see more than you say。〃 True vividness is lent
by a background of picture realised by the
listener beyond what you tell him。 Children
see； as a rule； no image you do not see； they
see most clearly what you see most largely。
Draw； then； from a full well； not from a supply
so low that the pumps wheeze at every pull。
Dramatic power of the reasonably quiet and
suggestive type demanded for telling a story
will come pretty surely in the train of effort
along these lines； it follows the clear concept
and sincerity in imparting it； and is a natural
consequence of the visualising imagination。
It is inextricably bound up； also； with the
causes and results of the quality which finds
place in my final injunction； to tell your story
WITH ZEST。 It might almost be assumed that
the final suggestion renders the preceding one
superfluous； so direct is the effect of a lively
interest on the dramatic quality of a narration；
but it would not of itself be adequate； the
necessity of visualising imagination is paramount。
Zest is； however； a close second to
this clearness of mental vision。 It is entirely
necessary to be interested in your own story；
to enjoy it as you tell it。 If you are bored and
tired； the children will soon be bored and tired；
too。 If you are not interested your manner
cannot get that vitalised spontaneity which
makes dramatic power possible。 Nothing else
will give that relish on the lips； that gusto；
which communicates its joy to the audience
and makes it receptive to every impression。
I used to say to teachers； 〃Tell your story
with all your might；〃 but I found that this
by a natural misconception was often interpreted
to mean 〃laboriously。〃 And of course
nothing is more injurious to the enjoyment of
an audience than obvious effort on the part
of the entertainer。 True zest can beoften
isextremely quiet； but it gives a savour
nothing else can impart。
〃But how； at the end of a hard morning's
work； can I be interested in a story I have told
twenty times before？〃 asks the kindergarten or
primary teacher； not without reason。
There are two things to be said。 The first is
a reminder of the wisdom of choosing stories in
which you originally have interest； and of having
a store large enough to permit variety。 The
second applies to those inevitable times of weariness
which attack the most interested and well…
stocked story…teller。 You are； perhaps； tired
out physically。 You have told a certain story
till it seems as if a repetition of it must produce
bodily effects dire to contemplate； yet that
happens to be the very story you must tell。
What can you do？ I answer； 〃Make believe。〃
The device seems incongruous with the repeated
warnings against pretence； but it is necessary；
and it is wise。 Pretend as hard as ever you can
to be interested。 And the result will bebefore
you know itthat you will BE interested。 That
is the chief cause of the recommendation； it
brings about the result it simulates。 Make
believe； as well as you know how； and the
probability is that you will not even know when the
transition from pretended to real interest comes。
And fortunately； the children never know the
difference。 They have not that psychological
infallibility which is often attributed to them。
They might； indeed； detect a pretence which
continued through a whole tale； but that is so
seldom necessary that it needs little consideration。
So then： enjoy your story； be interested in
it；if you possibly can； and if you cannot；
pretend to be； till the very pretence brings
about the virtue you have assumed。
There is much else which might be said and
urged regarding the method of story…telling； even
without encroaching on the domain of personal
variations。 A whole chapter might； for example；
be devoted to voice and enunciation； and then
leave the subject fertile。 But voice and enunciation
are after all merely single manifestations of
degree and quality of culture； of taste； and of
natural gift。 No set rules can bring charm of
voice and speech to a person whose feeling and
habitual point of view are fundamentally wrong；
the person whose habitual feeling and mental
attitude are fundamentally right needs few or no
rules。 As the whole matter of story…telling is
in the first instance an expression of the complex
personal product； so will this feature of it
vary in perfection according to the beauty and
culture of the human mechanism manifesting it。
A few generally applicable suggestions may；
however； be useful；always assuming the story…
teller to have the fundamental qualifications of
fine and wholesome habit。 These are not rules
for the art of speaking； they are merely some
practical considerations regarding speaking to
an audience。
First； I would reiterate my earlier advice； be
simple。 Affectation is the worst enemy of voice
