Stories for telling may be found everywhere—in a thousand children’s books, magazines, periodicals, poems, novels, histories. They may be recalled from those heard in childhood. They may be “made up” from the memory of one’s own past history or the adventures of friends. Or they can readily be woven out of a vivid imagination. Such stories may afford children passing amusement and a degree of profit, but such stories rarely have the permanent, cultural value that comes from an acquaintance with the old classics. Emerson said, “We love the classics, not because they are ancient, but because they are true to life.” Every child has a right to his literary and esthetic inheritance, and these classics, these great world stories, should be given him for their cultural, moral, and religious values before his twelfth year.
An understanding of the normal interests of child-nature is the first step in the selection of suitable stories to tell. The second step is the actual selection. The selection, of course, will depend on these factors—the story-teller’s purpose, his available material, and his taste. The purpose of telling a story may be pure enjoyment, or the impression of an ethical principle, or some cultural or educational aim. The available material may be supplied by many books of short stories retold. Such is the purpose of the present volume. The taste of the story-teller must not be permitted to dominate the real life interests and needs of the child’s nature. Nor will this be the case if we realize the child’s story interests, and permit the child to vote on the kinds of stories he likes. An understanding of the different types of stories to tell will be of value to all who desire to secure the best results. Some of the different types of stories may be classified as follows:
Bible stories are the best of all to tell to children. They have a cultural, esthetic, literary, educational, and ethical value, quite apart from their spiritual and religious use, that puts them in the very front rank as stories that interest, instruct, and inspire young life. These stories are the rich inheritance of the race. They are a treasure-house of ethical and spiritual wisdom. Bible stories are never sectarian. It is the teller’s fault if he so interprets them. They are pervaded by a perennial humanity and a direct simplicity that make the strongest appeal to the young of every century. The Bible reaches into the soul and impels the will to action as no other book does. For these reasons every child should be made familiar with the Bible from babyhood up. Simple parts should be read aloud to the child in its early years. The simplicity, dignity, and grandeur of the language, the objective spirit, and the dramatic action bring many parts of the Bible within the comprehension of even a very young child. In telling such adapted forms as are reproduced in this volume, care should be taken, as early as possible, to familiarize the child with the Bible version itself. Some of the best collections of Bible stories are: “Children’s Treasury of Bible Stories,” Mrs. Herman Gaskoin; “Tell Me a True Story,” Mary Stewart; “Stories About Jesus,” Dr. and Mrs. C. R. Blackall; “Story of the Bible,” J. L. Hulburt; “Story of the Bible,” C. Foster; “Kindergarten Bible Stories,” Cragin; “Old Stories of the East,” James Baldwin.
Numerous short and simple stories of heroic lives have recently been written in a very attractive way for boys and girls. These hero stories are for telling, not reading, in home, Sunday-school classes and opening exercises, junior mission circles, or young people’s missionary meetings. A few of the best are: “Fifty Missionary Heroes Every Boy and Girl Should Know,” by Julia H. Johnson; “Love Stories of Great Missionaries,” by Belle M. Brain; “The White Man at Work,” and “The Splendid Quest,” by Matthews (suitable for children eight to fifteen).
Some parents and teachers find it hard to see any value in play stories like “The Runaway Pancake,” “The Little Red Hen,” and “The Golden Goose” (pages 47-51); or such nonsense stories as “The Fox Without a Tail,” “Why the Bear Has a Stumpy Tail” (pages 71, 77); or funny stories like “Lazy Jack” and “Epaminondas.” Such parents do not get the child’s point of view. The idle pleasure or extravagance provokes their displeasure and appears to them driveling nonsense. But why should not the mind have an innocent frolic? Why should the child be deprived of his birthright of “being a child” and “understanding as a child”? The child loves play and loves these play stories because they are play.
