Educating by story-telling

INDEX

• Abraham, story of, suitable for children in heroic period, 124.
• Adventure stories,
• period for telling, to children, 32;
• opportunity offered by, 32-33;
• class of pernicious, 33;
• examples of good, 34-40;
• sources of material for, 41;
• found in Old Testament, 124-128.
• Æsop’s fables, suitability of, for acting in pantomime, 114.
• Alp horn, Swiss legend of the, 274.
• Alsatian folk tale, “The Story of the Man in the Moon,” 203.
• American Folklore Society, work of, 172.
• Andersen, H. C.,
• high character of tales by, 28;
• beginnings of tales by, 54.
• Animals, fascination of stories introducing cries and calls of, 14.
• “Apollo and Daphne,” story of, of little meaning to young children, 37.
• Arabian folk tales retold, 195, 269.
• Art,
• story-telling to awaken an appreciation of, 95-106;
• music and, to be drawn upon by the Bible story-teller, 129-130;
• story to use in connection with teaching, 283.
• Arthur, King, stories of,
• as sources of material for heroic period, 35-36;
• enjoyed in romantic period 43;
• care necessary in use of tales from, 43-44;
• material for dramatic work in, 114.
• Aryan theory, Max Müller’s, 3.
• Bailey, Carolyn Sherwin, Stories for Sunday Telling by, 137.
• Bancroft, George, legend “Why Grizzly Bear Goes on All Fours” adapted from, 299.
• Basile, Giambattista, early collector of fairy tales, 26.
• “Bat and His Partners, The,” story of, 208.
• Bavarian folk tales, 208, 228.
• Bayard, story of, admirable for heroic period, 38.
• Beginnings of stories, 54-55.
• “Belle au Bois Dormant,” Perrault’s, 26.
• Ben Hur, to be read by tellers of Bible stories, 123.
• Bible stories,
• history tales suitable for heroic period found among, 40;
• in The Courtship of Miles Standish, 79-80;
• discussion of use of, in story-telling, 118-130.
• Biographical stories,
• suitable for heroic period, 38-39;
• types of, suited to romantic period, 45-47;
• as a means of interesting children in authors’ works, 71-73;
• use of, in field of art, 98-101;
• material in, for teaching of ethics, 140;
• use of, in history teaching, 145-146;
• story of “The Duty That Wasn’t Paid,” 278;
• story of “Wilhelmina’s Wooden Shoes,” 283.
• “Blue Beard,”
• first appearance of, 26;
• not suitable for children, 29.
• Bonheur, Rosa, pictures by, suitable for little children, 99.
• “Boy of Old Vienna, A,” story of, 89-93.
• Bradley, Will, “The Wonder Box” by, 28.
• Breton, Jules, introducing children to paintings by, 103-104.
• “Brier Rose,”
• story of, 25;
• retelling of, 209-212.
• Building the story, 52-57.
• Cabot, Ella Lyman, Ethics for Children by, 136.
• Chapin, Anna Alice, The Story of Parsifal by, 44.
• Charlemagne,
• stories of time of, suitable for heroic period, 37-38;
• stories of, suitable for romantic period, 45.
• Children,
• story interests of, in rhythmic period, 12 ff.;
• stages of mental growth of, determining story interests, 13;
• story interests in imaginative period, 20-30;
• story interests in heroic period, 32-41;
• story interests in romantic period, 42-50.
• Children’s Crusade, story of, 46.
• Chinese folk tale, “How They Came to Have Kite Day in China,” 330.
• Christmas stories, 203.
• Chubb, Festivals and Plays by, 114.
• Cid, story of the, suitable for heroic period, 38.
• “Cinderella,”
• common to many lands, 25;
• published by Perrault, 27.
• Classics,
• mistake of studying by dissecting process, 75-76;
• study of, by story method, 77-81.
• Claude Lorrain, works of, for children of intermediate period, 102.
• Climax,
• working up to a, 55-57;
• rapid closing of story after reaching, 57.
• “Coat of All Colors, The,” story of, retold from Grimm, 212.
• Coffee, story of discovery of, 195-197.
• “Coming of the Wonder Tree, The,” story of, 269.
• Composers, introducing children to, by story-telling, 86-89.
