The setting in this story is a table in a sitting-room and the playthings on the table.  The characters are two playthings.  After the first telling of this story the child naturally would like to represent it.  The story has made his playthings come alive and so he would like to make them appear also.  This is a tale in which representation, after the first telling, will give to the child much pleasure and will give him a chance to do something with it cooperatively.  He can reproduce the setting of this tale upon a table in a schoolroom.  Each child could decide what is needed to represent the story and offer what he can.  One child could make the yard outside the castle of green blotting-paper.  Another child could furnish a mirror for the lake, another two toy green trees, one two wax swans, one a box of tin soldiers, another a jack-in-the-box, while the girls might dress a paper doll for a tinsel maid.  The teacher, instructed by the class, might make a castle of heavy gray cardboard, fastening it together with heavy brass paper-fasteners and cutting out the door, windows, and tower.  It is natural for children to handle playthings; and when a story like this is furnished the teacher should not be too work-a-day to enter into its play-spirit.  After the representation objectively, the re-telling of the tale might be enjoyed.  The child who likes to draw might tell this story also in a number of little sketches:  The Jack-in-the-box, The Window, The Boat, The Rat, The Fish, and The Fire.  Or a very simple little dramatic dance and song might be invented, characterized by a single mood and a single form of motion, something like this, sung to the tune of “Here we go round the mulberry bush, etc":—­

Here we come marching, soldiers tin, soldiers tin, soldiers tin,
Here we come marching, soldiers tin,
On one leg steady we stand. 

          
                                                (Circle march on one leg).

This could easily be concluded with a game if the child who first was compelled to march on two legs had to pay some penalty, stand in the center of the ring, or march at the end of the line.

(h) Creative reaction as a result of listening to the telling of fairy tales, appears in its most varied form of artistic expression in free play and dramatization.  It is here that the child finds a need for the expression of all his skill in song and dance, construction, language, and art, for here he finds a use for these things.

In free play the child represents the characters and acts out the story.  His desire to play will lead to a keenness of attention to the story-telling, which is the best aid to re-experiencing, and the play will react upon his mind and give greater power to visualize.  Nothing is better for the child than the freedom and initiative used in dramatization, and nothing gives more self-reliance and poise than to act, to do something.—­We