Angela M. Keyes

“ The environment in the second studio, far from destroying your effort to grasp the wonder-world of the story, will make special appeal to you. Here you will feel divine compulsion to make child life more abundant: to bring from story land bright hosts of gay fairies and gentle children and brave knights and real as well as fiction heroes as saving company for the little worldlings, to make them chuckle with a child’s hearty glee at trick of goblin or sprite, or quake with delicious tremor at the tread of the terrible giant. ”

“ Is it not delightful to note that learning is bringing the adult back to the story? The trend of thought to-day, urging him to look to the natural beginnings of things, is taking him back to the [4] story. The historian searches it for early glimpses of fact; the philosopher sees lasting wisdom in it; the literary seer marvels at the truth and beauty of fairy-tale symbols of life; the busy man of affairs accompanies his children to juvenile drama and nonsense opera. The art of story-telling itself is again finding an audience among men and women, as well as children. ”

“ Every detail shows how well he caught the child-note: interest in wild animals, the bear a favorite; tendency to dramatic mimicry; response to rhythm; pleasure in possessions, this very complete “house of their own,” kept by bears, delights the children. A hero story like “Jack the Giant Killer” calls for a bold spirit. “Snow-White and Rose-Red” sounds the domestic note: cheerful fireside group; mother reading from a “large book,” children spinning, animals lying near. The setting here, though long, may easily be made attractive by the story-teller’s own pleasure in every detail. ”

“ We are now ready to sum up the canon of graphicness. We have defined it as the dynamic principle of vividness by virtue of which the story is made plain to the imagination. It is secured by the supreme agency of speech, aided sometimes, in greater or less degree, by posture, gesture, facial expression, and dramatic suggestion. It is under the imperative restriction of the canon of reserve.
In an art defined as story-telling the skillful use of the voice is the chief technique to be mastered, and, alas, the least regarded. It is, however, gaining ground. ”

“ The fiddle never even noticed them; he still stared at the old witch owl, though he did not dare to say anything.
“You kicked off the pack, did you?” asked the old witch owl, turning the full blaze of her eyes on the donkey.
“Yes,” he gasped, running behind the pup and the pig, and the pig tried to catch the pup by the tail, and the pup tried to catch the pig by the tail.
“Do you think,” she cried in a frightful voice, and her feathers stood out straight around her, “that runaways and idlers will ever fly high or see farther than their noses or bring music into the world? ”

“ Story art, like all art, idealizes its materials the moment it selects them; the story-teller in turn holds them up to view of the imagination. Nor need the adult story-teller be afraid of illumining the view more fully than might a [49] child teller, by the light of the adult’s richer knowledge and experience. No, the story-teller is not to impoverish nor dull the story; but he is to guard against giving the listener the impression of unsuccessful pretense at it, and against urging him to strained imagining and feeling. ”

“ And psychologists are telling us that to educate a child to be kind, unselfish, filial, reverent, gentle, courageous, good-tempered, to educate him to admire goodness, justice, valor, to be sensible of beauty, to aspire and make effort toward excellence, is as practicable as to train him to do or to make something. It calls for more delicate but not different treatment; working not by dictation, but by magnetic suggestion. The story-teller may render a great service to the individual and to the community by helping to form right feeling-habit. ”

“ But nine times out of ten the beginner in story-telling who has prepared the story from a book allows no appreciation of beauty to get into voice or self as he tells, for example, “In olden times, when wishing was having, there lived a king who had beautiful daughters, but the youngest was so lovely that even the sun himself, who has seen so much, marveled whenever he shone in her face.” ”

“ The long-tailed horse cut down a tree for wood with his strong teeth, the bearded goat rubbed the edges smooth with his horns, the brindled cow carried the beams on her broad back and stood them up in place with her forelegs, the whiskered cat sprang up and down the beams and nailed them together, the young rooster gave the orders to everyone, and when the house was done the bonny, wee white hen swept it clean as a new pin. ”

“ The story-teller need not, however, be afraid to give full value to story materials: to idealize its people and happenings; to make its heroines frankly good and beautiful, its supernatural properties adequate, its “great huge bears” satisfyingly huge; to give its seven-leagued giants voice possibilities that will cause half-quaking, half-chuckling listeners to shake in their shoes in whole-hearted enjoyment; to make its porridge pots, that cooked or stopped the minute a certain good little girl said so, magical. ”