Sometimes a mother says: “I do not want to tell my child lies. I will give him only truth, history, biography, or useful stories.” Such a mother fails to see that in excluding fairy and folk-tales from her child’s mind she is simply shutting the door of his imagination and hindering his power to do great things in after-life by closing for him the storehouse of creative imagination. Imagination is the most powerful factor in any life. Helen Keller, when asked what sense she considered the most important, replied, “Imagination!” By imagination the blind see the invisible. By this sense, Newton, Kepler, Davy, Faraday, Edison, and Burbank saw from afar their great discoveries and inventions and brought them near. Such an unpoetic mother would rob her child of his right to his inheritance of an age-long literature; a literature marking his kinship with the race-children of the past; a literature adapted to his needs as to theirs, and a literature which will serve as the basis of all true spiritual culture. “There are those who reduce life to the plane of that of Dickens’ Thomas Gradgrind, who cared not for feeling and sentiment, but must have cold, bare, hard facts, enjoying only the practical and the usable, and living in his rectangular house and having everything about him right-angled. But we know that in children there is a place for the sentimental and the free play of feeling, although these are not to be made prominent in training and instruction but provided for in the material used. Doctor Parker said: ‘The atheism, the materialism of the present day in our land, is largely due to the banishment of fiction and fairy tales by the Puritans. “Facts,” Gradgrind “facts,” drive beauty and holiness from the child’s heart.’”[2]
Fancy, imagination, power to see the unseen, need to be fed with suitable food. Imaginative stories exercise and cultivate the imagination, the creative faculty. If a child lacks imagination, fairy stories help to arouse it. If he knows little about nature, tales of woods and fields will quicken and interest. Children who are brought up in cities especially need the counteracting influences breathed by these race-long tales which are so imaginative, objective, and childlike, and which have been the joy of childhood from the morning of the world. The best fairy tales also have great ethical value. They present moral truths in a way that appeals directly to children. “Cinderella” teaches the reward of modesty and humility; the “Golden Goose” shows the reward of charity and a kind heart; “Red Ridinghood” illustrates obedience to parents, the cardinal virtue of childhood; “Boots and His Brothers,” readiness; “Toads and Diamonds,” good and bad speech; and “The Frog King,” keeping a promise. Fairy tales that present perverted ideas of right and wrong or that picture success achieved by lying or theft, or that justify ingratitude, disloyalty, or irreverence, should find no place in collections for children. Yet, in the desire to impress a moral lesson, great care must be taken not to strip these age-long stories of all their native freshness and strength. The best moral effect will be gained by letting the child enjoy the story as a whole without too pronounced emphasis on the moral. Some good collections are: Grimm’s “Household Tales”; Andersen’s “Wonder Stories”; Grimm Brothers and Joseph Jacobs, “Fairy Tales”; Baldwin, “Fairy Stories and Fables.”
Fables are short stories in which animals or inanimate objects are represented as speaking or acting with human interests or passions. They were among the earliest stories told by all races. Many of the commonest fables, earliest told to children to-day, such as the “Dog in the Manger” and “The Boy Who Cried Wolf,” originated in Asia. Æsop’s “Fables” was the first moral lesson book for children. They are now an integral part of our literature and language. For this reason, as well as others, children should become familiar with them. They please the child’s fancy, satisfy his craving for short, objective, ethical tales, and impress such virtues as prudence, honesty, contentment, generosity, and wisdom. Fables that teach revenge or success by lying and craft should be rejected.
Some good collections are: Æsop; La Fontaine; “Fables and Folk Stories,” H. E. Scudder; “Fairy Stories and Fables,” Baldwin.
Myths have their origin in primitive man’s personification of the forces and objects of nature, as gods, demons, giants, dwarfs, light-elves, spirits of darkness, trolls, and hideous monsters. Interpreting nature in poetic imagery and language, primitive races came to believe in these myths as their religion. The Greek myths, which are largely personifications of the beauty of nature, are especially pleasing to children who love stories of flowers, trees, fountains, and sudden transformations, as the natural response to their inherent love of nature. The Norse myths are personifications of the awe-inspiring natural phenomena of the cold and rugged northland. Such stories picture stalwart courage, manliness, and heroic virtue, qualities that appeal to later childhood and youth. The myths of the American Indian, such as Longfellow’s “Hiawatha,” treating of the spirit of the wild woods and free out-of-door life, are well adapted to the child’s love of nature.
“Myth is not a goal. It is a means by which the goal is reached. The race grew out of the myth-making period of its development, and the child will grow out of the myth-loving stage in its religious development, unless hindered by parents or teachers who unwisely withhold this childhood religious material from him.”[3]
Some of the best collections of myths are Hawthorne’s “Wonder-Tales”; Kingsley’s “Greek Heroes”; “Norse Stories Retold,” Mabie; “Stories of the Red Children,” Dorothy Brooks.
