J.: _Nature Myths and Stories_. Flanagan. Cowell, E.B.: _The Jatakas or Stories of the Buddha's Former Births_. Tr. from the Pali. 6 vols. Cambridge University Press. Putnam. 1895-1907. Crothers, Samuel McChord: _Miss Muffet's Christmas Party_. Houghton. Emerson, Ellen: _Indian Myths_. Houghton. Everyman Series: _157; 365; and 541_. Dutton. France, Anatole: _The Honey Bee_. John Lane. Grover, Eulalie O., editor: _Mother Goose_. F. Richardson. Volland. Harris, Joel C.: _Little Mr. Thimblefinger_. Houghton. Harrison, Miss: In Storyland. Central Pub. Co., Chicago. Holbrook, Florence: _The Book of Nature Myths_. Houghton. James, Grace: _The Green Willow_: Japanese. Goble. Macmillan. Jerrold, Walter: _The Reign of King Oberon_. Robinson. Dent. Little. Johnson, Clifton: _Fairy Books: Oak-Tree; Birch-Tree; and Elm-Tree_. Little. _Ibid._: _Book of Fairy Tale Bears_. Houghton. _Ibid._: _Book of Fairy Tale Foxes_. Houghton. Kingsley, Charles: _Water-Babies_. Warwick Goble. Macmillan. _Ibid_.: _Water-Babies_. Introd, by Rose Kingsley. Margaret Tarrant. Dutton. Kipling, Rudyard: _Jungle Books_. 2 vols. Original edition. Century. _Ibid._: _Jungle Books_. M. and E. Detmold. Century. _Ibid._: _Jungle Books_. A. Rackham. Doubleday. _Ibid._: _Just-So Stories_. Doubleday. _Ibid._: _Puck of Pook's Hill_. Doubleday. _Ibid._: _Rewards and Fairies_. Doubleday. Laboulaye, Edouard: _Fairy Book_. Harper. _Ibid._: _Last Fairy Tales_. Harper. Lang, Andrew: _Fairy Books: Red; Orange; Yellow; Green_; _Blue; Violet; Gray; Crimson; Brown; Pink_. Longmans. Lansing, Marion: _Rhymes and Stories_. Ginn. _Ibid._: _Fairy Tales_. 2 vols. Ginn. Leamy, Edward: Golden Spears. FitzGerald. Lefèvré, Felicité: _The Cock, the Mouse, and the Little Red Hen_. Tony Sarg. Jacobs, Phila. Lindsay, Maud: _Mother Stories; More Mother Stories_. Bradley. Maeterlinck, Madam: _The Children's Bluebird_. Dodd. Molesworth, Mary Louise: _The Cuckoo Clock_. Maria Kirk. Lippincott. Mulock, Miss: _The Fairy Book_. Boyd Smith. Crowell. _Ibid._: _Fairy Book_. 32 illus. by W. Goble. Macmillan. _Ibid._: _Little Lame Prince_. Hope Dunlap. Rand. Musset, Paul de: _Mr. Wind and Madam Rain_. Bennett. Putnam. Nyblom, Helena: _Jolly Cable and other Swedish Fairy Tales_. Folknin. Dutton. Olcott, Frances J.: _Arabian Nights_. Tr. by Lane. Cairo text. Selections. Holt. Perrault, Charles: _The Story of Bluebeard_. Stone & Kimball, Chicago. Poulsson, E.: _In the Child's World_. Bradley. Pyle, Howard: _The Garden Behind the Moon_. Scribners. _Ibid._: _Wonder-Clock_. Harper. Pyle, Katherine: _Fairy Tales from Many Lands_. Dutton. Rackham, Arthur: _Mother Goose_. Century. Ramé, Louise de la (Ouida): _Nürnberg Stove: Bimbi Stories for Children_. Page. Rhys, Ernest: _Fairy Gold_. Herbert Cole. Dutton. Rolfe, William: _Fairy Tales in Prose and Verse_. Amer. Book Co. Shakespeare, William: _Midsummer Night's Dream_. With forty illustrations in color by Arthur Rackham. Doubleday. Shedlock, Marie: _A Collection of Eastern Stories and Legends_. Foreword by T. Rhys Davids. Dutton. Smith, Jessie Willcox: _Mother Goose_. Dodd. Stephen, A.: _Fairy Tales of a Parrot_. Ellis. Nister. Dutton. Stockton, F.: _The Queen's Museum_. F. Richardson. Scribners. Tappan, Eva March: _The Children's Hour: Folk Stories and Fables_. Houghton. Thorne-Thomson: _East o' the Sun and West o' the Moon_. Row. Underhill, Zoe D.: _The Dwarf's Tailor_. Harper. Valentine, Mrs. Laura: _Old, Old Fairy Tales_. F. Warne. Welsh, Charles: _Fairy Tales Children Love_. Dodge. Wheeler, W.A.: _Mother Goose Melodies_. Houghton. Wiggin, Kate; and Smith, Nora: _The Fairy Ring: Tales of Laughter: Magic Casements_: and _Tales of Wonder_. Doubleday. IX. SCHOOL EDITIONS OF FAIRY TALES Alderman, E.A.: _Classics Old and New_. Amer. Book Co. Alexander, G.: _Child Classics_. Bobbs. Baker, F.T., and Carpenter, G.: _Language Readers_. Macmillan. Baldwin, James: _The Fairy Reader_, I and II. Amer. Book Co. Blaisdell, Etta (MacDonald): _Child Life in Tale and Fable_. Macmillan. Blumenthal, Verra: _Fairy Tales from the Russian_. Rand. Brooks, Dorothy: _Stories of Red Children_. Educational. Bryce, Catherine: _Child-Lore Dramatic Reader_. Scribners. Burchill, Ettinger: _Progressive Road to Reading_, Readers. Silver. Chadwick, Mara P.: _Three Bears Story Primer_. Educational. Chadwick, M.P. and Freeman, E.G.: _Chain Stories and Playlets: The Cat That Was Lonesome: The Mouse That Lost Her Tail_; and _The Woman and Her Pig_. World Book Co. Coe and Christie: _Story Hour Readers_. Amer. Book Co. Craik, Georgiana: _So Fat and Mew Mew_. Heath. Davis, M.H. and Leung, Chow: _Chinese Fables and Folk Stories_. Amer. Book. Co. Dole, C.F.: _Crib and Fly_. Heath. Free and Treadwell: _Reading Literature Series_. Row, Peterson. Grover, Eulalie O.: _Folk Lore Primer_. Atkinson. Hale, E.E.: _Arabian Nights_. Selections. Ginn. Heath, D.C.: _Dramatic Reader_. Heath. Henderson, Alice: _Andersen's Best Fairy Tales_. Rand. Hix, Melvin: _Once Upon a Time Stories_. Longmans. Holbrook, Florence: _Dramatic Reader for the Lower Grades_. Amer. Book Co. Howard, F.W.: _The Banbury Cross Stories: The Fairy Gift and Tom Hickathrift_. Merrill. Johnston, E.; and Barnum, M.: _Book of Plays for Little Actors_. Amer. Book. Co. Kennerley: _The Kipling Reader_. 2 vols. Appleton. Ketchum and Rice: _Our First Story Reader_. Scribners. Lang, Andrew: _Fairy Readers_. Longmans. Lansing, M.: _Tales of Old England_. Ginn. Mabie, H.: _Fairy Tales Every Child Should Know_. Doubleday. McMahon, H., M., and A.: _Rhyme and Story Primer_. Heath. McMurry, Mrs. Lida B.: _Classic Stories_. Public School Pub. Co. Norton, Charles E.: _Heart of Oak Books_. Heath. Norvell, F.T., and Haliburton, M.W.: _Graded Classics_. Johnson. Perkins, F.O.: _The Bluebird Arranged for Schools_. Silver. Pratt, Mara L.: _Legends of Red Children_. Amer. Book Co. Roulet, Mary Nixon: _Japanese Folk-Stories and Fairy Tales_. Amer. Book Co. Scudder, H.: _Andersen's Fairy Tales: Grimm's Fairy Tales; Fables and Folk Stories; The Children's Book_. Houghton. Smythe, Louise: _Reynard the Fox_. Amer. Book Co. Spaulding and Bryce: _Aldine Readers_. Newson. Stevenson, Augusta: _Children's Classics in Dramatic Form_. 5 vols. Houghton. Stickney, J.H.: _Andersen's Fairy Tales_. 2 series. Ginn. Summers, Maud: _The Summers Readers_. Beattys. Turpin, E.H.: _Andersen's Fairy Tales_. Merrill. Underwood, Kate: _Fairy Tale Plays_ (For Infants and Juniors). Macmillan. University Pub. Co.: _Fairy Tales_. Standard Literature Series; Hans Andersen's Best Stories; Grimm's Best Stories. Newson and Co. Van Sickle, J.H., etc.: _The Riverside Readers_. Houghton. Varney, Alice: _Story Plays Old and New_. Amer. Book Co. Villee: _Little Folk Dialog Reader_. Sower. Wade, Mary H.: _Indian Fairy Tales_. Wilde. Washburne, Mrs. M.: _Old-Fashioned Fairy Tales_ (Retold from poetic versions of Thomas Hood). Rand. White, Emma G.: _Pantomime Primer_. Amer. Book Co. Williston, P.: _Japanese Fairy Tales_. 2 series. Rand. Wiltse, Sara E.: _Folk Lore Stories and Proverbs_. Ginn. Wohlfarth, J., and McMurry, Frank: _Little Folk-Tales_. 2 vols. Zitkala-sa: _Old Indian Legends_. Ginn. APPENDIX ILLUSTRATIONS OF CREATIVE RETURN[14] Tales suited for dramatization _Little Two-Eyes_ _Little Two-Eyes_, which is suited to the first-grade child, is one of the most attractive of folk-tales and contains blended within itself the varied beauties of the tales. It is in _cante-fable_ form, which gives it the poetic touch so appealing to children. It contains the magic rhymes,-- Little kid, bleat, I wish to eat! Little kid, bleat, Clear it off, neat! the fairy wise woman, and the friendly goat. It contains the fairy housekeeping in the forest which combines tea-party, picnic, and magic food--all of which could not fail to delight children. The lullaby to put Two-Eyes to sleep suits little children who know all there is to know about "going to sleep." The magic tree, the silver leaves, the golden fruit, the knight and his fine steed, and the climax of the tale when the golden apple rolls from under the cask--all possess unusual interest. There is exceptional beauty in the setting of this tale; and its message of the worth of goodness places it in line with _Cinderella_. It should be dramatized as two complete episodes, each of three acts:-- _The Goat Episode_ _Place_ The home and the forest. _Time_ Summer. _Act I, Scene i_. A home scene showing how the Mother and Sisters despised Two-Eyes. _Scene ii_. Two-Eyes and the Fairy. _Scene iii_. Two-Eyes and the Goat. Evening of the first day. _Act II, Scene i_. One-Eye went with Two-Eyes. Third morning. Song ... Feast ... Return home. _Act III, Scene i_. Three-Eyes went with Two-Eyes. Fourth morning. Song ... Feast ... Return home. _The Story of Two-Eyes_ _Place_ The forest; and the magic tree before the house. _Time_ Summer. _Act I, Scene i_. Two-Eyes and the Fairy. _Act II, Scene i_. The magic tree. Mother and Sisters attempt to pluck the fruit. _Act III, Scene i_. The Knight. Second attempt to pluck fruit. Conclusion. The happy marriage. _Snow White_ _The Story of Snow White_ is one of the romantic fairy tales which has been re-written and staged as a play for children, and now may be procured in book form. It was produced by Winthrop Ames at the Little Theatre in New York City. The dramatization by Jessie Braham White followed closely the original tale. The entire music was composed by Edmond Rickett, who wrote melodies for a number of London Christmas pantomimes. The scenery, by Maxfield Parrish, was composed of six stage pictures, simple, harmonious, and beautiful, with tense blue skies, a dim suggestion of the forest, and the quaint architecture of the House of the Seven Dwarfs. Pictures in old nursery books were the models for the scenes. Because of the simplicity of the plot and the few characters, _Snow White_ could be played very simply in four scenes, by the children of the second and third grades for the kindergarten and first grade. _Snow White_ _Scene i_. A Festival on the occasion of Snow White's sixteenth birthday. _Scene ii_. In the Forest. _Scene iii_. A Room in the House of the Seven Dwarfs. _Scene iv_. The Reception to Snow White as Queen, on the grounds near the young King's Palace. The beautiful character of Snow White; the glimpse of Dwarf life--the kindly little men with their unique tasks and their novel way of living; the beauty and cheer of Snow White which her housekeeping brought into their home; their devotion to her; the adventure in the wood; the faithful Huntsman; the magic mirror; the wicked Queen; and the Prince seeking the Princess--all contribute to the charm of the tale. The songs written for the play may be learned by the children, who will love to work them into their simple play: _Snow White, as fair as a lily, as sweet as a rose_; the song of the forest fairies, _Welcome, Snow White_; and their second song which they sing as they troop about Snow White lying asleep on the Dwarf's bed, _Here you'll find a happy home, softly sleep!_ or the song of Snow White to the Dwarfs, _I can brew, I can bake_. _The Little Lamb and the Little Fish_ Once upon a time there lived a sister and a brother who loved each other very much. They were named Gretchen and Peterkin. One day their father who was King of the country, left them and brought home with him a new Queen who was not kind to the children. She banished them from the castle and told the King bad tales about them. So they made friends with the Cook and ate in the kitchen. Peterkin would bring water and Gretchen could carry plates and cups and saucers. One beautiful spring day when all the children were out-of-doors playing games, Gretchen and Peterkin went to play with them, by the pond, on the meadow, beyond the castle wall. Around this pond the children would run, joining hands and singing:-- "Eneke, Beneke, let me live, And I to you my bird will give; The bird shall fetch of straw a bunch, And that the cow shall have to munch; The cow shall give me milk so sweet, And that I'll to the baker take, Who with it shall a small cake bake; The cake the cat shall have to eat, And for it catch a mouse for me, * * * * * "And this is the end of the tale." Round and round the pond the children ran singing; and as the word "tale" fell on Peterkin he had to run away over the meadow and all the rest ran after to catch him. But just then the wicked Queen from her window in the castle spied the happy children. She did not look pleased and she muttered words which you may be sure were not very pleasant words. The children had been racing across the meadow after Peterkin. Now one called, "Where is Peterkin? I saw him near that tree, but now I cannot see him. Gretchen, can you see Peterkin?