told without the artist’s words. “’Satiable curtiosity,” “the banks of the great, grey-green, greasy, Limpopo River, all set about with fever-trees,” and “’Scuse me,” are but a few of those expressions for which the child will watch as eagerly as one does for a signal light known to be due.  The repetition of the one word, “curtiosity,” throughout the tale, simply makes the point of the whole story and makes that point delightfully impressive.

Rhythm and repetition also make a bodily appeal, they appeal to the child’s motor sense and instinctively get into his muscles.  This is very evident in Brother Rabbit’s Riddle:—­

          De big bird bob en little bird sing;
          De big bee zoon en little bee sting,
          De little man lead en big hoss foller—­
          Kin you tell wat ’s good fer a head in a holler?

     The song in Brother Rabbit and the Little Girl appeals
     also to the child’s sense of sound:—­

          De jay-bird hunt de sparrer-nes;
          De bee-martin sail all ‘roun’;
          De squer’l, he holler from de top er de tree,
          Mr. Mole, he stay in de ground;
          He hide en he stay twel de dark drap down—­
          Mr. Mole, he hide in de groun’.

The simple and the sincere.  The child’s taste for the simple and the sincere is one reason for the appeal which Andersen’s tales make.  In using his stories it is to be remembered that, although Andersen lacked manliness in being sentimental, he preserved the child’s point of view and gave his thought in the true nursery story’s mode of expression.  Since real sentiment places the emphasis on the object which arouses feeling and the sentimental places the emphasis on the feeling, sincerity demands that in using Andersen’s tales, one lessen the sentimental when it occurs by omitting to give prominence to the feeling.  Andersen’s tales reflect what is elementary in human nature, childlike fancy, and emotion.  His speech is characterized by the simplest words and conceptions, an avoidance of the abstract, the use of direct language, and a naive poetic expression adapted to general comprehension.  He is not to be equaled in child conversations.  The world of the fairy tale must be simple like the world Andersen has given us.  It must be a world of genuine people and honest occupations in order to form a suitable background for the supernatural.  Only fairy tales possessing simplicity are suited to the oldest kindergarten child of five or six years.  To the degree that the child is younger than five years, he should be given fewer and fewer fairy tales.  Those given should be largely realistic stories of extreme simplicity.

Unity of effect.  The little child likes the short tale, for it is a unity he can grasp.  If you have ever listened to a child of five spontaneously attempting to tell you