and enunciation alike。 Slovenly enunciation is
certainly very dreadful； but the unregenerate
may be pardoned if they prefer it to the
affected mouthing which some over…nice people
without due sense of values expend on every
syllable which is so unlucky as to fall between
their teeth。
Next I would urge avoidance of a fault very
common with those who speak much in large
rooms；the mistaken effort at loudness。 This
results in tightening and straining the throat；
finally producing nasal head…tones or a voice
of metallic harshness。 And it is entirely
unnecessary。 There is no need to speak loudly。
The ordinary schoolroom needs no vocal effort。
A hall seating three or four hundred persons
demands no effort whatever beyond a certain
clearness and definiteness of speech。 A hall
seating from five to eight hundred needs more
skill in aiming the voice； but still demands no
shouting。
It is indeed largely the psychological quality
of a tone that makes it reach in through the ear
to the comprehension。 The quiet； clear； restful；
persuasive tone of a speaker who knows his
power goes straight home； but loud speech
confuses。 Never speak loudly。 In a small room；
speak as gently and easily as in conversation；
in a large room； think of the people farthest
away； and speak clearly； with a slight separation
between words； and with definite phrasing；
aiming your MIND toward the distant listeners。
If one is conscious of nasality or throatiness
of voice； it certainly pays to study the subject
seriously with an intelligent teacher。 But a
good； natural speaking…voice； free from extraordinary
vices； will fill all the requirements of
story…telling to small audiences； without other
attention than comes indirectly from following
the general principles of the art。
To sum it all up； then； let us say of the method
likely to bring success in telling stories； that it
includes sympathy； grasp； spontaneity： one
must appreciate the story； and know it； and
then； using the realising imagination as a
constant vivifying force； and dominated by the
mood of the story； one must tell it with all one's
might；simply； vitally； joyously。
CHAPTER V
SOME SPECIFIC SCHOOLROOM USES OF STORY…TELLING
In Chapter II。； I have tried to give my conception
of the general aim of story…telling in school。
From that conception； it is not difficult to deduce
certain specific uses。 The one most plainly
intimated is that of a brief recreation period； a
feature which has proved valuable in many
classes。 Less definitely implied； but not to be
ignored； was the use of the story during； or
accessory to； the lesson in science or history。
But more distinctive and valuable than these；
I think； is a specific use which I have recently
had the pleasure of seeing exemplified in great
completeness in the schools of Providence；
Rhode Island。
Some four years ago； the assistant superintendent
of schools of that city； Miss Ella L。
Sweeney； introduced a rather unusual and
extended application of the story in her primary
classes。 While the experiment was in its early
stages； it was my good fortune to be allowed to
make suggestions for its development； and as
the devices in question were those I had been
accustomed to use as a pastime for children； I
was able to take some slight hand in the formative
work of its adoption as an educational
method。 Carried out most ably by the teachers
to whom it was entrusted； the plan has evolved
into a more inclusive and systematic one than
was at first hoped for； it is one from which I
have been grateful to learn。
Tersely stated； the object of the general plan
is the freeing and developing of the power of
expression in the pupils。
I think there can be no need of dwelling on
the desirability of this result。 The apathy and
〃woodenness〃 of children under average modes
of pedagogy is apparent to anyone who is
interested enough to observe。 In elementary
work； the most noticeable lack of natural
expression is probably in the reading classes； the
same drawback appears at a later stage in
English composition。 But all along the line
every thoughtful teacher knows how difficult it
is to obtain spontaneous； creative reaction on
material given。
Story…telling has a real mission to perform in
setting free the natural creative expression of
children； and in vitalising the general atmosphere
of the school。 The method in use for
this purpose in Providence （and probably elsewhere；
as ideas usually germinate in more than
one place at once） is a threefold GIVING BACK of
the story by the children。 Two of the forms of
reproduction are familiar to many teachers； the
first is the obvious one of telling the story back
again。
It is such fun to listen to a good story that
children remember it without effort； and later；
when asked if they can tell the story of The
Red…Headed Woodpecker