--Why, where's Gretchen?" Peterkin and Gretchen were nowhere to be seen. Suddenly a little boy said, "Where did that lamb come from over there? It must have been behind the linden tree!" The children drew near the lamb, when what was their surprise to hear it call out to them, "Run children, run quick or the Queen will harm you! I am Gretchen! Run, and never come near the pond again!" And at the little Lamb's words the children fled. But the little Lamb ran all about the meadow, calling, "Peterkin, Peterkin!" and would not touch a blade of grass. Sadly she walked to the edge of the pond and slowly walked round and round it calling, "Peterkin, where are you?" Suddenly the water bubbled and a weak voice cried, "Here, Gretchen, in the pond,-- "Here Gretchen, here swim I in the pond, Nor may I ever come near castle ground." And the Lamb replied:-- "Ah, my brother! In the wood, A lamb, now I must search for food." Then Peterkin comforted Gretchen and promised early every morning to come up to the water to talk with her; and Gretchen promised to come early from the wood, before the sun was up, to be with Peterkin. And Peterkin said, "I will never forsake you, Gretchen, if you will never forsake me!" And Gretchen said, "I will never forsake you, Peterkin, if you will never forsake me!" Then the little Lamb fled sadly to the wood to look for food and the little Fish swam round the pond. But the children did not forget their playmates. Every day they saved their goodies and secretly laid them at the edge of the wood where the Lamb could get them. And the Lamb always saved some to throw the crumbs to the little Fish in the morning. Many days passed by. One day visitors were coming to the castle. "Now is my chance," thought the wicked Queen. So she said to the Cook, "Go, fetch me the lamb out of the meadow, for there is nothing else for the strangers!" Now the Lamb had lingered by the pond longer than usual that morning so that the Cook easily caught her; and taking her with him tied her to the tree just outside the kitchen. But when the Cook was gone to the kitchen, the little Fish swam up from the pond into the little brook that ran by the tree and said-- "Ah, my sister, sad am I, That so great harm to you is nigh! And far from you I love must be, A-swimming in the deep, deep sea!" And the Lamb replied:-- "Ah, my brother in the pond, Sad must I leave you, though I'm fond; The cook has come to take my life, Swim off to sea,--Beware!" Just then the Cook came back and hearing the Lamb speak became frightened. Thinking it could not be a real lamb, he said, "Be still, I will not harm you. Run, hide in the wood, and when it is evening, come to the edge of the wood and I will help you!" Then the Cook caught another lamb and dressed it for the guests. And before evening he went to a wise woman who happened to be the old Nurse who had taken care of Peterkin and Gretchen. She loved the children and she soon saw what the wicked Queen had done. She told the Cook what the Lamb and Fish must do to regain their natural forms. As soon as it was dark the little Lamb came to the edge of the wood and the Cook said, "Little Lamb, I will tell you what you must do to be a maid again!" So the Cook whispered what the wise Woman had said. The little Lamb thanked the Cook and promised to do as he said. Next morning very early before the break of day, the little Lamb hurried from the wood across the meadow. Not taking time to go near the pond she hastily pushed against the castle gate which the kind Cook had left unfastened for her. She ran up the path, and there under the Queen's window stood the beautiful rose-tree with only two red roses on it--just as the Cook had said. Not even glancing at the Queen's window, the little Lamb began nibbling the lowest one. And behold, there in the path stood Gretchen again! Then hastening to seize the other rose before the sun's first ray might touch it, she ran lightly down the path, away from castle ground, across the meadow to the pond. Calling little Fish to the water's edge--for he had lingered in the pond--she sprinkled over him the drops of dew in the heart of the rose. And there stood little Peterkin beside Gretchen! Then hand in hand, Gretchen and Peterkin hurried from the pond and fled into the wood just as the sun began to show beyond the trees. There they built themselves a cottage and lived in it happily ever afterwards. The kind Cook and the wise Nurse found them and visited them. But Gretchen and Peterkin never went near castle ground until the Cook told them the Queen was no more.--_Laura F. Kready_. _How the Birds came to Have Different Nests Time..._. _Once upon a time when pigs spoke rhyme, And monkeys chewed tobacco. And hens took snuff to make them tough, And ducks went quack, quack, quack, O!_ _Place_. ... Madge Magpie's Nest up in a Tree-top. _Characters_: Madge Magpie, the Teacher; Thrush, Blackbird, Owl, Sparrow, Starling, and Turtle-Dove. _All the Birds_. "We have come to you, Madge Magpie, to ask you to teach us how to build nests. All the Birds tell how clever you are at building nests." _Magpie_. "Make a circle round about the foot of this old pear-tree. I will sit upon this limb near my nest and show you how to do it. First I take some mud and make a fine round cake with it." _Thrush_. "Oh, that's how it's done, is it? I'll hurry home! Goodbye, Birds, I can't stay another minute! "Mud in a cake, mud in a cake, To-whit, to-whee, a nest I'll make!" _Magpie_. "Next I take some twigs and arrange them about the mud." _Blackbird_. "Now I know all about it. Here I go, I'm off to make my nest in the cherry-tree in Mr. Smith's cornfield! "Sticks upon mud, mud upon sticks, Caw, caw! I'll make a nest for six!" _Magpie_. "See, here I put another layer of mud over the twigs." _Wise Owl_. "Oh! That's quite obvious. Strange I never thought of that before. Farewell, come to see me at the old elm-tree beside the gray church! "Mud over twigs! To-whit, to-whoo! No better nest than that ever grew!" _Magpie_. "See these long twigs. I just twine them round the outside." _Sparrow_. "The very thing. I'll do it this very day. I can pick some up on my way home. I'll choose the spout that looks down over the school-yard; then I can see the children at play. They must like me for they never chase me away or hit me. "A nest with twigs twined round and round, Chip, chip! No fear that would fall to the ground!" _Magpie_. "And see these little feathers and soft stuff. What a comfortable, cosy lining for the nest they make!" _Starling_. "That suits me! Off I go, I like a cosy warm nest. It shall be in that old plum-tree in the orchard, on the side of the hill. "Feathers and down to make cosy and warm, That's the nest to keep us from harm!" _Magpie_. "Well, Birds, have you seen how I made my nest? Do you think you know how?--Why, where are all the Birds? They couldn't wait until I'd finished. Only you, Turtle-Dove, left!" _Turtle-Dove_. "Take two, Taffy, take two--o--o--o!" _Magpie_. "Here I put a twig across. But not two--one's enough!" _Turtle-Dove_. "Take two, Taffy, take two--o--o--o!" _Magpie_. "One's enough I tell you, do you not see how I lay it across?" _Turtle-Dove_. "Take two, Taffy, take two--o--o--o!" _Magpie_. "Here I fly away from my nest for awhile! I will teach no more Birds to build nests. I cannot teach a silly Turtle-Dove who will not learn. I heard him sing just now as I turned around," _Turtle-Dove_. "Take two, Taffy, take two--o--o--o, Take two, Taffy, take two--o--o--o!" _Laura F. Kready_. TYPES OF TALES An Animal Tale[15] _The Good-Natured Bear_ "I shall never forget the patience, the gentleness, the skill, and the firmness with which she first taught me to walk alone. I mean to walk on all fours, of course; the upright manner of my present walking was only learned afterwards. As this infant effort, however, is one of my earliest recollections, I have mentioned it before all the rest, and if you please, I will give you a little account of it." "Oh! do, Mr. Bear," cried Gretchen; and no sooner had she uttered the words than all the children cried out at the same time, "Oh, please do, sir!" The Bear took several long whiffs at his pipe, and thus continued,-- "My Mother took me to a retired part of the forest (of Towskipowski, Poland) where few animals ever came; and telling me that I must now stand alone, extended both paws, and slowly lowered me towards the earth. The height as I looked down, seemed terrible, and I felt my legs kick in the air, with fear of I did not know what, till suddenly I felt four hard things and no motion. It was the fixed earth beneath my four infant legs. 'Now,' said my Mother, 'you are what is called standing alone!' But what she said I heard as in a dream. With my back in the air as though it rested on a wooden trussel, with my nose poking out straight snuffing the fresh breeze and the many secrets of the woods, my ears pricking and shooting with all sorts of new sounds to wonder at, to want to have, to love, or to tumble down at,--and my eyes staring before me full of light and confused gold and dancing things, I seemed to be in a condition over which I had no power to effect the least change, and in which I must remain fixed till some wonderful thing happened. But the firm voice of my Mother came to my assistance and I heard her tell me to look upon the earth beneath me and see where I was. First I looked up among the boughs, then side-ways at my shoulder, then I squinted at the tip of my nose--all by mistake and innocence--at last I bent my nose in despair and saw my forepaws standing, and this of course was right. The first thing that caught my attention, being the first thing I saw distinctly, was a little blue flower with a bright jewel in the middle, which I afterwards found was a drop of dew. Sometimes I thought this little blue darling was so close that it almost touched my eyes and certainly the color of it was up in my head; sometimes I thought it was deep down, a long way off. When I bent my face towards it to give it a kiss it seemed just where it was though I had not done what I had thought to do. "The next thing I saw upon the ground was a soft-looking little creature that crawled along with a round ball upon the middle of its back, of a beautiful white color, with brown and red curling stripes. The creature moved very, very slowly, and appeared always to follow the opinion and advice of two long horns on its head, that went feeling about on all sides. Presently it slowly approached my right forepaw and I wondered how I should feel or smell or hear it as it went over my toes; but the instant one of the horns touched the hair of my paw, both horns shrunk into nothing and presently came out again, and the creature slowly moved away in another direction. While I was wondering at this strange proceeding--for I never thought of hurting the creature, not knowing how to hurt anything, and what should have made the horns think otherwise?--while then I was wondering at this, my attention was suddenly drawn to a tuft of moss on my right near a hollow tree trunk. Out of this green tuft looked a pair of very bright round small eyes, which were staring up at me. "If I had known how to walk I should have stepped back a few steps when I saw those bright little eyes, but I never ventured to lift a paw from the earth since my Mother had first set me down, nor did I know how to do so, or what were the proper thoughts or motions to begin with. So I stood looking at the eyes and presently I saw that the head was yellow and that it had a large mouth. 'What you have just seen,' said my Mother, 'we call a snail; and what you now see is a frog.' The names however did not help me at all to understand. Why the first should have turned from my paw so suddenly and why this creature should continue to stare up at me in such a manner I could not conceive. I expected however that it would soon come slowly crawling forth and then I should see whether it would also avoid me in the same manner. I now observed that its body and breast were double some-how, and that its paws were very large for its size, but had no hair upon them, which I thought was probably occasioned by its slow crawling having rubbed it all off. I had scarcely made these observations and reflections, when a beam of bright light breaking through the trees, the creature suddenly gave a great hop right up under my nose; and I, thinking the world was at an end, instantly fell flat down on one side and lay there waiting!"