(d) It is a little difficult to get down to the simplicity of the little girl who will play her own tune upon the piano and sing to it just the number of the house in which she lives, repeating it again and again.  But the child can compose little songs that will please him, and he can use, too, in connection with the tales, some of the songs that he knows.  The first-grade child could work into Snow White and Rose Red, “Good morrow, little rosebush,” and into Little Two-Eyes a lullaby such as “Sleep, baby, sleep.”  Later in Hansel and Grethel he may learn some of the simple songs that have been written for Hansel and Grethel to sing to the birds when they spend the night in the wood.  In Snow White he may learn some of the songs written for the children’s play, Snow White.  In connection with music, the kindergarten child learns to imitate the sounds of animals, the sound of bells, whistles, the wind, etc.  All this will cause him to react, so that when these occur in his stories he will want to make them.

(e) One of the forms of creative reaction possible to the child as a variety of expression, which has received attention most recently, has been handled by Miss Caroline Crawford in Rhythm Plays of Childhood; and by Miss Carol Oppenheimer in “Suggestions Concerning Rhythm Plays,” in the Kindergarten Review, April and May, 1915.  Here again the fairy tales cannot be excelled in abundant situations for rhythm plays.  The sea, the wind, the clouds, the sun, the moon, the stars—­all nature is rich in suggestion of rhythms.  The social situations furnish the rhythm of simple housekeeping tasks.  In Snow White and Rose Red there are the rhythms of fishing and of chasing animals.  In The Elves we have the rhythm of shoe-making and in The Straw Ox, the rhythm of spinning.  The story of Thumbelina, after its eight episodes have been re-told by the children, might very attractively be re-told in eight rhythms, each rhythm expressing a single episode.  And for the oldest children, a union of the oral re-telling by individual children with the retelling in rhythms by all the children, would give much pleasure and social exhilaration.  Thumbelina in her Cradle, Thumbelina and the Toad, Thumbelina and the Swallow and Thumbelina as Queen of the Flowers—­these at once suggest a cradle rhythm, a toad rhythm, the flight of birds, and a butterfly dance.  Because the rhythm is a lyric form it must be remembered that the part of a story suited to a rhythm play is always a part characterized by a distinct emotional element.  In the performance of rhythm plays the point is to secure the adjustment of music, motion, and idea.