• Contentment, stories teaching, 204, 251.
• Contes du Temps Passé avec Moralités, publication of, 27.
• Coral polyp, story of the, 185-186, 188-190.
• Correggio, acquainting little children with, 101.
• Courtship of Miles Standish, study of, by story method, 79-80.
• Craig, The Dramatic Festival by, 114.
• Cruelty, an undesirable element in stories, 29.
• “Cupid and Psyche,” of little meaning to young children, 37.
• Darmancour, P., collection of fairy tales published by, 26-27.
• Date palm, story of origin of the, 269.
• “David and Jonathan,” Miss Phelps’s, appeal of, for children, 16.
• “Dervish of Mocha, The,” Arabian folk tale retold, 195-197.
• Dialogue,
• use of, in story-telling, 53;
• change of voice in, to add to clearness of pictures, 64.
• Dickens, Charles, experience of, in recommending fairy tales for children, 29.
• “Discontented Pig, The,” story of, 204-207.
• Dissection method of studying classics in schools, 75-76.
• “Dog of Flanders,” Ouida’s, 16.
• Dole, Nathan Haskell, quoted, 49.
• Domestic science, use of story-telling in, 192-197.
• Dramatization,
• story-telling and, 107-116;
• pictures, books, and stories for use in, 116.
• Drunkenness in parents, undesirable element in stories, 29-30.
• Dutch legend, “The Lady of Stavoren,” 289.
• “Duty That Wasn’t Paid, The,” story of, 278.
• “Easter Eggs, The,” story of, 229.
• Ebers, Georg,
• quoted on fairy tales, 22-24;
• novels by, suitable for romantic period, 49-50.
• Ekkehard, recommended for high school pupils, 49.
• “Emperor’s Vision, The,” legend of, 306.
• Entertainment, not the chief aim of story-telling, 9.
• Epic subjects,
• sources of story material in, 35-38;
• suitable for romantic period, 44-45;
• paintings that portray, 104-105.
• Esenwein, Berg, rules as to story-telling by, 54.
• Ethics,
• story-telling and the teaching of, 132-140;
• stories to use for teaching, 203, 204, 218, 222, 229, 251, 274, 278, 289, 299, 302, 306, 311, 317.
• Europe,
• general knowledge and love of music in, 83-84;
• knowledge of art possessed by average person in, as contrasted with average American, 95-97.
• Evangeline, study of, by story method, 78-79.
• Facial gymnastics in story-telling, use of, 63.
• “Fairy, The,” publication of, 26.
• Fairy stories,
• origin of, 20-21;
• care in use of, with children, 21-22;
• question of encouraging falsehood by, 22-24;
• theories as to beginnings of, 25-26;
• one of the oldest forms of literature, 26;
• early collections, 26-27;
• care necessary in selecting, for children, 28-29;
• elements in, to be especially guarded against, 29-30;
• bibliography of, 31.
• “Fall of London Bridge, The,” story of, 326.
• Fallersleben, H. von, story of “The Forget-me-not” adapted from, 226.
• Falsehood, not encouraged by fairy tales, 22-24.
• “Forget-me-not, The,” story of, 226.
• Gainsborough, pictures by, suitable for little children, 99.
• Geneva, Lake,
• luck boat of, 5;
• story of, retold, 295.
• Geography,
• story-telling to intensify interest in, 168-177;
• stories to use in teaching, 222, 269, 274, 289, 295, 296, 299, 302, 317.
• Gest, Lady Charlotte, translator of the Mabinogion, 36.
• Gesture in story-telling, question of use of, 63.
• “Gift of the Gnomes, The,” story of, 274.
• Glinski, story of “Prince Unexpected” adapted from, 239.
• “God of the Thundering Water, The,” Iroquois legend, 174-176.
• “Goody-goody” stories, harm done by, 133-134.
• “Great Stone Face,” climax of, 56.
• “Greedy Cobbler, The,” story of, 251.
• Greek myths, as source material for stories for heroic period, 36-37.
• Grimm Brothers,
• appearance of, as collectors and preservers of Thuringian folklore, 27;
• beginnings of stories by, 54;
• stories retold from, 209, 212, 218.
• Guerber, Helène A., Legends of the Middle Ages by, 44.