-- With this glimpse of an old-time modern animal tale we shall have to say with "Mr. Titmarsh," "Those who wish to know more about him must buy the book for themselves,"--and add: Or they must get some enterprising publisher to reprint it. A Few Romantic Tales[16] _Puss-in-Boots and Lord Peter_ _Puss-in-Boots_, a romantic tale suited to the first grade, delights with its strong sense of adventure and of the heroic. Puss is a Master-Cat, a hero clever and quick, and with fine imagination to see what would happen and prepare for it. He is successful, combining initiative and motivation delightfully. His devotion to his master seems like disinterested loyalty, love, and sacrifice. While it is true the plot is based on a lie, the moral effect is not bad because we recognize Puss as a match-making character similar to the matchmaking Jackal of India; and in love "all is fair." Moreover Puss-in-Boots was only true to his cat-nature in playing a trick, and we admire the cleverness of his trick in behalf of a master really deserving. The underlying philosophy of the tale, "That there is a power in making the best with what you possess," appeals to all, and has the ability to lend dignity and force to the light intrigue of the tale. The setting in _Puss-in-Boots_ gives a touch of nature beauty. First we have the Miller's poor home, and from there we are led in succession to the brambles through which Puss scampered; the rabbits' warren where he lay in waiting to bag the heedless rabbits; the palace to which he took the rabbits caught by the Marquis of Carabas; the cornfield where he bagged the partridges; the river-side where the Marquis bathed; the meadow where the countrymen were mowing; the cornfields where the good people were reaping; until at last we are escorted to the stately castle where the Ogre dwelt. The plot of the tale is very pleasing as it easily arranges itself into a simple drama of three acts:-- Act I, Scene i. Revery of the Master. The Cat's promise to help. Scene ii. Puss in the rabbits' warren with his bag. Scene iii. Puss takes the rabbits to the King in his palace. Act II, Scene i. Puss with his bag in the cornfield. Scene ii. Puss takes partridges to the King. Scene iii. Puss and his Master. Puss gives advice. Act III, Scene i. The Marquis bathing and Puss by the river-side. Scene ii. The Drive. Puss runs before and meets the mowers. Scene iii. The Ogre's Castle. Puss's reception of the coach. Marriage of the Marquis of Carabas. Puss becomes a Lord. The tale possesses an appeal to the emotions, we want Puss-in-Boots to accomplish whatever scheme he invents, and we want the Miller's son to win the Princess. Its appeal to the imagination is an orderly succession of images, varied and pleasing. The invention of Puss and his successful adventures make the tale one of unusual interest, vivacity, and force. The transformation of the Ogre into a Lion and again into a Mouse, and the consequent climax of Puss's management of the Mouse, bring in the touch of the miraculous. A similar transformation occurs in Hesiod, where the transformed Metis is swallowed by Zeus. This transformation may be produced by a witch, when the help of another is needed, as in _Beauty and the Beast_ and in _Hansel and Grethel_; or the transformation may come from within, as in this case when the Ogre changes himself into a Mouse, or when a man changes himself into a Wolf. A situation which parallels the theme of Puss-in-Boots occurs in _The Golden Goose_ where Dummling gets as his share only a goose, but having the best disposition makes his fortune out of his goose. Grimm's _Three Feathers_ also contains a similar motif. D'Aulnoy's _White Cat_, the feminine counterpart of _Puss-in-Boots_, is a tale of pleasing fancy in which the hero wins the White Cat, a transformed Princess, who managed to secure for him, the youngest son, the performance of all the tasks his father had set for him. But the most interesting parallel of _Puss-in-Boots_ is the Norse _Lord Peter_ told by Dasent in _Norse Tales_. Here the helpful Cat does not use a bag, but in true Norse fashion catches game in the wood by sitting on the head of the reindeer and threatening, "If you don't go straight to the King's palace, I'll claw your eyes out!" The Norse tale omits the bathing episode. The King wants to visit Lord Peter but the Cat manages that Lord Peter shall visit the King. The Cat promises to supply coach, horses and clothes, not by craft--their source is not given--but they are furnished on the condition that Peter must obey to say always, when he sees fine things in the Castle, that he has far finer things of his own. In the Norse tale Peter and the Cat work together, Peter is in the secret; while in the Perrault tale Puss does all the managing, Carabas is simply being entertained by the King. In the Norse tale, on the way home the coach meets a flock of sheep, a herd of fine kine, and a drove of horses. The Cat does not threaten that the caretakers shall be "chopped as fine as herbs for the pot," if they do not say all belongs to Lord Peter, but he cunningly bribes the shepherd with a silver spoon, the neat-herd with a silver ladle, and the drover with a silver stoop. In place of the Ogre's Castle, there is a Troll's Castle with three gates--one of tin, one of silver, and one of gold. The Norse Cat wins the victory by craftily playing upon the troll-nature. He gains the Troll's attention by meeting him at the gate and telling him about the secrets of agriculture, one of the secrets of men the trolls wanted to learn. Then at the height of interest, he plays upon his curiosity by getting him to look round. Whereupon, the Troll, meeting the glare of the full sun, burst; for trolls cannot bear the sight of the sun, and live. In the Norse tale, the Cat, after Lord Peter at her request cuts off her head, becomes the Princess and marries Lord Peter. In Perrault's tale, the King, with French etiquette and diplomacy, invites the Marquis to be his son-in-law. The _Story of Puss-in-Boots_ appeared in _Straparola_, 11, 1, and in _Basile_, 2, 4. Laboulaye, in his _Last Fairy Tales_, has retold the Pentamerone tale, _Gagliuso_, in which the Cat is a crafty advocate of his Master's interests, but the Master is ungrateful and forgets the Cat. The effect of the tale is not pleasing, it is a satire on gratitude. The _Story of Puss-in-Boots_ is also told by Ludwig Tieck, with twelve etchings by Otto Speckter, published in Leipzig, in 1843. A critic, writing for the Quarterly Review in 1844, "An Article on Children's Books,"[17] recommended this edition of _Puss-in-Boots_ as the beau ideal of nursery books. _Puss-in-Boots_ appeared also in the Swedish of Cavallius. A monograph on the Carabas tale has been written by Andrew Lang. _Tom Thumb and Little Thumb_ _Tom Thumb_, another romantic tale suited to the first grade, is one of the most entertaining of tales. The germ of _Tom Thumb_ exists in various forms in the books of the far East, among American Indians, and among the Zulus of South Africa. Tom Thumb is one of the oldest characters in English nursery literature. In 1611, the ancient tales of Tom Thumb were said to have been "in the olde time the only survivors of drouzy age at midnight. Old and young, with his tales chim'd mattens till the cock's crow in the morning. Batchelors and maids have with his tales compassed the Christmas fireblocke till the curfew bell rings candle out. The old shepheard and the young plowboy, after a days' labour, have carol'ed out a _Tale of Tom Thumb_ to make them merry with, and who but little Tom hath made long nights seem short and heavy toyles easie." _Tom Thumb_, as has been previously mentioned, most probably was transmitted to England by the early Norsemen. _The Tale of Tom Thumb_, as told by Jacobs, was taken from the chap-book version in _Halliwell_. The first mention of Tom is in Scot's _Discoverie of Witchcraft_, in 1584. Tradition says that Tom died at Lincoln, which was one of the five Danish towns of England. A little blue flagstone in the cathedral, said to be his tombstone, was lost and has never been replaced during recent repairs early in the nineteenth century. _Tom Thumb_ was first written in prose by Richard Johnson, in 1621. In Ashton's _Chap-Books of the Eighteenth Century_ we have a facsimile of the chap-book, _The Famous History of Tom Thumb_. The tale is in three parts. The first part, which is much superior to the rest of the tale, was taken from a copy printed for John Wright, in 1630. The second and third parts were written about 1700. The first part closes with the death of Tom from knightly feats. He was buried in great pomp, but the fairies carried him to Fairy Land. The first part closed with a promise of the second:-- The Fairy Queen, she lov'd him so As you shall understand, That once again she let him go Down to the Fairy Land. The very time that he return'd Unto the court again, It was as we are well inform'd In good King Arthur's reign. When in the presence of the King, He many wonders wrought, Recited in the Second Part Which now is to be bought In Bow Church Yard, where is sold Diverting Histories many; And pleasant tales as e'er was told For purchase of One Penny. The second part opens with Tom's return to Fairy Land. His second death is caused by a combat with a cat. Again he is taken to Fairy Land. In the third part the Fairy Queen sends Tom to earth in King Thunston's reign. His final death occurred from the bite of a spider. _The Life and Adventures of Tom Thumb_ appeared in the _Tabart Collection of Fairy Tales_, noted before, and a version entirely in verse was included in _Halliwell_. A monograph on _Tom Thumb_ was written by M. Gaston Paris. _Little Thumb_ as it appeared in _Perrault_ and in _Basile_, was a tale similar to the German _Hansel and Grethel_. _Thumbling_, and _Thumbling as Journeyman_ are German variants. Andersen's _Thumbelina_ is a feminine counterpart to _Tom Thumb_, and in Laboulaye's _Poucinet_ we have a tale of the successful younger brother, similarly diminutive. There were current many old stories of characters similar to Tom Thumb. A certain man was so thin that he could jump through the eye of a needle. Another crept nimbly to a spider's web which was hanging in the air, and danced skillfully upon it until a spider came, which spun a thread round his neck and throttled him. A third was able to pierce a sunmote with his head and pass his whole body through it. A fourth was in the habit of riding an ant, but the ant threw him off and trampled him. In a work written in 1601, referred to in Grimm's _Household Tales_ a spider relates:-- Once did I catch a tailor proud Heavy he was as elder wood, From Heaven above he'd run a race, With an old straw hat to this place, In Heaven he might have stayed no doubt, For no one wished to turn him out. He fell in my web, hung in a knot, Could not get out, I liked it not, That e'en the straw hat, safe and sound, Nine days ere him came to the ground. A delightful little rhyme, _Tom Thumb_, is among Halliwell's _Nursery Rhymes_. It may refer to the Danish _History of Tom Thumb_: I had a little husband No bigger than my thumb; I put him in a pint pot And there I bade him drum: I bridled him and saddled him, And sent him out of town; I gave him a pair of garters To tie up his little hose; And a little handkerchief To wipe his little nose. The English version of _Tom Thumb_ as we know it today, opens with a visit of the magician Merlin at the cottage of an honest and hospitable ploughman. Merlin rewarded the Goodman and his Wife for their hospitality by calling on the Queen of the fairies, who brought to the home, Tom Thumb, a boy no bigger than a man's thumb. The time of the tale is in the days of Merlin and King Arthur's court. The tale is marked by a number of distinct English elements. The introduction of the Queen of the Fairies, of Fairy Land and the visit there, and of the fairy clothes they make for Tom, are all decidedly English. The sly ways of Tom, his tricks and his cleverness are distinctly