Both myths and legends belong to folk-lore literature and to the idealistic type of story. The difference between them is that the myth is a personification of nature, while the legend is an idealization of a person or place. “The myth is a creation of fancy from ideas. The legend is the perception of an idea from a basis in fact. The myth is a creation of pure and absolute imagination. The legend is a story based on historical fact, but enlarged, abridged, or modified at pleasure. Both myths and legends express the imagination, emotion, and spirit of early man, and, for this reason, make a strong appeal to the same qualities in the soul of those who are in the early years of life to-day.” As all races have their legends, the list of them is long. Not one-thousandth part of them can be told. Among legends that age after age has loved and treasured, are those of India, brought together in the “Jataka Tales,” those of Greece and Rome, of the Middle Ages, of the Northmen, of King Arthur and the Round Table, and of the American Indian. Some of the best collections are: “Juventus Mundi,” Gladstone; “Famous Legends,” Crommelin (legends of all countries); “Legends of Greece and Rome,” Kupper; “Book of Legends,” Scudder; “Child’s Book of Saints,” Canton.
Stories of animals, birds, pets, trees, plants, flowers, mountains, seas, and other expressions of nature are very popular with children from their earliest years. But these stories need adaptation and strengthening with the growing years. They may be used to teach the habits of animals or the laws of plant life, thus stimulating scientific interest in the animal and plant world. Their best use is simply to please and delight the child’s fancy. How children revel in a story that begins, “Once there was a bear,” or “There was once a little, furry rabbit.” Such stories are the first steps, in curiosity and imagination, into the feelings and fortunes of creatures different from themselves, preparing for a sympathetic interest in the lives of others, not only of animals, but of human beings. In the early years, fanciful animal stories may be given. But later, only true stories of animals have value. Some good nature stories are: “Nature Myths and Stories,” Cooke; “True Tales of Birds and Beasts,” Jordan; “Door-yard Stories,” Pierson; “True Bird Stories,” Miller.
The allegory is a double story, or two stories in one. While one story is being told, another, a deeper and often a still more interesting story, is caught by the imagination or reason. Fables and parables are short allegories with one definite moral. The allegory has been the favorite form of story among almost all nations, and is especially pleasing to children. The Bible contains a number of beautiful allegories, one being the comparison of Israel to a vine, in the Eighteenth Psalm. Æsop’s fable of the stomach and its members is an allegory. Some of the most perfect allegories are found in “The Golden Windows,” and “The Silver Crown,” by Laura E. Richards. Ruskin’s “King of the Golden River”; Spenser’s “Faerie Queene”; Swift’s “Tale of a Tub”; Addison’s “Vision of Mirza”; Mrs. Gatty’s “Parables from Nature”; Miss Slossum’s “Story-Tell-Lib”; and, above all, Bunyan’s “Pilgrim’s Progress,” are allegories with which every modern boy and girl should become familiar.
Idealistic stories—fairy tales, folk-lore, myths, legends, fables, and allegories—have their place. They add to the poetry, imagery, enjoyment, spirituality, and enrichment of a life that would often be wholly prosaic without them. But after all, the growing boy and girl who pleads “Tell me a true story,” at approximately the age of six, reveals the truth that the mind cannot be satisfied without the solid, hard, real ground of historical and scientific fact. For this reason by far the larger number of stories that must be told, and that are demanded by advancing childhood and youth, are realistic stories. These are stories from national or world history, biography, personal reminiscences and adventures, true stories of animals, and all others that recount actual happenings. “These have a special value because, besides suggesting a principle, they also indicate how it may receive specific application in life. The deeds of the Christian martyrs and of the modest heroes of every-day life have a certain power which is beyond that of the most beautiful myth. The story of what Jesus did means more than all the visions of all the prophets.”[4]
Stories of national history impress the mind of the young with patriotism. Historical world stories inspire the heart of the young with a broader human sympathy for all the nations of the earth. The hunger for the heroic, which is native to the imagination and emotion of every growing boy and girl, may be fed by these classic stories of heroic action, endurance, decision, courage, faith, and self-sacrifice.
