how to tell children stories(如何给孩子讲故事)-第4章
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
The first story took ten minutes。 When I began a second； a very short
one； the initial work had to be done all over again； for the slight
comparative quiet I had won had been totally lost in the resulting
manifestation of approval。
At the end of the second story； the room was really orderly to the
superficial view； but where I stood I could see the small boy who
deliberately made a hideous face at me each time my eyes met his； the two
girls who talked with their backs turned； the squirms of a figure here and
there。 It seemed so disheartening a record of failure that I hesitated much
to yield to the uproarious request for a third story； but finally I did begin
again； on a very long story which for its own sake I wanted them to hear。
This time the little audience settled to attention almost at the opening
words。 After about five minutes I was suddenly conscious of a sense of
ease and relief； a familiar restful feeling in the atmosphere； and then； at
last； I knew that my audience was 〃with me；〃 that they and I were
interacting without obstruction。 Absolutely quiet； entirely unconscious of
themselves； the boys and girls were responding to every turn of the
narrative as easily and readily as any group of story…bred kindergarten
children。 From then on we had a good time together。
The process which took place in that small audience was a condensed
example of what one may expect in habitual story…telling to a group of
children。 Once having had the attention chained by crude force of interest；
the children begin to expect something interesting from the teacher； and to
wait for it。 And having been led step by step from one grade of a logical
sequence to another； their minds at first beguiled by the fascination of
the steps glide into the habit of following any logical sequence。 My club
formed its habit； as far as I was concerned； all in one session； the ordinary
demands of school procedure lengthen the process； but the result is equally
sure。 By the end of a week in which the children have listened happily to a
story every day； the habit of listening and deducing has been formed； and
the expectation of pleasantness is connected with the opening of the
teacher's lips。
These two benefits are well worth the trouble they cost； and for these
two； at least； any teacher who tells a story well may confidently look the
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
quick gaining of a confidential relation with the children； and the gradual
development of concentration and interested attention in them。
These are direct and somewhat clearly discernible results； comfortably
placed in a near future。 There are other aims； reaching on into the far； slow
modes of psychological growth； which must equally determine the choice
of the story…teller's material and inform the spirit of her work。 These other；
less immediately attainable ends； I wish now to consider in relation to the
different types of story by which they are severally best served。
First； unbidden claimant of attention； comes
THE FAIRY STORY
No one can think of a child and a story； without thinking of the fairy
tale。 Is this； as some would have us believe； a bad habit of an ignorant old
world？ Or can the Fairy Tale justify her popularity with truly edifying and
educational results？ Is she a proper person to introduce here； and what are
her titles to merit？
Oh dear； yes！ Dame Fairy Tale comes bearing a magic wand in her
wrinkled old fingers； with one wave of which she summons up that very
spirit of joy which it is our chief effort to invoke。 She raps smartly on the
door； and open sesames echo to every imagination。 Her red… heeled shoes
twinkle down an endless lane of adventures； and every real child's
footsteps quicken after。 She is the natural； own great… grandmother of
every child in the world； and her pocketfuls of treasures are his by right of
inheritance。 Shut her out； and you truly rob the children of something
which is theirs； something marking their constant kinship with the race…
children of the past； and adapted to their needs as it was to those of the
generation of long ago！ If there were no other criterion at all； it would be
enough that the children love the fairy tale； we give them fairy stories； first；
because they like them。 But that by no means lessens the importance of the
fact that fairy tales are also good for them。
How good？ In various ways。 First； perhaps； in their supreme power of
presenting truth through the guise of images。 This is the way the race…child
took toward wisdom； and it is the way each child's individual instinct takes；
after him。 Elemental truths of moral law and general types of human
experience are presented in the fairy tale； in the poetry of their images； and
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
although the child is aware only of the image at the time； the truth enters
with it and becomes a part of his individual experience； to be recognised in
its relations at a later stage。 Every truth and type so given broadens and
deepens the capacity of the child's inner life； and adds an element to the
store from which he draws his moral inferences。
The most familiar instance of a moral truth conveyed under a fairy…
story image is probably the story of the pure…hearted and loving girl whose
lips were touched with the wonderful power of dropping jewels with every
spoken word； while her stepsister； whose heart was infested with malice
and evil desires； let ugly toads fall from her mouth whenever she spoke。 I
mention the old tale because there is probably no one of my readers who
has not heard it in childhood； and because there are undoubtedly many to
whose mind it has often recurred in later life as a sadly perfect
presentment of the fact that 〃out of the abundance of the heart the mouth
speaketh。〃 That story has entered into the forming consciousness of many
of us； with its implications of the inevitable result of visible evil from evil
in the heart； and its revelation of the loathsomeness of evil itself。
And no less truly than this story has served to many as an embodiment
of moral law has another household tale stood for a type of common
experience。 How much the poorer should we be； mentally； without our
early prophecy of the 〃ugly ducklings〃 we are to meet later in life！those
awkward offspring of our little human duckyard who are mostly well
kicked and buffeted about； for that very length of limb and breadth of back
which needs must be； to support swan's wings。 The story of the ugly
duckling is much truer than many a bald statement of fact。 The English…
speaking world bears witness to its verity in constant use of the title as an
identifying phrase： 〃It is the old story of the ugly duckling；〃 we say； or
〃He has turned out a real ugly duckling。〃 And we know that our hearers
understand the whole situation。
The consideration of such familiar types and expressions as that of the
ugly duckling suggests immediately another good reason for giving the
child his due of fairy lore。 The reason is that to omit it is to deprive him of
one important element in the full appreciation of mature literature。 If one
thinks of it； one sees that nearly all adult literature is made by people who；
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
in their beginnings； were bred on the wonder tale。 Whether he will or no；
the grown…up author must incorporate into his work the tendencies；
memories； kinds of feeling which were his in childhood。 The literature of
maturity is； naturally； permeated by the influence of the literature of
childhood。 Sometimes it is apparent merely in the use of a name； as
suggestive of certain kinds of experience； such are the recurrences of
reference to the Cinderella story。 Sometimes it is an allusion which has its
strength in long association of certain qualities with certain characters in
fairydomlike the slyness of Brother Fox； and the cruelty of Brother Wolf。
Sometimes the association of ideas lies below the surface； drawing from
the hidden wells of poetic illusion which are sunk in childhood。 The man
or woman whose infancy was nourished exclusively on tales adapted from
science…made… easy； or from biographies of good men and great； must
remain blind to these beauties of literature。 He may look up the allusion；
or identify the reference； but when that is done he is but richer by a fact or
two； there is no remembered thrill in it for him； no savour in his memory；
no suggestion to his imagination； and these are precisely the things which
really count。 Leaving out the fairy element is a loss to literary culture
much as would be the omission of the Bible or of Shakespeare。 Just as all
adult literature is permeated by the influence of these； familiar in youth； so
in less degree is it transfused with the subtle reminiscences of childhood's
commerce with the wonder world。
To turn now from the inner to the outer aspects of the old…time tale is
to meet another cause of its value to children。 This is the value of its style。
Simplicity； directness； and virility characterise the classic fairy tales and
the most memorable relics of folklore。 And these are three of the very
qualities which are most seriously lacking in much of the new writing for
children； and which are always necessary elements in the culture of taste。
Fairy stories are not all well told； but the best fairy stories are supremely
well told。 And most folk…tales have a movement； a sweep； and an
unaffectedness which make them splendid foundations for taste in style。
For this； and for poetic presentation of truths in easily as