English humor. He played with the boys for cherry-stones, and took theirs. He had so much curiosity that he fell into his mother's pudding. He was so light that on a windy day he had to be tied to a thistle when his mother went to milk the cow; and so, with his oak-leaf hat, he got caught in the cow's one mouthful. After other strange adventures he arrived at King Arthur's court where he became the favorite. His feats at tilts and tournaments give a glimpse of English court life, with its pastime of hunting; and fighting with the sword brings in the knight element. The story has little plot, being a succession of many episodes and a repetition of some. It shows little constructive ability, promises to be a perpetual tale, and is ended only by sudden death at the poisonous breath of the spider. _Tom Thumb_ is one of the tales of pure fancy, with no underlying meaning, created for pure entertainment, to please children and grown-ups by its little people and little things. The moral is in the effect of Tom's character. Perrault's _Little Thumb_ tells how a poor Fagot-maker and his Wife sat by the hearth, sad with famine, and Little Thumb overheard their words. When they started to the wood to gather fagots, Little Thumb, like Hansel, scattered pebbles. The parents left the seven children in the wood but little Thumb guided them home by his pebbles. They set out a second time, when Little Thumb scattered bread-crumbs; and as the birds ate them, the children were lost. Little Thumb climbed a tree and saw the light of the Ogre's cottage afar off. The children reached the Ogre's cottage where Little Thumb changed the golden crowns of the seven little Ogresses, and putting them on his brothers, saved their lives. Then they all fled through the wood and hid in a rock, while the Ogre in his seven-league boots, pursued them and lay down to rest at the rock in which they were hidden. Little Thumb sent his brothers home, stole the fairy boots, and through craft, persuaded the Ogre's Wife to give him all the Ogre's gold. So, rich and happy, he returned to his father's home. This tale shows a number of common motifs that appear in other tales: (1) The design of distressed parents to expose children to the forest. (2) The discovery and prevention of the scheme by a child. (3) The repetition of incident; the clew spoiled by the birds. The trail motif, similar to the one in _Hansel and Grethel_. (4) The arrival of children at the home of the Ogre. (5) The shifting of crowns to the heads of his brothers. (6) The flight of the brothers pursued by the Ogre in seven-league boots. (7) Little Thumb, stealing the boots and winning court favor, or the Ogre's treasure. Some say that in this tale, symbolically, the forest represents night; the crumbs and pebbles, stars; and the Ogre, the sun. Little Thumb, because of his cunning and invention, has been called the Ulysses of the fairy tales. His adventure with the Ogre at the rock, while not a parallel one, reminds one of Ulysses and Polyphemus. Both succeeded in getting the better of the giant. An English edition of this tale was illustrated by William Blake. _Snow White and Rose Red_ _Snow White and Rose Red_, besides blending the romantic and the realistic, illustrates rather completely how the old tale may stand the tests which have been emphasized here. As a romantic type, it contains adventure and the picturesque. It arouses emotion. It contains objects of beauty; and the strange Bear and the stranger Dwarf, about both of whom there is a sense of mystery. It exaggerates character and incidents beyond the normal,--the Mother and Daughters were more lovely than mortals usually are,--and the harmony between man and beast may belong to the millennium rather than to this common earth. This is one of the most romantic of fairy tales in that it is a highly idealized type. The story was current in Germany before the time of the Grimms, and appeared in the collection of Caroline Stahl. The rhyme,-- Snowy-white, rosy-red, Will ye strike your lover dead? was taken from a popular song, and is found in a child's story in _Taschenbuch Minerva_ for 1813. _Snow White and Rose Red_ is full of many beauties; the characters are beautiful, the setting is beautiful, and the spirit of the whole is full of beauty. There is sister-love; and mother-love--not the selfish kind that loves but its own, but that similar to the rich growth of our modern times, when mother-love seeks to include those without the home. There is genuine kindness that pours its sweetness on the Bear or on the Dwarf, that falls like the rain on the deserving and on the ungrateful; there is devotion to animals and a lack of enmity between man and beast; and there is a portrayal of the beauty of domestic life and of the charms of childhood in simple life--its play, its pleasure, and its tasks. This is all set as in two pictures whose sky is the golden glow of passion for the sun and the spring-time and summer it brings. In the first picture, on the edge of the forest stands a little cottage before whose gate grow two rose-trees, a red rose-tree and a white rose-tree, not only symbols of the beauty of the spring-time and of the rich fruitage of summer, but also symbols typifying the more wondrous beauty of the character of the two children, Snow White and Rose Red. In the second picture, a tall palace rears itself, before whose gate grow two rose-trees also, a red rose-tree and a white rose-tree, not only symbols of the same beauty of spring-time and fruitage of summer, but also symbols typifying the beauty of loveliness and the fairness of happiness and prosperity that guarded from harm the lives of the deserving Snow White and Rose Red, and continued to bless them to the close. First, looking at the characters in this tale, we see a Mother who illustrates the richness of womanhood. She managed her own home and kept it a place of beauty and cheer. She had two daughters, both lovely, but very different. She recognized this difference and respected it, and permitted each child to enjoy a delightful freedom to grow as was her nature. She permitted the children to play but she also commanded willing obedience. She arranged their work with fairness so that each had her share and each seemed free in doing that work to use her individual taste and judgment. She taught her children to spin and to sew, and she read to them. She told them about the guardian Angel who watched over them to keep them from harm. She was not anxious when they were out of sight, for even when Snow White and Rose Red stayed in the wood all night and slept on the leaves, she had no fear, for no accident ever happened to them. As a strong, noble woman, without fear, and full of love, pity, and fairness,--George Eliot's ideal of highest character,--the Mother of Snow White and Rose Red has no equal in the fairy tales. The two Children, beautiful as the roses that grew outside the cottage, were both industrious, good, amiable little girls, who in their natural sweetness showed the spirit of the Golden Age when peace and good-will dwelt among men. They were natural children and they loved to play. They gathered berries in the forest, they played hide-and-seek among the trees, they waded in the river, went fishing, made wreaths of flowers, and played with their animal friends. They fed the hares cauliflower, or watched the fawns grazing and the goats frisking; and even the birds loved them and did not fly away when they were near. In the home they kept things not only clean but beautiful; they not only did work but took pleasure in doing that work. Now at a time when domestic life in the home is being threatened, _Snow White and Rose Red_ gives a realistic picture of the beauty of domestic life, its simple joys and charm. In summer there was always a nose-gay for the Mother, and in winter there was a cheery fire with a copper kettle over it, shining like gold. And in the evening when the snow fell fast outside, inside was warmth and comfort. The Children sat sewing and the Mother reading, while a lamb and a white dove beside them enjoyed their protection and care. The entrance of the Bear gave the Children a natural thrill of fear. But the Mother, with beautiful hospitality, gave the Bear protection and kindness and led them to overcome that fear. To the Bear they showed that good nature which willingly serves; and in the tricks they played with their comrade they showed a great strength of vitality and that freedom which grows where there is no repression. The Bear departed at spring-time; and as he left Snow White thought she saw glittering gold under his coat. This seems to hint that the tale is symbolic, typifying the change of seasons. Spring, the Bear, took refuge in the cottage during the cold winter months; but in the spring he had to go abroad into the forest, to guard his treasures from the evil Dwarf of winter. The Children again showed their sweetness and good nature when, while gathering sticks, they came upon the Dwarf, with his wrinkled face and snow-white beard, the end of which was caught in a split of a tree. The contrast is delightful, between the cross and impatient Dwarf and Rose Red who offered to fetch help, and Snow White who politely tried to soothe his impatience by cutting off the end of his beard with her scissors. This time the Dwarf snatched a sack of gold which lay at the foot of the tree, and fled, most ungrateful, not even thanking the Children. The Children had two other adventures with the Dwarf; and these, together with their adventure with the Bear, make up the plot of the story. They met the Dwarf a second time, one day when they went fishing. Then Rose Red told him to be careful or he'd fall into the water, because a great fish was pulling on the bait and his beard became entangled in the fishing-line. Snow White again cut off the end of his beard to free him and again he snatched his bag--this time of pearls, lying among the rushes--and fled. One day, on going to town to buy thread, needles, laces, and ribbons, they met the Dwarf a third time. This time an eagle had caught him and was about to carry him off. The Children, with compassion, held on and freed him; but again he scolded, seized his bag of precious stones, and slipped away to his cave. On their return from town, the Children again met the Dwarf, in the wood, counting his treasure. Again he was very angry, but just then the Bear arrived out of the forest and demanded the life of the Dwarf. The Dwarf offered up in his stead, Snow White and Rose Red. But the Bear, faithful to his old comrades, slew the Dwarf, and then becoming a beautiful Prince, went home with the Sisters. Snow White married the Prince and Rose Red his Brother, and they all lived with their Mother happily in the beautiful palace. When the Bear slew the Dwarf spring returned to the land. The Dwarf with his snow-white beard seems to typify winter. Each time the Dwarf's beard was cut the beard of winter became shorter, another winter month was gone, and there remained a shorter season. The bag of gold which the Dwarf first took might signify the golden fruit of autumn, and the pearls and diamonds which he next took, the ice and snow of winter. The Dwarf's beard became entangled in the fishing-line when the icy winds of winter began to give the pond its frozen coat; and then the animals of the wood were compelled to seek a refuge. When the Bear came out of the wood to meet the Dwarf and slew him, the time for the departure of winter was at hand, and spring returned to the land. This fairy tale evidently shows a good, interesting plot, with something happening all the time. The climax is very distinctly marked, everything leads up to the meeting of the Bear and the Dwarf in the forest. The characters present interesting variety and strong contrasts. The setting is unusually beautiful: the cottage, the wood, the lake, the town, the hillside, the palace, and the two symbolic rose-trees. The tale appeals to the emotions of love, kindness, compassion, and gratitude. It presents to the imagination distinct episodes: the home-life of the Children in the cottage, their life in the wood, their adventure with the Bear, their three adventures with the Dwarf, and the meeting of the Bear and the Dwarf. The conclusion follows closely upon the climax,--the Bear, grateful to the kind Children, saved their lives and re-transformed, became a Prince. The happy marriage brings the tale to a close, with the palace home guarded by the two rose-trees. The message of the tale is the possible beauty of woman's love and character, and the loveliness of spring and of summer. A Modern Tale[18] _The Elephant's Child_ _The Elephant's Child_ might be examined here more particularly because it is unusually interesting as an example of the complete test applied to the child's fairy tale. One need not test it as to interest for it was written especially for children by one who could play with them. As to literature it certainly has mind and soul; there is no doubt about its structure or its appeal to the sympathies. The quantity of good humor and fun it bestows upon childhood is a permanent enrichment; for even a child's world has need of all the good cheer and fun that can be given to it. This tale is especially interesting also because it might be classed as almost any one of the types of tales. It is not accumulative though it possesses to a marked degree three characteristics of the accumulative tale, repetition, alliteration, and all sorts of phonic effects. And it is not an old tale. But it is not only one of the most pleasing animal tales we possess but one of the best humorous tales having the rare quality of freshness. It is realistic in its portrayal of animal life; and it is highly romantic in its sense of adventure, the heroic, the strange, and the remote. As a short-story it shows the essentials, originality, ingenuity, and compression. The single interest is how the Elephant got his trunk, and everything points to the climax of his getting it. The plot is "entertaining, novel, comical and thrilling." The structure is very easily seen in these ten episodes:-- 1. The introduction; the family; the Child; his home; his questions; the new, fine question. 