begins variously with “Once upon a time”, or, “Long, long ago”; or, “Did you ever hear of the golden apples?” etc.—­Hawthorne has been omitted in this book because, so far as I can discover, he furnishes no tale for the kindergarten or first grade.  His simplest tale, Midas and the Golden Touch, properly belongs in the second grade when told; when read, in the fourth grade.—­The introduction, in whatever form, should be simple and to the point.  It should give the time and place and present the characters; and if good art it will be impatient of much preliminary delay.  The great stories all show a rise of interest culminating in one central climax; and after that, sometimes following on its very heels, the conclusion where poetic justice is meted out.  This climax is a very important feature in the tale, so important that it has been said, “The climax is the tale.”  It is the point where interest focuses.  It makes the story because it is where the point of the story is made.  In a good story this point always is made impressive and often is made so by means of surprise.  The conclusion must show that the tale has arrived at a stopping place and in a moral tale it must leave one satisfied, at rest.

If the folk-tale is good narration, in answer to the question, “What?” it will tell what happened; in answer to the question, “Who?” it will tell to whom it happened; in answer to the question, “Where?” it will tell the place where, and the time when, it happened; and in answer to the question, “Why?” it will give the reason for telling the story, it will give the message, and the truth embodied in its form.  As narration the tale must have truth, interest, and consistency.  Its typical mood must be action and its language the language of suggestion.  This language of suggestion appears when it shows an object by indicating how it is like something else; by telling what we feel when we see the object; and by telling what actions of the person or object make it hateful or charming.  We learn to know Andersen’s Snow Man through what the Dog says of him.

Description, in the sense of a static, detailed delineation of various qualities of objects, has no place in the child’s story, for it bores the child, who is very persistent in wanting the main theme uninterrupted.  But description that has touches of movement and action or that lays emphasis on a single effect and has point, distinctly aids visualization, and produces a pleasing result, as we have seen in Kipling’s Elephant’s Child.  The young child of to-day, trained in nature study to look upon bird, tree, and flower with vital interest, to observe the color and the form of these, gains a love of the beautiful that makes him exclaim over the plumage of a bird or tint of a flower.  To him beauty in the tale must make a direct appeal which the child unfamiliar with these things might not feel. The Wonderful Adventures of Nils makes an appeal to the modern child which could not possibly have been felt by the child living before 1850.  The modern child brought up on phonics is sensitive to sound also, and open to an appreciation of the beauty of the individual word used in description.  This description, when it occurs, should be characterized mainly by aptness and concreteness.