“ The story-teller of childlike tales must “live with our children,” as Froebel [48] said; he must cultivate sensibility to the child’s world, catch its spirit of play and happiness and activity, respect its serious moods, note its affectionate intimacy with animals, cats and dogs and hens and horses, respond to its humor, feel above all its emotional sincerity and simplicity. The child carries himself unaffectedly. It is easy to detect the story-teller who fails of insight into the child’s world. He is either wholly insensible to its characteristics, or he grotesquely exaggerates everything. ”

“ At each re-telling the story allures the listener’s imagination to catch added import. The listener maturing into the adult may penetrate a specific detail in the childlike allegory and uncover a symbol of everlasting life, eternal youth or truth or beauty, and having found it, he can never with listening exhaust the depths of it. Is it fanciful to conjecture whether it be some response to this imperishable integrity that urges children to demand the same tale over and over again? Psychology has discerned in them wiseacres learning the realities of life through play. ”

“ The story-teller should cultivate sensibility to story-building; it is the creative principle of story-telling. It is really surprising how lacking the beginner is in consciousness of structure. He should study structure until he can feel the tale making: the scene putting in, the people coming in, the motive revealing itself, the action starting, and going forward until it arrives at climax and solution, the whole winding up with happy prophecy of the far future. ”

“ If each generation does not leave the world a little better for its part in it, it has lived in vain, and its “guides, philosophers, and friends,” the parents and teachers of it, have denied their office. The story helping toward this kind of constructivity should lead. It is to the habit formed in its children that society must look for higher standards of living.
The story will widen the child’s outlook on life. On the wings of the word the listener may fly away to the uttermost bounds of the earth. ”

“ They would have literature recognized as the reflection of life, idealized, it may be, but therefore stronger reflection. As life is the occupation that all of us, no matter what our special vocation may be, must engage in together, a study that throws light on it is indispensable. Here is a great opportunity for the story. Every genuine story, sense or nonsense, is a glimpse of life, which will early give guiding knowledge and experience. ”

“ The child’s conception of the story, with expression of it and each re-hearing, is growing. The practice of keeping a child’s first attempts at expression in drawing or modeling or cutting or his attempts at any one stage too long about the classroom, before his eyes, is dwarfing. There is, of course, the other side to the question. To accept nothing as accomplishment is deadening to effort. ”

“ Many children meager in imagination, feeble in initiative, inadequate in execution, will need the strong lead of other children or of the teacher, qualified child seer from her experience with more favored children. Let her give to these from her abundance, becoming best playfellow and guide. But let her keep herself in the attitude of playing with the children.
Let us see how playing the story might develop. As soon as the story takes possession of the child he shows a tendency to enter into its persons and its action; to mimic the voices, to ape the manners, to do the doings. ”

“ Though it is wise to keep in the wake of their experience with evil, the story should help to provide the children with knowledge and modes of conduct for the situations of real life. The cunning story-teller, presenting this or that bit of life, from which he has not made the mistake of taking out the evil already within the child’s experience or presently to be met, touches the child into recoil from evil and into admiration and imitation of the triumphant way of virtue. ”

“ The power and the glory for the listening child are more surely in the message as the seer, yourself or another story inventor, saw and delivered it, than in any garbled paraphrase of it, all that many attempting story-telling can manage. Their opportunity lies in the field of interpretation, unless they are genuinely engaged in changing the story or in themselves telling a different story or in truly artistic simplification. Have faith in the little child: in his sensibility to artistic fitness, in his intelligence, in his ready sympathy. ”

“ The story-teller cannot, by the way, afford to ignore the evil in life. You may have read the story of Kipling’s “kid”; how the parents in fond but foolish love for their only son shut away from him all knowledge that evil has come into the world, and how the son, grown to manhood, enters army life, where he meets his first temptation and falls. ”

“ Suggestive posture is another means of giving vividness. The story-teller might learn much from the painter and the sculptor about the eloquence of pose. The Pre-Raphaelite school of painting was no doubt guilty of extravagance, but in pose and facial expression it caught some of the secrets of artistic suggestion. We know how the sculptor, too, represents listening, or surprise, or courage. The sculptor is, of course, very much more dependent on posture than is the speaker. But posture should help the story-teller, just as do tone and quality and rate of voice. ”