2. The Elephant's Child set out to answer his own question. 3. The Elephant's Child met Kolokolo Bird. 4. The Elephant's Child journeyed to the Limpopo. 5. The Elephant's Child met the Python. 6. The Elephant's Child met the Crocodile. He got his trunk. (Climax.) 7. The Elephant's Child gained experience from the Python. 8. The Elephant's Child's journey home. 9. The Elephant's Child's return home. 10. Conclusion. How all elephants got trunks. Peace. The characters are unique and interesting. They are usual animals but unusual in what they say. They exhibit animal traits and motives but they also show us a hidden meaning in their actions and words. They seem living, they speak directly; yet they preserve the idea of the fable for they are symbolic. The Elephant's Child typifies human innocence, the inexperience of youth; the Kolokolo Bird, a friend; the Python, experience or wisdom; and the Crocodile, guile or evil. All the animals become very interesting because we are concerned to know their particular reason for spanking the "'satiable Elephant's Child." What they say is so humorous and what they do is consistent, in harmony with their natural animal traits. The Child is the hero. He is a very attractive character because he has that rare charm we call temperament. He is curious, polite, and sweet, and follows his own nose in spite of everything. He wins out with strength, experience, and a new nose; and we are rejoiced at his triumphs. His questions are so funny and yet they seem quite what any elephant with a bump of curiosity might ask. To the Giraffe--"What made his skin spotty?" To the Hippopotamus--"Why her eyes were red?" To the Baboon--"Why melons tasted just so?" And at last, "What does the Crocodile have for dinner?" The setting of the tale is suggested continually in expressions which show visual imagination of a high order: such as, "And he lived in Africa"; "dragged him through a thorn bush"; "blew bubbles into her ear"; "hove him into a hornet's nest"; and "from Graham's Town to Kimberley and from Kimberley to Khama's Country, and from Khama's Country east by north to the Limpopo." The tale possesses most delightful humor. A verbal magic which fairly scintillates with the comic spirit, and clinging epithets of which Kipling is a master, suggest the exact picture needed. Humor is secured largely through the use of the unique word; as, "_spanked_," "_precisely_ as Kolokolo Bird had said," and "for he was a _Tidy_ Pachyderm." Often it is increased by the use of newly coined words; as, "hijjus," "curtiosity," "scalesome, flailsome, tail," "fever-trees," "self-propelling man-of-war," and "schloop of mud." Another element of humor in the tale is the artistic use of repetition, which has been previously referred to as one of the child's interests. Sometimes one meaning is expressed in several different ways; as, "immediately and directly, without stopping, for a long time." Or we are given contrasted terms; as, "a little warm but not at all astonished," and then later, "very warm and greatly astonished." One main element of humor is this way in which expressions reflect back on preceding ones. Sometimes we are given very surprising, startling, expressions; as, "wait-a-bit-thorn-bush "--which reminds us of the "all-alone-stone" in _Water Babies_--and "he sang to himself down his trunk." As to imagination, _The Elephant's Child_ is a delightful illustration of the appeal to the associative, the penetrative, and the contemplative imagination. While its philosophy may be understood in part by the child it has a deeper meaning for the adult. It seems to imply that it is the way of life to spank somebody else. It is the stronger who spank the weaker until they become strong enough to stand up for themselves. Then nobody spanks anybody any more and there is peace. When the Child asked a question that no one would answer he set out to find his own answer just as in life it often is best to work to answer one's own questions. When the Elephant trusted the Crocodile he got something to keep just as in life the innocent may bear the marks of a contest though in no sense responsible for the contest. Experience in the guise of the Python helped the Child in his contest for life with the advice his own common sense would have offered. As an allegory of Experience _The Elephant's Child_ does not view life as a whole; it gives but a glimpse of life. It would say: Experience teaches us to make the best with what we have. The way to get experience is to try a new power, just as the Child with his trunk tried to kill the fly and eat grass. As soon as he had received his new power he tested it on the Hippopotamous. He won the respect of his kind by beating them at their own game. The emotional appeal in _The Elephant's Child_ would repay study. The dominant emotional tone is that of the adventurous hero with his "'satiable curtiosity." There is vividness of emotion, steadiness of emotion, and a rich variety in the contrasts of feeling. Emotion of a moral quality is characteristic of its implied message of worldly wisdom but it does not leave one exactly satisfied. The form of the story is a splendid example of a literary classic style. A pleasing humorous touch is given to the unity of the tale by making the Elephant's Child pick up with his new trunk, on his way home, the melon-rinds he had scattered on his journey to the Limpopo. The coherence in the tale is unusually fine and is secured largely by expressions which look backward or forwards; as, "By and by when that was finished," or "One fine morning," or "That very next morning." Any study will show that the tale possesses the general qualities of form and has its parts controlled by the principles of composition. OUTLINE I. THE WORTH OF FAIRY TALES I. Two public tributes 1 II. The value of fairy tales in education 3 1. They bring joy into child-life 3 2. They satisfy the play-spirit of childhood 4 3. They give a power of accurate observation 6 4. They strengthen the power of emotion, develop the power of imagination, train the memory and exercise the reason 6 5. They extend and intensify the child's social relations 7 6. In school they unify the child's work or play 8 7. In the home they employ leisure time profitably 9 8. They afford a vital basis for language-training 10 III. References 12 II. PRINCIPLES OF SELECTION FOR FAIRY TALES I. The interests of children 13 1. Fairy tales must follow the law of composition and must contain the interests of children 13 a. A sense of life 14 b. The familiar 14 c. The surprise 15 d. Sense impression 17 e. The beautiful 18 f. Wonder, mystery, magic 19 g. Adventure 19 h. Success 20 i. Action 20 j. Humor 21 k. Poetic justice 22 l. The imaginative 23 m. Animals 24 n. A portrayal of human relations, especially with children 24 o. The diminutive 25 p. Rhythm and repetition 26 q. The simple and sincere 28 r. Unity of effect 29 2. Fairy tales must follow the law of the emotions and avoid elements opposed to the interests of the very young child 30 a. The tale of the witch 31 b. The tale of the dragon 31 c. Giant tales 31 d. Some tales of transformation 32 e. The tale of strange animal relations and strange creatures 33 f. Unhappy tales 34 g. The tale of capture 34 h. The very long tale 35 i. The complicated or the insincere tale 36 II. The fairy tale as literature 37 1. The fairy tale must be a true classic 38 2. The fairy tale must have mind and soul 39 3. The fairy tale must have the distinguishing marks of literature 40 a. A power to appeal to the emotions 41 1) Literary emotion is not personal 41 2) Literary emotion must have justness 41 3) Literary emotion must have vividness 41 4) Literary emotion must have steadiness 41 5) Literary emotion must have variety 41 6) Literary emotion must have moral quality 41 7) Application of the test of emotion to the Fairy tales 41 8) The value of fairy tales in the development of emotion 44 b. A power to appeal to the imagination 45 1) Appeal to the creative imagination 45 2) Appeal to the associative imagination 46 a) Appeal to fancy 46 3) Appeal to the penetrative imagination 47 4) Appeal to the contemplative imagination 47 a) Philosophy in the fairy tales 48 b) Proverbs in the fairy tales 50 c) Relation of the contemplative imagination to science 52 c. A basis of truth, or appeal to the intellect 53 1) The truth must be idealistic 53 a) It may be realistic 53 b) It may be romantic 53 2) Value of the appeal of literature to the intellect 53 d. A form more or less perfect 54 1) The elements of form: words, sentences, paragraphs, and wholes 58 a) Words, the medium of language must have two powers 54 (1) Denotation, to name what they mean 54 (2) Connotation, to suggest what they imply 54 b) Suggestive power of words illustrated 55 2) General qualities characteristic of perfect form 57 a) Precision or clearness 57 (1) Precision demands that words have denotation 57 (2) Precision appeals to the intellect 57 b) Energy or force 57 (1) Energy demands that words have connotation 58 (2) Energy appeals to the emotions and holds the attention 58 c) Delicacy or emotional harmony 58 (1) Delicacy demands that words have the power of adaptation 58 (2) Delicacy demands that form appeal to the æsthetic sense 58 (3) Delicacy is secured by selection and arrangement of words according to emotional associations 58 d) Personality 58 (1) Personality gives the charm of individuality 58 (2) Personality suggests the character of the writer 58 3) Principles controlling the elements of form, principles of composition 58 a) The principle of sincerity 58 (1) Sincerity demands a just expression 58 b) The principle of unity 59 (1) Unity demands a central idea 59 (2) Unity demands completeness 59 (3) Unity demands no irrelevant material 59 (4) Unity demands method, sequence and climax 59 c) The principle of mass 59 (1) Mass demands that the chief parts readily catch the eye 59 (2) Mass demands harmonious proportion of parts 59 d) The principle of coherence 59 (1) Coherence demands unmistakable relation of parts 59 (2) Coherence demands this unmistakable relation be preserved by the order, forms and connections 59 4) Form characterized by perfect adaptation of words to thought and feeling is called style 59 a) Style demands that form possess the four general qualities of form in perfection: precision, energy, delicacy, and personality 59 b) Style demands that form have its elements controlled by the four general principles: sincerity, unity, mass, and coherence 59 c) _Oeyvind and Marit_, a modern tale illustrating style 60 d) _Three Billy-Goats Gruff_, a