• Halévy, Ludovic, fascination of stories by, 50.
• “Half-Chick,” source of, 25.
• Hall, G. Stanley, plea of, in behalf of Bible stories, 118-119.
• “Hansel and Gretel,” modification of, for children, 30.
• Heroic period,
• story interests in, 32-41;
• works of art suitable for, 104-105;
• Bible stories for, 123;
• Old Testament stories suitable for, 124.
• Hiawatha,
• as material for stories for heroic period, 38;
• material for dramatic work in, 114.
• History,
• stories from, suitable for children in heroic period, 38-40;
• plays and pageants to be used in connection with, 115;
• material found in stories from, for teaching of ethics, 140;
• story-telling to intensify interest in, 143-167;
• stories to use in teaching, 263, 326.
• Honesty, story to teach, 203.
• Hood, Margaret Graham, “The Search for the Seven Cities” by, 149-167.
• “Hop o’ My Thumb,” first appearance of, 27.
• “How They Came to Have Kite Day in China,” Chinese folk tale, 330.
• Iliad,
• stories from, suitable for children in heroic period, 35;
• material for romantic period in, 44.
• Imaginative period, story interests in, 20-30.
• Indian legends, stories based on, 174, 299.
• Jacques, introducing children to paintings by, 103-104.
• Japanese legend, “Why the Japanese Love the Stork,” 296.
• Jerusalem Delivered, material for romantic period in, 44.
• John of Hildesheim, works of, a help to the Bible story-teller, 123.
• Jordan, David Starr,
• science stories by, 182-183;
• “The Story of a Salmon” by, 255;
• “The Story of a Stone” by, 331.
• Joshua, book of, as an adventure story, 125.
• Judges, book of, viewed as a collection of narratives, 126.
• “Jussieu and the Heliotrope,” story of, 325.
• Key, Ellen, use of love stories in romantic period advocated by, 48.
• Kindness, story teaching, 218.
• Labor, artists and paintings that lead to respect for, 104.
• “Lady of Stavoren, The,” story of, 289.
• Lagerlöf, Selma,
• works of, a help to the Bible story-teller, 123;
• legend of “The Emperor’s Vision” adapted from, 306.
• Landseer, Sir Edwin, pictures by, suitable for little children, 98-99.
• Lang, Andrew, totemistic theory of, 3, 25.
• Langobardian myths, interesting in romantic period, 45.
• Lanier, Sidney,
• The Boy’s Mabinogion by, 36;
• The Boy’s King Arthur by, 44.
• “Last Lesson,” Daudet’s, climax of, 56.
• Libraries, story-telling in, 9.
• Literature, story-telling to lead to appreciation of, 69-82.
• “Little Stepmother, The,” story of, 227.
• “London Bridge, The Fall of,” story of, 326.
• Longfellow, H. W., study of poems of, by story method, 78-80.
• Love stories, use of, with children in romantic period, 48-49.
• “Luck Boat of Lake Geneva, The,”
• Swiss legend, 5;
• retold, 295.
• “Luck Boy of Toy Valley, The,” story of, 302.
• Lying, fairy tales and, 22-24.
• Mabinogion,
• stories from, suitable for heroic period, 35, 36;
• material for dramatic work in, 114.
• MacManus, Seumas, quoted, 7.
• Madonna pictures, use of, with little children, 100-101.
• “Man in the Moon, The Story of the,” 203-204.
• Manual training,
• use of story-telling in, 192-197;
• story of “The Luck Boy of Toy Valley” for use in, 302.
• Marlitt, Eugénie, works of, suitable for romantic period, 49.
• Memorizing of stories, a mistake, 63.
• Millet, introducing children to paintings by, 103-104.
• “Monarch, the Big Bear of Tallac,” Thompson Seton’s, 16-17.
• Moni the Goat Boy, suitable for the romantic period, 49.
• Moralizing, avoidance of, 67-68.
• Moral training, story-telling and, 132-140. See Ethics.
• Mother Goose, reason for love of children for, 13.
• Mozart, story of “The Duty That Wasn’t Paid” dealing with life of, 278.
• Mühlbach, Louisa, novels of, for romantic period, 49.
• Müller, Max, Aryan theory of, 3.
