a.  The establishment of the personal relation
between the teacher and the listener 108

b.  The placing of the story in a concrete
situation for the child 110

c.  The consideration of the child’s aim in
listening, by the teacher in her preparation 112

6.  The telling of the tale 112

a.  The re-creative method of story-telling. 
Illustrated by a criticism of the telling of
The Princess and the Pea 114

b.  The re-creative method illustrated by The
Foolish, Timid Rabbit 116

7.  Adaptation of the fairy tale.  Illustrated by
Thumbelina and by The Snow Man 118

III.  The return from the child 119

Story-telling as one phase of the art of teaching. 
Introductory 119

1.  Teaching as good art and as great art; and
fairy tales as subject-matter suited to
accomplish high purposes in teaching 120

2.  The part the child has to play in story-telling 121

3.  The child’s return, the expression of his
natural instincts or general interests 125

1.  The instinct of conversation 125

a.  Language expression, oral re-telling 125

b.  The formation of original little stories 126

c.  Reading of the tale a form of creative
reaction 127

2.  The instinct of inquiry 127

a.  Appeal of the folk-tale to this instinct 128

b.  The instinct of inquiry united to the instinct
of conversation, of construction, and of
artistic expression, illustrated 128

3.  The instinct of construction 129

a.  Clay-modelling 129

b.  Construction of objects 129

4.  The instinct of artistic expression 130

a.  Cutting of free silhouette pictures. 
Illustrated 130

b.  Drawing and crayon-sketching.  Illustrated 132

c.  Painting.  Illustrated 132

d.  Song.  Illustrated 133

e.  Dance, rhythm plays.  Illustrated 134

f.  Game.  Illustrated 135

g.  Representation of the fairy tale.  Illustrated
by The Steadfast Tin Soldier 135

h.  Free play and dramatization 138

1) Virtues of dramatization 138

a) It develops voice 138

b) It gives grace of movement 138