folk-tale illustrating style 64 e) The folk-tale generally considered as to literary form 65 f) The tale by Grimm, Perrault, Dasent, Harris, Jacobs, Lang, and Andersen considered as to literary form 67 g) The tale of to-day considered as to literary form 69 III. The fairy tale as a short-story 70 1. Characters 71 a. Characters must be unique, original, and striking 72 b. Characters of the fairy tales 72 2. Plot 73 a. Plot must be entertaining, comical, novel, or thrilling 73 b. Plot must show a beginning, a middle, and an end 73 c. Plot must have a distinct climax 74 d. Introduction must be simple 74 e. Conclusion must show poetic justice 74 f. Plot must be good narration and description 74 1) Narration must have truth, interest, and consistency 74 2) Description must have aptness and concreteness 75 g. Structure illustrated by _Three Pigs_ and _Briar Rose_ 76 3. Setting 77 a. Setting must give the time and place, the background of the tale 77 b. Setting must arouse sensation and feeling 77 c. Effect of transformation of setting 77 1) Story sequence preserved by setting illustrated by _Robin's Christmas Song_ 78 d. Setting and phonics, illustrated. _The Spider and the Flea_ 79 e. Setting illustrated. _Chanticleer and Partlet_ 81 4. A blending of characters, plot, and setting illustrated by _The Elves and the Shoemaker_ 82 5. Tests to be applied to fairy tales 84 6. Tales examined and tested by the complete test of interests, classic, literature, short-story, narration, and description 84 a. _How the Sun, Moon, and West Wind Went to Dinner_ (Indian) 84 b. The Straw Ox (Cossack) 86 IV. References 87 III. THE TELLING OF FAIRY TALES Story-telling as an Art. Introductory 90 1. Story-telling as an ancient art 90 2. The place of the story in the home, library, and the school 93 3. Principles of story-telling 94 I. The teacher's preparation. Rules 94 1. Select the tale for some purpose 94 a. The teacher's problem of selecting the tale psychologically or logically 95 2. Know the tale historically as folk-lore, as literature, and as a short-story 96 a. The various motives contained in the fairy tales listed 97 3. Master the structure of the tale 99 4. Dwell upon the life of the story 99 5. Secure the message 100 6. Master the form 100 II. The presentation of the tale 102 1. Training of the voice 103 a. Study of phonetics 103 2. Exercises in breathing 104 3. A knowledge of gesture 105 a. Gesture precedes speech 106 b. Gesture begins in the face 106 c. Hands and arms lie close to the body in controlled emotion 106 4. A power of personality 106 5. Suggestions for telling 107 a. The establishment of the personal relation between the teacher and the listener 108 b. The placing of the story in a concrete situation for the child 110 c. The consideration of the child's aim in listening, by the teacher in her preparation 112 6. The telling of the tale 112 a. The re-creative method of story-telling. Illustrated by a criticism of the telling of _The Princess and the Pea_ 114 b. The re-creative method illustrated by _The Foolish, Timid Rabbit_ 116 7. Adaptation of the fairy tale. Illustrated by _Thumbelina_ and by _The Snow Man_ 118 III. The return from the child 119 Story-telling as one phase of the art of teaching. Introductory 119 1. Teaching as good art and as great art; and fairy tales as subject-matter suited to accomplish high purposes in teaching 120 2. The part the child has to play in story-telling 121 3. The child's return, the expression of his natural instincts or general interests 125 1. The instinct of conversation 125 a. Language expression, oral re-telling 125 b. The formation of original little stories 126 c. Reading of the tale a form of creative reaction 127 2. The instinct of inquiry 127 a. Appeal of the folk-tale to this instinct 128 b. The instinct of inquiry united to the instinct of conversation, of construction, and of artistic expression, illustrated 128 3. The instinct of construction 129 a. Clay-modelling 129 b. Construction of objects 129 4. The instinct of artistic expression 130 a. Cutting of free silhouette pictures. Illustrated 130 b. Drawing and crayon-sketching. Illustrated 132 c. Painting. Illustrated 132 d. Song. Illustrated 133 e. Dance, rhythm plays. Illustrated 134 f. Game. Illustrated 135 g. Representation of the fairy tale. Illustrated by _The Steadfast Tin Soldier_ 135 h. Free play and dramatization 138 1) Virtues of dramatization 138 a) It develops voice 138 b) It gives grace of movement 138 c) It develops control and poise 138 d) It strengthens attention and power of visualization 138 e) It combines intellectual, emotional, artistic, and physical action 138 f) It impresses many pieces of literature effectively 138 g) It is the true Direct Moral Method and may establish a habit 143 2) Dangers of dramatization 139 a) Dramatization often is in very poor form 139 b) Dramatization may develop boldness in a child 141 c) Dramatization may spoil some literature 142 d) Dramatization has lacked sequence in tales used from year to year 142 i. Illustrations of creative return 144 1) _The Country Mouse and the City Mouse_ as expression in language, dramatization, drawing, and crayon-sketching 144 2) _The Elves and the Shoemaker_ as expression in the dramatic game 145 3) _Little Two-Eyes_ as expression in dramatization. A fairy-play outline. (See _Appendix_) 145 4) _Snow White_ as expression in dramatization. (See _Appendix_) 145 5) _Sleeping Beauty_ as expression of partial narration, dramatic game, and dramatization combined 146 6) _The Little Lamb and the Little Fish_, an original tale developed from a Grimm fragmentary tale, illustrating expression in folk-game and dramatization. (See _Appendix_) 147 7) _The Bird and the Trees_, an original play illustrating expression in rhythm play and dramatization 149 8) _How the Birds came to Have Different Nests_, an original play illustrating language expression and dramatization. (See _Appendix_) 151 9) Andersen's _Fir Tree_ as expression in dramatization, illustrating organization of ideas through a play 152 IV. References 154 IV. THE HISTORY OF FAIRY TALES I. The origin of fairy tales 158 1. The fairy tale defined 159 2. The derivation and history of the name, _fairy_ 159 a. Four senses in which _fairy_ has been used 160 3. The theories concerning the origin of fairy tales 161 a. Fairy tales are detritus of myth 161 1) The evolution of the tale 161 b. Fairy tales are myths of Sun, Rain, Dawn, Thunder, etc., the Aryan Theory 162 c. Fairy tales all arose in India, the Philological theory 165 d. Fairy tales owe their origin to the identity of early fancy 167 e. Fairy tales owe their origin to a combination of all these theories 167 II. The transmission of fairy tales 167 1. The oral transmission of fairy tales 167 a. Examples of transmission of fairy tales: _Jack the Giant-Killer_, _Dick Whittington_, etc. 168 2. Literary transmission of fairy tales 170 a. An enumeration of the literary collections and books that have handed down the tales; as _Reynard the Fox_, the _Persian King-book, The Thousand and One Nights_, Straparola's _Nights_, Basile's _Pentamerone_, and Perrault's _Tales of Mother Goose_ 170 b. French publications of fairy tales 179 1) The tales of Perrault 179 2) Tales by followers of Perrault 181 3) A list of tales from the time of Perrault to the present time 183 c. English and Celtic publications of fairy tales 183 1) Tales of Scotland and Ireland 184 2) English tales and books 184 3) A list illustrating the history of the English fairy tale, including chap-books: _Jack the Giant-Killer_, _Tom Hickathrift_; old collections; etc. 184 4) A list illustrating the development of fairy-tale illustration in England 188 d. German publications of fairy tales 192 1) A list of tales from the time of the Grimms to the present 193 e. Fairy-tale publications of other nations 193 f. American publications of fairy tales 195 1) A list of tales from the earliest times to 1870 196 g. Recent collections of folk-lore 200 III. References 201 V. CLASSES OF FAIRY TALES I. Available types of tales 204 1. The accumulative or clock story 205 a. Tales of simple repetition 206 1) The House that Jack Built 206 2) The Key of the Kingdom 207 b. Tales of repetition with an addition 208 1) The Old Woman and Her Pig 208 2) Titty Mouse and Tatty Mouse 208 3) Johnny Cake 209 4) The Gingerbread Man 209 5) The Straw Ox 209 c. Tales of repetition and variation 209 1) The Three Bears 209 2) The Three Billy Goats 211 2. The animal tale 211 a. The evolution of the animal tale 211 b. The animal tale may be an old beast tale 211 1) Henny Penny 213 2) The Foolish Timid Rabbit 214 3) The Sheep and the Pig 215 4) Medio Pollito 215 5) The Three Pigs 216 c. The animal tale may be an elaborated fable, illustrated 211 d. The animal tale may be an imaginary creation, illustrated 211 e. The Good-Natured Bear, a modern type. (See _Appendix_) 217 3. The humorous tale 217 a. The humorous element for children 218 b. The Musicians of Bremen, a humorous type 219 c. Humorous tales mentioned previously 221 d. Drakesbill, a humorous type 221 4. The realistic tale 223 a. Lazy Jack, a realistic type of common life 224 b. The Old Woman and Her Pig, a realistic type 225 c. How Two Beetles Took Lodgings, a realistic tale of scientific interest 226 d. Titty Mouse and Tatty Mouse, a realistic theme transformed into a romantic tale 227 5. The romantic tale 228 a. Cinderella 228 b. Sleeping Beauty 231 c. Red Riding Hood 232 d. Puss-in-Boots. (See _Appendix_) 232 1) The Norse Lord Peter (See _Appendix_) 232 e. Tom Thumb, a romantic tale of fancy. (See _Appendix_) 232 1) The French Little Thumb. (See _Appendix_) 232 2) The English Tom Thumb. (See _Appendix_) 232 f. Snow White and Rose Red, a highly idealized romantic type tested by the standards included here. (See _Appendix_) 232 6. The old tale and the modern tale 234 a. The modern tale often lacks the great art qualities of the old tale, unity and harmony, sincerity and simplicity 235 b. The modern tale often fails to use the method of suggestion 235 c. The modern tale often does not stand the test of literature 235 d. The modern tale gives richly to the primary and elementary field 235 e. Criticism of a few modern tales 236 1) Little Beta and the Lame Giant, a good modern tale 236 2) The Cock, the Mouse, and the Little Red Hen, a good modern tale 238 3) Peter Rabbit, a classic; other animal tales 239 4) The Elephant's Child, a modern animal tale. (See _Appendix_) 239 5) A Quick-Running Squash, a good modern tale 240 6) A few St. Nicholas fairy stories 241 7) The Hop-About-Man, a romantic modern fairy tale 241 f. What the modern fairy tale is 243 VI. SOURCES OF MATERIAL FOR FAIRY TALES: A LIST OF FAIRY TALES, FOLK-TALES, PICTURES, PICTURE-BOOKS, POEMS, AND BOOKS. Basis on which lists are made. Introductory 245 I. A list of fairy tales and folk-tales suited to the kindergarten and first grade 246 1. Tales of Perrault 246 2. Tales of the Grimms 246 3. Norse tales 247 4. English tales, by Jacobs 247 5. Modern fairy tales, by Andersen 248 6. Uncle Remus tales, by Harris 248 7. Miscellaneous tales 249 II. Bibliography of fairy tales 253 III. A list of picture-books 254 IV. A list of pictures 255 V. A list of fairy poems 256 VI. Main standard fairy-tale books 256 VII. Fairy tales of all nations 258 VIII. Miscellaneous editions of fairy tales 259 IX. School editions of fairy tales 262 APPENDIX Illustrations of creative return 265 Tales suited for dramatization 265 Little Two-Eyes 265 Snow White 266 The Little Lamb and the Little Fish 267 How the Birds came to Have Different Nests 270 Types of tales 272 An animal tale 272 The Good-Natured Bear 272 A few romantic tales 275 Puss-in-Boots and Lord Peter 275 Tom Thumb and Little Thumb 278 Snow White and Rose Red 282 A modern tale 287 The Elephant's Child 287 NOTES: [1: McLoughlin edition.] [2: What if we could give the child that which is called education through his voluntary activities, and have him always as eager as he is at play! (_Froebel_.) What if we could let the child be free and happy, and yet bring to him those things which he ought to have so that he will choose them freely! What would be the possibilities for a future race if we would give the child mind a chance to come out and express itself, if we would remove adult repression, offer a stimulus, and closely watch the product, untouched by adult skill. (_Unknown_.) The means by