“God writes his greatest thoughts in noble men and heroic women.” The Bible is a book of biographies. The Gospels are the four biographies of its preeminent character, Jesus. This is one reason for the great charm of the Bible stories and for the great value of the Bible as a never-failing source from whence to gather material for the unfolding mind of childhood and youth.
History too is largely the story of great lives in their setting. The stories of individuals, and of events in which they are concerned, furnish the best historical material for boys and girls from nine to twelve. Indeed, biography should be central in the study of history at least to the sixteenth year. Suitable stories of the lives of great men and women are interesting at all stages of life, but particularly during the years of later childhood and early adolescence, when environment is widening and social and world interests are expanding. Biography is full of religious nourishment, spiritual contagion, ethical uplift, and humanitarian values. That which makes the strongest appeal is found in the Old and New Testaments, the life of Christ, the Acts of the Apostles, the great lives in national and general history, lives of discoverers, pioneers, missionaries, adventurers, inventors, warriors, seamen, and characters full of deeds of daring and difficulty, but at the same time manly and moral. Biography has too often, in the past, been limited to a record of the heroic deeds of generals and statesmen in war and political upheavals. We now see more clearly the value, in the earlier period of education, of biographies of leaders in other fields besides war and statesmanship, and we realize the necessity of inspiring youth with lofty ideals, by examples of both men and women in all possible forms of human service and moral and social heroism. This truer interpretation of the ethical and spiritual value of biography and history is illustrated by the biographical stories in Chapter X, “Heroes of Peace,” and Chapter XI, “Modern Boys and Girls Who Became Useful.”
Stories of unselfish heroism appeal to every age, but they find their strongest interest for the spirit of youth during the years of middle adolescence. Such stories of self-sacrifice may be selected from the Bible, history, fiction, or modern life. They not only show what is noble action, but touch the soul with the contagion of self-sacrificing deeds. From the Ethical Index, on page 291, under Altruism, Loyalty, Self-sacrifice, and such synonyms, a list of altruistic stories may be made.
Stories of real or romantic love between the sexes have their strong appeal in middle adolescence. There may be an interest in these before this period or it may appear later. Such stories are usually for reading, but some of the best for telling are: “Ruth, the Gleaner”; “John Alden and Priscilla”; “Evangeline”; “The Silver Girl”; “Love Stories of Great Missionaries,” by Belle M. Brain; “The Three Weavers,” by Annie Fellows Johnson.
These are the stories that will aid in preparing young people in choosing their life-work, or that will inspire them with the highest ideals in their work. Such stories may be found among all types. For example, the fairy story, “Boots and His Brothers,” shows the value of being prepared; the Bible story, “When Jesus Was Lost,” shows when Jesus found his life-work; “The Legend of St. Christopher” reveals ideals of service, and such legendary or historical stories as “Horatius at the Bridge,” “King Bruce and the Spider,” and “Dick Whittington” illustrate the rewards of service. Biographies are almost all vocational. This vocational interest, either clearly revealed or simply implied, may transform a story, otherwise distasteful to young people, into one full of interest, inspiration, and profit.
These are stories that are invented simply for the purpose of imparting instruction in some branch of science or art. The story-form and story-interest is taken advantage of to produce interest in the desired trade, craft, occupation, or science. Such stories must be used with care. But if used moderately and with tact they may prove of educational and even vocational value.
Variety is of great importance in story-telling, as in all ethical instruction and educational training. Life demands variety. Moral life is full of variety, vitality, and humor. Nor need we fear to bring these qualities into story-telling. Humor is leaven. Without it ethical teaching becomes flat. Laughter too is good for the world. It is a tonic to the emotions. “It does us all good to laugh if there is no smear or smirch in the laugh; fun sets the blood flowing more freely in the veins, and loosens the strained cords of feeling and thought; the delicious shock of surprise at every ‘funny spot’ is a kind of electric treatment for the nerves.” (Sara Cone Bryant.) Laughter is tone to the spirit and inspiration to fresh effort. It is a sign too, of broadening imagination and sympathies. As the nonsense and play-story are good for the child, so the wholesomely humorous story is good for the youth and the adult.