- ing strength. The essence of dramatization is sensible
actualization, the essence of story-telling is imaginative suggestion. The story tells, yet leaves to the listener exhaustless discovery. At each re-*telling the story allures the listener's imagination to catch added import. The listener maturing into the adult may penetrate a specific detail in the child-*like allegory and uncover a symbol of everlasting life, eternal youth or truth or beauty, and having found it, he can never with listening exhaust the depths of it. Is it fanciful to conjecture whether it be some response to this imperishable integrity that urges children to demand the same tale over and over again? Psychology has discerned in them wiseacres learning the realities of life through play. Why not also through story?
Dramatic suggestion as an aid to language and subordinate to it is, however, in place. It was indulged in freely by primitive story-tellers. Children use it instinctively. Hint of happening, by show of action; or glimpse of character, by posture, facial expression, suggestion in tone, is sufficient. Such hint at once makes the situation or character plain to the imagination. The queen in Hans Andersen's "Princess on the Pea," for example, is well brought into the story by the story-teller's taking on a look of shrewdness, with perhaps shaking of the