which the higher selective interest is aroused, is the exercise of selected forms of activity. (_Susan Blow_.)] [3: _Little Two-Eyes_ and _Snow White_ are tales also suited to the first grade for dramatization. See _Appendix_.] [4: A similar tale is told by Miss Holbrook in _The Book of Nature Myths_. Also by Mary McDowell as "The Three Little Christmas Trees." A simple version of this tale, "The Three Little Christmas Trees that Grew on the Hill," is given in _The Story-Teller's Book_ by Alice O'Grady and Frances Throop.] [5: Joseph Jacobs, in his Introduction to the Cranford edition, and Ashton, in _Chap-Books of the Eighteenth Century_, furnish most of the facts mentioned here.] [6: This list has been compiled largely from "Children's Books and Their Illustrators," by Gleeson White, in _The International Studio_. Special Winter Number, 1897-98.] [7: The following list, compiled by Mr. H.H.B. Meyer, the chief bibliographer of the Library of Congress, has been furnished through the courtesy of the United States Bureau of Education. A few additional books were inserted by the author. The books at the head of the list give information on the subject.] [8: _The Woman and Her Kid_, a version of this tale adapted from an ancient Jewish Sacred Book, is given in _Boston Kindergarten Stories_, p. 171.] [9: See Appendix.] [10: William M. Thackeray, _Miscellanies_, v. Boston: James Osgood & Co., 1873. "Titmarsh among Pictures and Books"; "On Some Illustrated Christmas Books," 1846.] [11: A few romantic tales for the first grade are treated in the Appendix: _Puss-in-Boots_, _Lord Peter_, _Tom Thumb_, _Little Thumb_, and _Snow White and Rose Red_.] [12: See _Appendix_.] [13: Laura F. Kready, "Picture-Books for Little Children," _Kindergarten Review_, Sept., 1914.] [14: For _Little Two-Eyes_ and _Snow White, see_ note on p. 145; for _The Little Lamb and the Little Fish, see_ pp. 147-48; and for _How the Birds came to have Different Nests, see_ p. 151.] [15: _See_ note, p. 217.] [16: _See_ note, p. 232] [17: Reprinted in _Living Age_, Aug. 13, 1844, vol. 2, p. 1.] [18: _See_ p. 239] INDEX Accumulative or clock story, 205-11. Action, 20-21. Adaptation of fairy tales, 117-19. Adventure, 19-20. Adventures of Chanticleer and Partlet, 81-82. American fairy tales, 195-99. Andersen, Hans C.: tales by, tested as literary form, 69; Steadfast Tin Soldier, 46, 49, 135-38; Fir Tree, 151-53; list of tales by, 248; editions, 256-57. Animal tale: class, 211-17; evolution of, 211-13; types of, 213-17, 272-75, 287-90. Animals: an interest, 24; tale of strange, 33-34. Appendix, 265-90: Little Two-Eyes, 265-66; Snow White, 266-67; The Little Lamb and the Little Fish, 267-70; How the Birds came to Have Different Nests, 270-72; The Good-Natured Bear, 272-75; Puss-in-Boots and Lord Peter, 275-78; Tom Thumb and Little Thumb, 278-82; Snow White and Rose Red, 282-86; The Elephant's Child, 287-90. Arabian Nights, Thousand and One Nights, 176-78, 190, 196. Art: of teaching, 119-20; in teaching, good, 120; in teaching, great, 120-21; in literature, good, 39-40; in literature, fine, 39-40; of story-telling, 90-91, 93-94; ancient, of story-telling, 91-93. Artistic expression, instinct of, 130-54. Aulnoy, Comtesse d', tales of, 181-82. Basile, 178-79. Beaumont, Madam de, 182. Beautiful, the, 18-19. Beauty and the Beast, dramatization of, 140-41; editions of, 189, 198. Bibliography of fairy tales, 253-54. Bird and the Trees, 148-51. Books, main standard fairy tale, a list, 256-58. _See_ Sources of material. Breathing, exercises in, 104-05. Briar Rose, 77. _See also_ Sleeping Beauty. Capture, tales of, 34-35. Celtic fairy tales, 183-84. Chap-books, 185-87, 188, 196, 198. Characters, 71-73. Child: his part in story-telling, 121-25; interests, 13-37; instincts, 125-54; growth: in observation, 6, 47-48; in reason, 6-7, 53-54; in language, 10; in emotion, 44-45; in imagination, 45-53; in experience, 54; in intellect, 53-54; in self-activity, 121-22; in consciousness, 122-23; in initiative, 122; in purpose, 123-25; in creative return possible to him, 123-54; in self-expression, 124-54; in organization of ideas, 153. Child's Own Book, The, 190. Cinderella, a chap-book, 187,188, 198; a romantic type, 228-31. Classes of tales, 204-44: accumulative, 205-11; animal, 211-17; humorous, 217-23; realistic, 223-28; romantic, 228-34; old and modern, compared, 234-43; references, 243-44. Classic, fairy tale as a, 38-39. Cock, the Mouse, and the Little Red Hen, 238-39. Coherence, principle of, 58-59; illustrated, 62, 65. Complicated or insincere, the, 36. Composition: general qualities of, 57-58; precision, 57; energy, 57-58; delicacy, 58; personality, 58; principles of, 58-59; sincerity, 58-59; unity, 59; mass, 59; coherence, 59; style in, 59-60. Comte de Caylus, 182. Concrete situation, placing of story in, 94-95, 110-11. Connotation, 54-57. Consciousness, development of, 122-23. Construction, expression of instinct of, 129-30. Conversation, expression of instinct of, 125-27. Country Mouse and City Mouse, 144-45. Crayon-sketching, as expression, 132. Creative return, illustrated, 144-54. _See_ Return. Criticism: of life, teaching, a, 120-21; of Oeyvind and Marit, 60-64; of Three Billy-Goats Gruff, 64-65; of How the Sun, Moon, and West Wind went out to Dinner, 84-86; of Straw Ox, 86-87; of Steadfast Tin Soldier, 135-38; of Musicians of Bremen, 219-20; of Drakesbill, 221-23; of Puss-in-Boots and Norse Lord Peter, 275-78; of Tom Thumb and Little Thumb, 278-82; of Snow White and Rose Red, 282-86; and of Elephant's Child, 287-90. Danish tales, 194. Dasent, Sir George W., tales by, as literary form, 68-69; Norse tales by, 194, 247, 257. Delicacy, or emotional harmony, quality of, 57-58; illustrated, 60, 61, 64. Denotation, 54. Description, 75. Dick Whittington, illustrating oral transmission of tales, 169; a chap-book, 185, 188, 196, 198. Diminutive, the, 25-26. Dragon tales, 31. Drakesbill, 221-23. Dramatic game: Elves and the Shoemaker, 145; Sleeping Beauty, 146-47. Dramatization, as expression, 138-54; virtues of, 138, 143; dangers of, 139-43; of Sleeping Beauty, 146-47; of Bird and the Trees, 149-51; of Fir Tree, 152-53; of Little Two Eyes, 265-66; of Snow White, 266-67; of How the Birds came to have Different Nests, 270-72; and of Puss-in-Boots, 276. Drawing, as expression, 132. Dwarf's Tailor, 237. Editions, main fairy tale, 256-58; fairy tale, of all nations, 258-59; illustrated, 254-55; miscellaneous, of fairy tales, 259-62; school, of fairy tales, 262-64. Elements to be avoided, 30-36. Elephant's Child, illustrating: repetition, 27-28; suggestion, 56-57; form, 100-01; modern animal tale, 239, 287-90. Elves and the Shoemaker, illustrating: structure and short-story, 82-84; story, 82-84; creative return, 145. Emelyan the Fool, 170. Emotion, appeal to, distinguishing literary trait, 40-41; qualities of literary, 41; literary, in fairy tales, 41-44; growth of, 44-45; comparison of, in fairy tales and Shakespeare's dramas, 7, 43-44. Energy or force, quality of, 57-58; illustrated, 61, 64. English fairy tales, 184-92; collections of, 184-88; illustrating development of illustration, 188-92; by Jacobs, list, 247-48; editions, 257. Expression in: language, 125-27; reading, 127; inquiry, 127-29; construction, 129-30; art, 130-54; paper-cutting, 130-31; drawing, 132; painting, 132; rhythm play, 133-34; song, 132-33; game, 134-35; representation, 135-38; dramatization, 138-54, 265-72. Fairy, derivation of, 159-60; history of the name, 160. Fairy tales: worth of, 1-12; principles of selection for, 13-89; telling of, 90-157; history of, 158-203; classes of, 204-44; sources of material for, 245-64; tributes to, 1-3; interests in, 13-37; as literature, 37-70; as classics, 38-39; possessing mind and soul, 39-40; distinguished by marks of literature, 40; as emotion, 41-45; as imagination, 45-53; philosophy in, 48-52; proverbs in, 50; as truth, 53-54; as form, 54-70; powers of words in, 54-57; general qualities of form in, 57-58; general principles controlling form in, 58-59; style in, defined, 59-60; tested as literary form, 60-70; as a form of short-story, 70-87; characters, 71-73; plot, 73-77; narration, 74-75; description, 75; structure, 76-77; setting, 77-82; three elements blended, 82-84; tested by complete standards, 84-87; teacher's preparation for telling, 94-102; presentation of, by teacher, 102-19; return of child from, 119-54; rules for preparation of, 94-102; selection of, 95-96; motifs in, 96-98; re-telling of, 101-02; training of voice in telling, 103-04; breathing in telling, 104-05; gesture in telling, 105-06; power of personality, in telling, 106-07; suggestions for telling, 107-12; establishment of personal relation in telling, 107-10; placing of, in a concrete situation, 110-11; conception of child's aim in listening to, 112; re-creative method of telling, 112-17; adaptation of, 117-19; art of teaching, in telling, 119-25; as expression of conversation, 125-27; as expression of inquiry, 127-29; as expression of construction, 129-30; as expression of art, 130-54; origin of, 158-67; transmission of, 167-200; French, 179-83; Celtic, 183-84; English, 184-92; German, 192-93; tales of other nations, 193-95; American, 195-99; collections of folklore, 200; accumulative, 205-11; animal, 211-17; humorous, 217-23; realistic, 223-28; romantic, 228-34, 275-86; old and modern, 234-43; of Perrault, 246; of the Grimms, 246-47; Norse, 247; English, by Jacobs, 247-48; modern, by Andersen, 248; Uncle Remus, by Harris, 248-49; miscellaneous, 249-53; bibliography of, 253-54; in picture-books, 254-55; in pictures, 255; in poems, 255-56; in standard books, 256-58; of all nations, 258-59; in miscellaneous editions, 259-62; in school editions, 262-64; in Appendix, 265-90. Familiar, the, 14-15. Fancy, 46, 47. Fir Tree, 151-53. First-grade fairy tales, 231-34, 265-86. Folk-game, illustrated by Little Lamb and the Little Fish, 147-48, 267-70. Folk-tales, generally, as literary form, 65-67; tested as literary form, 60-70; characters of, compared with those of Shakespeare, 7, 43-44; recent collections of, 200. Foolish, Timid Rabbit, illustrating method in story-telling, 116-17; an animal type, 214. Form, a distinguishing literary trait, 40, 54; perfect, 57-60; general qualities of, 57-58; precision, a quality, 57; energy, a quality, 57-58; delicacy, a quality, 58; personality, a quality, 58; principles controlling, 58-60: sincerity, 58-59; unity, 59; mass, 59; coherence, 59; style in, 59-60; illustrated: by Oeyvind and Marit, 60-64; by Three Billy-Goats Gruff, 64-65; folk-tales as literary, 65-70; mastery of tale as, 100-02. French fairy tales, 179-83. Game, as expression, 134-35. Gardens of the Tuileries, 1. German fairy tales, 192-93. Gesta Romanorum, 174-75. Gesture, knowledge of, 105-06; library pamphlet relating to, 106. Giant tales, 31-32. Golden Egg and the Cock of Gold, 237-38. Good-Natured Bear, a modern animal type, 217, 272-75; a book, 190. Grimm, William and Jacob, 67-68; list of tales by, 246-47; editions by, 257; tales by, as literary form, 67. Harris, J.C., list of Uncle Remus tales by, 248-49; tales by, as literary form, 69; editions by, 257. Henny Penny, 214. History of fairy tales, 158-203; origin of fairy tales, 158-67; transmission of fairytales, 167-200; oral transmission, 167-70; literary transmission, 170-200; references, 201-03. Hop-About-Man, 241-43. House that Jack Built, 206-07. How the Birds came to Have Different Nests, 151; 270-72. How the Sun, Moon, and West Wind went out to Dinner, 84-86. How Two Beetles Took Lodgings, 226. Humor in fairy tales: an interest, 21-22; 217-19. Humorous tales, 217-23; types of, 219-23. Imagination, a distinguishing literary mark of fairy tales, 40, 45-53; creative, 45; associative, 46; penetrative, 47; contemplative, 47-53; fancy, 46, 47; exhibited in child's return, 122, 125-54. Imaginative, the, 23. Initiative, development of, 122, 123-25. Instincts of child, expression of: conversation, 125-27; inquiry, 127-29; construction, 129-30; artistic expression, 130-54. Intellect, appeal of fairy tales to, 53-54. Interests of children, 13-37; sense of life, 14; the familiar, 14-15; surprise, 15-17; sense impression, 17-18; the beautiful, 18-19; wonder, mystery, magic, 19; adventure, 19-20; success, 20; action, 20-21; humor, 21-22; poetic justice, 22-23; the imaginative, 23; animals, 24; portrayal of human relations, 24-25; the diminutive, 25-26; rhythm and repetition, 