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.