stooped body, his fox smooth and sly, his wolf snarling, his giant, as said before, big-voiced and ponderous. He can hardly fail to catch the steely high voice and proud manner Hans Andersen intended for the vain but delightful Darning Needle.
After, as a rule, pausing to give effect to the climax of the action, the story-teller passes in many stories to a brief but clear explanation of enchantment, and winds up the whole happily, leaving the child supremely pleased.
(3) Controlling canons of the story-teller's part. Some of the chief canons governing the story-teller are directness, spontaneity, graphicness, reserve, skill in the use of the voice, simplicity.
Directness is the principle of immediateness, by virtue of which story and listener are brought into contact. It has its roots in the social and magnetic nature of the art. In its fullest sense it is comprehensive of all the other canons.
Directness concerns both the outer and the inner self of the story-teller.
The part played by the outer self is simple. Before beginning his story the story-teller should "go to" and "gather" his listeners. He does this by assuming the physical position and mental attitude of communicator. A person who has anything to tell another that he thinks will move or please