26-28; the simple and the sincere, 28-29; unity of effect, 29-30; opposed to, 30-36; witch tales, 31; dragon tales, 31; giant tales, 31-32; some tales of transformation, 32-33; tales of strange creatures, 33-34; unhappy tales, 34; tales of capture, 34-35; very long tales, 35-36; complicated or insincere tales, 36. Introduction, i-iii. Inquiry, instinct of, 127-29. Jack the Giant-Killer, 185, 186, 188, 190. Jacobs, Joseph, list of tales by, 247-48; tales by, as literary form, 69; editions by, 257. Jatakas, 170. Key of the Kingdom, 207-08. Kindergarten: play in, 5-6; work in, unified by the fairy tale, 8-9; language-training in, 10-11; interests of child in, 13-37; standards for literature in, 37-87; standards for composition in, 54-60; story-telling in, 94-119; return to be expected from child in, 119-54; standards of teaching for teacher in, 119-25; instincts of child in, 125-54; history of fairy tales to be used in, 158-203; classes of tales used in, 204-44; sources of material for fairy tales to be used in, 245-64. King-book, Persian, The, 175-76. Lang, Andrew, tales by, as literary form, 69. Lambikin, 21. Language, expression in, 125-27. Lazy Jack, 224-25. Life, a sense of, 14; criticism of, 120-21; fairy tale a counterpart to, 8-9. Lists: of tales, 246-53; _See_ Sources of material. Literature, mind and soul in, 39-40; qualities of, 40; fairy tale as, 37-87. Little Lamb and the Little Fish, 147-48, 267-70. Little Two-Eyes, 145, 265-66. Little Thumb, editions, 189; tale, 232, 281-82. Literary collections of tales, 170-200. Logical method of selecting tales, 95-96. Long tales, opposed to child's interests, 35-36. Lord Peter, 232, 277. Magpie's Nest, 151, 270-72. Märchen Brunnen or Fairy-tale Fountain, 2-3. Mass, principle of, 58-59; illustrated in: Oeyvind and Marit, 61-62; Three Billy-Goats Gruff, 65. Medio Pollito, 215-16. Memory, development of, 226. Message, of the tale, 100; of this book. _See_ Summaries. Method of story-telling, the recreative, 113-17; criticism of, 114-16; illustration of, 116-17; direct moral, 143. Mind, in literature, 40. Miscellaneous, tales, a list, 249-53; editions, 259-62. Modern tale, compared with old tale, 234-43; types of, 235-43; what it is, 243; tales, by Andersen, 28-29, 234, 248, 256-57. Motifs in folk-tales, classified, 97-98. Mother Goose, tales of, 179-81; her Melodies, 187, 195, 197, 198. Musicians of Bremen, 130-31, 219-20. Narration, in fairy tales, 74-75; illustrated by Sleeping Beauty, 146-47. Norse tales, 194; a list of, 247; editions, 257. Objectification in fairy tales, 135-38. Oeyvind and Marit, 60-64. Old Woman and Her Pig, accumulative type, 207, 208; realistic type, 225-26; an exercise of memory, 226. Organization of ideas, accomplished through Fir Tree, 152-53; social, of tale, 153-54. Origin of fairy tales, 158-67. Outline, 291-303. Paper-cutting, 130-31. Painting, as expression, 132. Panchatantra, the Five Books, 171. Pause, in story-telling, 104-05. Pentamerone, The, 178-79. Perrault, Charles, statue of, 1; list of tales by, 180; tales by, tested as literary form, 68; editions by, 257-58. Personality, quality of, 57-58; in Oeyvind and Marit, 60; in Three Billy-Goats Gruff, 64; power of, 106-07. Personal relation, establishment of, 107-10. Peter Rabbit, 239. Philosophy, in fairy tales, 48-52; of Uncle Remus Tales, 51-52; of Laboulaye's Tales, 51; of Cat and Mouse in Partnership, 48; of Emperor's New Suit, 48-49; of Ugly Duckling, 49-50; of Elephant's Child, 49; child's, 50-51. Phonics in fairy tales, 79-81. Pictures, list, 255. Picture-Books, list, 254-55. Plot, element of fairy tale as short-story, 73-77; structure illustrated, 76-77. Poems, fairy, list, 255-56. Poetic justice, 22-23. Poetry, of teaching, 120. Portrayal of human relations, especially with children, 24-25. Position, of story-teller, 107. Precision, quality of, 57; illustrated in: Oeyvind and Marit, 60; Three Billy-Goats Gruff, 64. Preparation, teacher's, in story-telling, 94-102; rules for telling, 94-102. Presentation, teacher's, of tale, 102-19; training of voice, 103-04; exercises in breathing, 104-05; gesture, 105-06; power of personality, 106-07; suggestions for telling, 107-12; establishment of personal relation, 108-10; placing of story in concrete situation, 94-95, 110-11; conception of child's aim, 112; telling of tale, 112-19; re-creative method of story-telling, 113-17; adaptation of fairy tales, 117-19. Princess and Pea, 114-16. Principles, of selection for fairy tales, 13-89; interests of children, 13-37; fairy tale as literature, 37-70; fairy tale as short-story, 70-87; references, 87-89. Principles, of composition, 58-60; of story-telling, 94; of teaching, 119-25; concerning instincts of children, 124-25. Problem, a means of developing consciousness, 122-25. Proverbs in fairy tales, 50. Purpose, growth in child's, 123-25. Puss-in-Boots, 232, 275-78. Psychological method of selecting tales, 95-96. Quick-Running Squash, 240. Realistic, tale, 223-28; types of, 224-28. Reading, as expression, 127; relation of, to literature, 10-11, 127. Reason, growth in, 6-7, 10; development of, 53-54. Re-creative method of story-telling, 113-17. Red Riding Hood, chap-book, 189; a romantic type, 232-34. References; chapter I, 12; chapter II, 87-89; chapter III, 154-57; chapter IV, 201-03; chapter V, 243-44. Relation, of contemplative imagination to language-training, 47-48; of contemplative imagination to power of observation, 47-48; of contemplative imagination to science, 52-53; of literature to intellect, 53-54; of sound to sense or meaning, 55; of sound to action, 55-56; of phonics and emotional effect, 55; of gesture to story-telling, 105-06; personal, between the story-teller and listener, 107-10; of reading to story-telling, 127; of reading to literature, 10, 11, 38, 127; of rhyme to meaning, 56; of fairy tales to nature study, 6, 47-48; of fairy tales to industrial education, 71-73; of fairy tales to child, 3-11; of dramatization to story-telling, 138-54; of fairy tales to literature, 37-70; of fairy tales to composition, 54-70; of fairy tales to story-telling, 90-91. Repetition, 26-28, 205-11. Representation, 135-38. Re-telling of fairy tales, 101-02. Return, creative, from child, in telling of fairy tales, 119-54: in language, 125-27; in inquiry, 127-29; in construction, 129-30; in artistic expression, 130-54; in paper-cutting, 130-31; in drawing, 132; in painting, 132; in song, 132-33; in rhythm, 133-34; in game, 134-35; in dance, 137, 145, 147; in dramatization, 138-54; illustrated, 145-54, 265-72. Reynard the Fox, place in the animal tale, 212; history, 172-74; chap-book, 185, 186, 190, 196. Rhyme, 56. Rhythm, in fairy tales, 26-28; plays, 133-34. Robin's Christmas song, 78-79. Romantic tale, 228-34; types of, 228-34, 275-86. St. Nicholas, Stories retold from, 241. Sanskrit Tales, 171. School editions of fairy tales, 262-64. Science, relation of contemplative imagination to, 52-53. Sea Fairy and the Land Fairy, 236-37. Selection of fairy tales by teacher, psychological or logical, 95-96. Sense impression, 17-18. Setting, element of fairy tale as short-story, 77-82; sequence in, 78-79; story told by, 81-82; and phonics, 79-81. Sheep and Pig, 215. Short-story, fairy tale as, 70-87: elements of, 70-71; ways of writing, 71; characters, 71-73; plot, 73-77; narration in, 74-75; description in, 75; setting, 77-82; elements of, blended, 82-84; tales tested as, 84-87; telling of, 90-154. Silhouette pictures, cutting of, 130-31. Simple and sincere, 28-29. Sincerity, principle of, 58-59; illustrated in: Oeyvind and Marit, 60, 61; Three Billy-Goats Gruff, 64-65. Sindibad, The Book of, 172. Sleeping Beauty, romantic type, 231-32; uniting partial narration, dramatization, and dramatic game, 146-47. Snow White, 145, 266-67. Snow White and Rose Red, 232, 282-86. Song, as expression, 132-33. Soul, in literature, 39-40. Sources of material for fairy tales, 245-64: list of fairy tales and folk-tales, 246-53; bibliography of fairy tales, 253-54; list of picture-books, 254-55; list of pictures, 255; list of fairy poems, 255-56; main standard fairy-tale books, 256-58; fairy tales of all nations, 258-59; miscellaneous editions of fairy tales, 259-62; school editions of fairy tales, 262-64. Sparrow and the Crow, as expression, 125-26. Spider and the Flea, 79-81. Standards, for testing fairy tales, 84; for selecting tales, 204-05; for making lists, 245-46. _See_ Summaries. Standard fairy-tale books, a list, 256-58. Story, place of, in home, library, and school, 93-94; formation of original stories, 126-27. Story-telling, an ancient art, 91-93; principles governing, 94; teacher's preparation for, 94-102; rules for, 94-102; presentation in, 102-119; voice in, 103-04; breathing in, 104-05; gesture in, 105-06; re-creative method of, 113-17; return from child, in, 119-54; child's part in, 121-25. Straparola, 178. Straparola's Nights, 178. Straw Ox, 86-87. Structure, illustrated, 76-77; study of, in story-telling, 99-100. Study of tale as folk-lore and as literature, 96-99. Style, defined, 59-60; illustrated, 60-65; qualities of, 59-60; principles controlling, 59-60. Success, 20. Suggestion, illustrated by Pope, 55; by Andersen, 136; by Kipling, 56-57; through gesture and sound, 55; through arrangement of words and speech-tunes of voice, 56-57. Summaries: giving message of book, 13, 37-38, 40, 70-71, 84, 158, 204-05, 235. Surprise, 15-17. Swedish tales, 193. Tales: of Mother Goose, 179-81; of Perrault, 246; of the Grimms, 246-47; Norse, 247; English, by Jacobs, 247-48; modern fairy, by Andersen, 248; Uncle Remus, 248-49; miscellaneous, 249-53; fairy, of all nations, 258-59; literary collections of, 170-200. _See_ Fairy tales. Teaching, story-telling, a part of the art of, 119-25; poetry of, 120; good art in, 120; great art in, 120-21; a criticism of life, 120-21. Telling, of fairy tales, 90-154; art of story-telling, 90-94; principles controlling, 94; preparation by teacher for, 94-102; presentation by teacher, in, 102-19; suggestions for, 107-12; return by child, from, 119-54; re-creative method of, 113-17; adaptation of tales for, 117-19; references, 154-57. Theories of origin of fairy tales: detritus of myth, 161-63; sun-myth theory, 163-64; common Indian heritage, 165-67; identity of early fancy, 167. Three Bears, illustrating surprise, 16-17; a chap-book, 190; accumulative, 209-11. Three Billy-Goats Gruff, 64-65. Three Pigs, illustrating structure, 76; animal type, 216. Thumbelina, illustrating adaptation, 118; illustrating rhythm play, 134. Tin Soldier, Steadfast, as emotion, 42; tale of imagination, 46; as representation, 135-38; as a game, 135, 138. Titty Mouse and Tatty Mouse, 81, 208-09, 227-28. Tom Hickathrift, 185, 186, 187, 196. Tom Thumb, chap-book tale, 185, 188, 190, 196; romantic type, 278-81. Tone-color, in story-telling, 105. Training of voice, 103-04. Transformation, tales of, 32-33; kinds of, 276. Transmission, of tales: oral, 167-170; literary, 170; illustrated by: Dog Gellert, 166; Dick Whittington, 169; Peruonto, 169-70. Tributes, two public, 1-3. Truth, basis of, in fairy tales, a distinguishing literary mark, 40, 53-54. Tuileries, gardens of. _See_ Gardens. Uncle Remus Tales, by Harris, 248-49; editions, 257. Unhappy tales, 34. Unity, of effect, 29-30; principle of composition, 58-59; illustrated in: Oeyvind and Marit, 61; Three Billy-Goats Gruff, 65. Value, of fairy tales in education, 3-12, 119-25; to give joy, 3-4; to satisfy the play-spirit, 4-6; to develop observation, 6; to give habits of mind, 6-7; to strengthen emotion, 6-7, 44-45; to extend social relations, 7-8 in home, library, and school, 8-9; to give language-training, 10-11; to develop imagination, 45-53; to develop reason, 53-54; to develop power of creative return, 119-54; to develop self-activity, 121-22; to develop consciousness, through problems, 122-23; to develop initiative, 122; to develop purpose, 123-25; to develop self-expression, 124-54; to strengthen originality, 127-29; to develop organization of ideas, 153; and to exercise memory, 226. Version, of tale, 101-02. Villeneuve, Madam, 182. Voice, training of, 103-04. Witch tales, 31. Wolf and the Seven Kids, expression in painting, 132; in song, 132-33. Words, powers of, 54-55; denotation, 54; connotation, 54-55; suggestion, 54-57. Wonder, mystery, magic, an interest, 19. Worth of fairy tales, 1-12: two public tributes, 1-3; value of fairy tales in education, 3-12; references, 12.