(3) Preserve a simplicity of plot and simple language.

In shortening a long story one may: 

     (1) Eliminate secondary themes.

     (2) Eliminate extra personages.

     (3) Eliminate passages of description.

     (4) Eliminate irrelevant events.

It has been the practice to adapt such stories as Andersen’s Ugly Duckling and Huskin’s King of the Golden River.  In the King of the Golden River the description of Treasure Valley could be condensed into a few sentences and the character of South West Wind omitted; and in The Ugly Duckling, passages of description and bits of philosophy might be left out.  But there is no reason why literature in the elementary school should be treated with mutilation.  These stories are not suited to the kindergarten or first grade and may be reserved for the third and fourth grades where they may be used and enjoyed by the children as they are.  Andersen’s Thumbelina might be adapted for kindergarten children because it is suitable for them yet it is very long.  It could easily be analyzed into its leading episodes, each episode making a complete tale, and one or more episodes be told at one time.  This would have the added attraction for the child of having one day’s story follow naturally the preceding story.  Adapted thus, the episodes would be:—­

     (1) Thumbelina in her Cradle.

     (2) Thumbelina and the Toad.

     (3) Thumbelina and the Fishes.

     (4) Thumbelina and the Cockchafer in the tree.

     (5) Thumbelina and the Field-Mouse.

     (6) Thumbelina and the Mole.

     (7) Thumbelina and the Swallow.

     (8) Thumbelina as Queen of the Flowers.

Andersen’s Snow Man as adapted for the kindergarten would require the episode of the lover omitted.  It is irrelevant, not essential to the story, and is an illustration of the sentimental, which must be omitted when we use Andersen.  To omit this episode one would cut out from “‘That is wonderfully beautiful,’ said a young girl,” to the end of “‘Why, they belong to the Master,’ retorted the Yard Dog.”

III.  THE RETURN FROM THE CHILD[2]

The telling of the fairy tale is one phase of the teacher’s art.  And it is maintained that fairy tales are one portion of subject-matter suited to accomplish the highest greatness of the teaching art.  For teaching is an art, an art of giving suggestions, of bearing influences, of securing adjustments, an art of knowing the best and of making it known.  The material the artist works upon is the living child.  The medium the artist uses is subject-matter.  In the process the artist must ask, “What new connections or associations am I establishing in the child?” “To what power of curiosity and of problem-solving do these connections and associations