skill in expression in construction, in the game, in song, in dance, and in speech, the parts these contribute to the play will show a more perfected form.  Each expression by the child grows new impressions, gives him new sensory experiences.  Perhaps if the high school would realize the possibilities in a fairy tale such as Beauty and the Beast, work it up into really good artistic form, and play it for the little children, much would be gained not only towards good form in dramatics, in both the elementary school and the high school, but towards unifying the entire course of literature from the kindergarten to the university.  Using Crane’s picture-book as a help, they might bring into the play the beauty of costume and scenery, the court-jester, and Beauty’s pages.  Into the Rose-Garden they might bring a dance of Moon Fairies, Dawn Fairies, Noon, and Night who, in their symbolic gauzy attire, dance to persuade Beauty to remain in the Beast’s castle.  There might be singing fairies who decorate the bushes with fairy roses, and others who set the table with fairy dishes, singing as they work:—­

     See the trees with roses gay. 
     Fairy roses, fairy roses, etc.

Elves and Goblins might surround the Beast when dying.  The change of scene from the simple home of Beauty to the rich castle of the Beast, and the change of costume, would furnish ample opportunity for original artistic work from older students.  For the little child it is good to see the familiar dignified with art and beauty; and for the older student the imagination works more freely when dealing with rather simple and familiar elements such as the folk-tale offers. Cinderella, like Beauty and the Beast, offers abundant opportunity to the high school student for a play or pantomime which it would be good for the little people to see.  The stately minuet and folk-dances of different peoples may be worked into the ball-scene.  And here, too, the beautiful picture-books will suggest features of costume and scenery.

(2) Dramatization may develop boldness in a child.The tendency is to use children with good dramatic ability continually for leading parts, even when the children choose the parts.  This fault may be counteracted by distinguishing between work for growth and one or two rather carefully prepared plays to be given on special occasions.  It is also counteracted by looking well to the social aspect of the play, by introducing features such as the song, dance, or game, where all have a part, or by adding attractive touches to less important parts, so that while a character may still be leading it will have no reason to feel over-important.  This danger is not prominent until after the first grade.

(3) Dramatization may spoil some selections.  Beautiful descriptions which make a tale poetic are not to be represented, and without them a tale is cheapened.  Such is the case with The King of the Golden River and The Ugly Duckling.  Care should be exercised to choose for dramatization only what is essentially dramatic and what is of a grade suited to the child.  Tales suited to the little child are largely suited for dramatization.