• Murillo, an ideal painter to introduce to little children, 100.
• Music,
• story-telling to awaken an appreciation of, 83-93;
• use of, by Bible story-tellers, 129;
• story to use in connection with, 278.
• Mythological subjects, paintings that portray, 104-105.
• Narrative style better than dialogue in story-telling, 53.
• National epics,
• as sources of story material in heroic period, 35-38;
• portions of, suitable for romantic period, 44-45;
• first issue of, in poetic form, to be made clear to children, 45;
• paintings portraying subjects of, 104-105.
• Nature study,
• story-telling to intensify interest in, 178-190;
• stories helpful in, 208, 226, 227, 255, 269, 325.
• Nibelungenlied,
• stories from, suitable for children in heroic period, 35;
• material for romantic period in, 44.
• Nightingale, Florence, story of, suitable for romantic period, 46-47.
• Odyssey,
• stories from, suitable for children in heroic period, 35;
• material for romantic period in, 44.
• Ogier the Dane, story of, suitable for heroic period, 37.
• Ohnet, Georges, novels of, for romantic period, 50.
• Olcott, Frances Jenkins, Bible Stories to Read and Tell by, 122.
• Old Testament, stories in, for children, 120-129.
• Ouida,
• “A Dog of Flanders” by, 16;
• “The Child of Urbino” by, 102.
• Pageants, use of, 115.
• Pantomime, acting stories in, 114.
• “Parsifal,” tale of, suitable for children in romantic period, 44.
• Partridge, G. E., quoted, 63.
• Pentamerone, Il, early collection of fairy tales, 26.
• Perrault, Charles,
• “La Belle au Bois Dormant” by, 26;
• Contes du Temps Passé avec Moralités credited to, 27.
• “Pet Raven, The,” legend of, 317.
• Physical education, story for use in connection with, 330.
• Pictures,
• story-telling for teaching love of, 95-106;
• scenes for dramatization suggested by, 116;
• to be used in Bible story-telling, 129-130.
• See Art.
• “Pied Piper,” suitable for dramatization by little children, 112-113.
• “Pigeons of Venice, The,” story of, 263.
• “Poor Man and the Rich Man, The,” story of, retold from Grimm, 218.
• Primitive-why story, period when child enjoys, 20.
• “Prince Unexpected,” story of, 239.
• “Puss in Boots,” first appearance of, 26.
• “Pygmalion and Galatea,” of little meaning to young children, 37.
• “Rabbit and the Easter Eggs, The,” story of, 228.
• Racial tales,
• fascination of, in rhythmic period, 14;
• enjoyment of, by children in imaginative period, 20.
• Raphael,
• acquainting little children with, 100-101;
• paintings by, for children of intermediate period, 102.
• Realistic period in children’s story interests, 13-18.
• Recitations, shortening of, to give time for story-telling, 169.
• “Red Riding Hood,”
• first appearance of, 26;
• beginning of, 54;
• climax of, 56.
• Reference work necessary to story-telling, 11.
• Rembrandt, story of “Wilhelmina’s Wooden Shoes” dealing with life of, 283.
• Repetition in jingles, surprise element in, 57.
• Repetitive stories, fascination of, in rhythmic period, 13-14.
• Reynolds, Sir Joshua, pictures by, suitable for young children, 98.
• Rhine, legend of the, “The Pet Raven,” 317.
• Rhythmic period, story interests in, 12-18.
• Richards, Laura E., Life of Florence Nightingale by, 47.
• “Riquet o’ the Tuft,” published by Perrault, 27.
• Robin Hood,
• story of, a good adventure tale, 34-35;
• material for dramatic work in, 114.
• Roland and Oliver, dramatic qualities in tale of, 37.
• Romantic period, story interests of childhood in, 42-50.
• Rubens, pictures by, suitable for children of intermediate period, 103.
• Ruskin, John, on use of Bible stories, 119.
• “St. George and the Dragon,” a favorite story in heroic period, 38.
• Scheffel, J. V. von, Ekkehard by, 49.
• Schmidt, Canon, story of “The Easter Eggs” adapted from, 229.
• Schools,
• place given story-telling in, 8-9;
• time for telling stories in, 67;
• mistake of study of literature in, by dissecting process, 75-76;
• value of story-telling in, 199-200.