“ The canon of directness, then, requires that both the outer and the inner self lend themselves to telling the story to the listener without obstruction.
Spontaneity is the canon of naturalness, by virtue of which the story has genuine life. It creates the illusion that the story-teller is spinning his tale from within out, its life having become part and parcel of his imaginative and emotional experience. ”

“ Sometimes the place was an enchanted castle shut away behind a hedge of thorns and trees, in the very heart of a forest, a hedge that [21] sprang up in a quarter of an hour, with thorns long enough to impale unworthy suitors; sometimes it was the highroad out to the world, upon which many a stout hero set foot to seek fortune. The merry gallant history of “Tom Thumb,” fairy fledgeling, wizard-fostered, king’s jester and doughty knightling, is referred to the magical days of Merlin and the chivalrous court of Arthur. ”

“ Story-tellers are finding it increasingly reasonable to believe there is close connection between what is to be told and how it is told. While it is true that so strong is the vitality of the what that it will usually triumph in some degree over the how, this is no sound argument for abandoning it to that fate. It is also true, because of the social nature of language, that the listener will do much, no matter how dull the how, to inform and [55] transform the what in the light of his own knowledge and experience. ”

“ In the story world he, if poor, may be rich; if sad, merry; if inarticulate, he may find expression.
Though it is not exhaustive, this is an imposing array of reasons for admitting the story to unquestioned educational dignity. If the school feel the need of broad, scholarly precedent, it may find it in the work or in the recorded opinions of such seers as the Lambs, Longfellow, Carroll, Hawthorne, Scott, Stevenson, Browning, Ruskin, Froebel, Emerson. As yet story-telling is largely left optional with the teacher. ”

“ Sometimes a quick strong gesture makes powerful appeal to the imagination; sometimes sustained gesture serves as aftermath, still telling to the imagination. Gesture must not appear detached from the story-teller, that is, put on from the outside; it should come from within, in the story-teller’s effort to tell. It is helpful, too, to note that gesture partakes of the imitativeness of art,—thus we speak of kingly gesture, commanding gesture, witchlike gesture. ”

“ And the little pig began in a squealing little voice to tell her how Mother Sow had sent him to the wood to get some beechnuts for Piggikin, the baby, and how he had heard the boy tell it to the girl, and how he had set off to ask her about it.
“And Piggikin is still hungry for the beechnuts, is he?” asked the old witch owl, looking beyond the little pig into the darkness. ”

“ The well-chosen story will cultivate the taste. Psychology is urging early direction also of the æsthetic sense. The story-teller, through her own joyous response to beauty, has it in her power to awaken and direct the children’s appreciation of beauty. It is she, too, who must help to lay the foundation for that better taste in novel or play that America eagerly desires, and that publisher and playwright say they stand ready to satisfy as soon as the public arrives at it. ”

“ And then the cleverest little pixie mother among them thought of something. “Let’s lay them in those lovely cradles,” said she; “they’ll be as safe as a bug in a rose while we are greeting the queen.” She at once picked up her baby and ran back with it to the garden. And so did the others with theirs. They laid the tiny babies in the tulip cups and sang them to rest. The tulips rocked to and fro in the wind and made music for the lullaby. The little old woman washing her teacup caught a note of the music and singing, and stopped her clatter to listen, it was so sweet. ”

“ The story-teller through his outer self must observe the principle of directness in another way. In looks and actions his external self must help to convey the spirit of the story: posture, facial expression, gesture, voice must not contradict but declare what the lips are saying. It is in recognition of the relation between the external self of the story-teller and his story that some story-tellers “make up,” or put on appropriate costume. This has its power and charm. But for the “everydayness” of story-telling in home and school it is undesirable, unnecessary, and impracticable. ”

“ The longer stories give sustained exercise to the imagination, and they give the story-teller ampler field to set forth character or action and to let the story yield fuller measure of delight. Short and long and longer and shorter are all in place. And not all need nor should be reproduced.
How much should the teacher expect when she asks pupils to tell back any stories they have heard only once, or at most twice? Exactly what the pupil gives, what he grasped. Many teachers are disturbed, however, by the meager “language training” afforded by this very brief re-telling. ”