A student-teacher, in telling a story to a group of kindergarten children who were complete strangers, and telling it to them as they sat in a semicircle in front of her comrades, adult students, established this personal relation by beginning to tell the little children her experience with the first telling of Three Bears to a little girl of four:—­Seated before a sand-box in the yard, after hearing the story of Three Bears, M——­ had been asked, “Wouldn’t this be a good time for you to tell me the story?” In reply, she paused, and while the story-teller was expecting her to begin, suddenly said, “Do you think M——­’s big enough for all that?” and refused to tell a word.  Then turning to the group before her, the student-teacher made the direct appeal.  “But you are the biggest little people in the kindergarten, and you wouldn’t treat a story like that, would you?” The children, through the personal picture of friendly story-telling with a little child, that paralleled their own situation somewhat, immediately felt at home with the teller; it was just as if they were the same intimate friends with her that the little girl portrayed to them was.  The human bond of good comradeship and intimacy was established.  In the direct appeal at the end, the children were held up to an ideal they dare not disappoint, they must live up to their size, be able to get the story, and be the biggest little people in the kindergarten by showing what they could do with it.  Again there was an undefined problem thrown at them, as it were—­an element of wonder.  They did not know just what was coming and they were mentally alert, waiting, on the lookout.  The way for the story was open.—­This is what you want, for no matter how perfect a gem of folk-lore you tell, it will fall heedless if the children do not listen to it.

The second step in the art of story-telling is one which grows naturally out of this first step.  This second step, to put the story in a concrete situation for the child, to make the connection between the child and the literature you present, is the one which displays your unique power as an artist.  It is the step which often is omitted and is the one which exercises all your individual ability and cleverness.  It is the step which should speak comfort to the eager teacher of to-day, who is compelled to stand by, Montessori fashion, while many changing conceptions say to her:  “Hands off!  It is not what you do that helps the child develop; it is what he himself does!” Here at least is one of the teacher’s chances to act.  This step is the opening of the gateway so that the story you are about to tell may enter into the thoughts of your listeners.  It is your means to organize the tale in the child’s life.  If in the school program you permit nature study, representing the central interest, to occupy the place of main emphasis, and if the game, occupation, and song work is related to the child’s life, this organization of the child’s tale in his life will be accomplished naturally.