• Schubert, Franz, story concerning boyhood of, 89-93.
• Science teaching,
• story-telling and, 178-190;
• stories to use in, 255, 325, 331.
• Scottish Highlands, story-telling in, 5.
• “Search for the Seven Cities, The,” by Margaret Graham Hood, 149-167.
• Sentimentalism in stories, lack of response by children to, 184.
• Shasta legend, “Why Grizzly Bear Goes on All Fours,” 299.
• Shedlock, Marie L., five minutes of silence after each story advocated by, 57.
• “Shepherd Who Turned Back, The,” Syrian legend retold, 311.
• Sicily, knowledge of classics possessed by peasants of, 18.
• “Silver Cones, The,” story of, 222.
• Slavic wonder tale, “Prince Unexpected,” 239.
• “Sleeping Beauty,”
• “Brier Rose” a modification of same story, 25;
• published by Perrault, 26.
• Social instincts, development of, by use of stories with geographical or historical background, 170-171.
• Southey, Robert, “The Three Bears” by, 28.
• Spyri, Johanna,
• Moni the Goat Boy by, 49;
• story of “The Silver Cones” adapted from, 222.
• Stevenson, R. L., interesting children in works of, by telling stories about, 71-73.
• Story interests of childhood,
• in rhythmic period, 12-18;
• in imaginative period, 20-30;
• in heroic period, 32-41;
• in romantic period, 42-50.
• “Story of a Salmon, The,” by David Starr Jordan, 255.
• “Story of a Stone, The,” by David Starr Jordan, 331.
• Story-telling,
• purpose and aim of, 1-11;
• interests in rhythmic period, 12-18;
• interests in imaginative period, 20-30;
• interests in heroic period, 32-41;
• interests in romantic period, 42-50;
• building the story, 52-57;
• telling the story, 58-68;
• and appreciation of literature, 69-82;
• to awaken an appreciation of music, 83-93;
• and appreciation of art, 95-106;
• and dramatization, 107-117;
• Bible stories, 118-131;
• teaching of ethics, 132-140;
• to intensify interest in history, 143-167;
• to intensify interest in geography, 168-177;
• and nature study, 178-190;
• in teaching domestic science and manual training, 192-197;
• general statement as to value of, 198-201.
• Story-writing, course in, recommended for the professional story-teller, 52.
• Straparola, publisher of first collection of fairy tales, 26.
• Supernatural beliefs,
• primitive man’s, as revealed in fairy tales, 25-27;
• effect of physical features of different regions upon, and so upon fairy tales, 27.
• Surprise element in stories, 55-57.
• Suspense,
• element of, 6, 55;
• increase in, by use of pauses, 64-65.
• Swedish legend, “The Emperor’s Vision,” 306.
• “Sweet and Low,” suggested method of interesting children in, 73-74.
• Swiss legends retold, 274, 311.
• Syrian legend, “The Shepherd Who Turned Back,” 311.
• Talking machines, use of, for introducing children to music, 86, 89.
• Tell, William, stories of, suitable for children in heroic period, 39.
• Thuringian folk tales,
• gathered and preserved by the Grimms, 27;
• retold, 204, 209, 212, 218, 226, 227.
• Totemistic theory, Lang’s, 3, 25.
• “Ugly Duckling,”
• unsuitable for children who have never been in country, 15;
• surprise element in climax of, 56.
• Van Dyck, Anthony, familiarizing little children with paintings by, 101.
• Van Dyke, Henry,
• on avoidance of moralizing in story-telling, 67;
• works of, a help to the Bible story-teller, 123.
• Vedas, theory of origin of fairy stories in the, 25.
• “Venice, The Pigeons of,” story of, 263.
• Vincent, Jacques, fascination of stories by, 50.
• Vocational training, use of story-telling in, 192-197.
• Welsh folk tale, “The Greedy Cobbler,” 251.
• “Why Grizzly Bear Goes on All Fours,” Shasta legend, 299.
• “Why the Japanese Love the Stork,” Japanese legend, 296.
• “Wilhelmina’s Wooden Shoes,” story of, 283.
• “Wonderful Builders, The,” story of, 188-190.
• Wonder tales, period when child enjoys, 20.