each part drew attention to the visualization of that part. Each hesitation on behalf of a student telling a part, led the class to fill in the details for themselves, and impressed the remembrance of the exact words of the author. This resulted in the mastery of each part through a visualization of it. Hand in hand with the visualization came the feeling aroused by the realization. This was more easily mastered because changes of feeling were noticeable in passing from one part of the story to another.
After a mastery of the structure of the story through analysis, after a mastery of the thought, imagination, and feeling of the story, after a mastery of the form, and the exact words of the author in the description of details embodied in that form, the story is possessed as the teller's own, ready to be given, not only to bestow pleasure, as in this case, but often to transmit a message of worth and to preserve a classic form.
The Foolish Timid Rabbit, a Jataka tale, might be prepared for telling by this same re-creative method of story-telling. It must be remembered—and because of its importance it will bear repetition,—that the separation of the story-structure into parts for separate telling should always be in harmony with the divisions of the plot so that there may be no departure from the author's original mode of thinking, and no break in the natural movement of sequence. A separation of the tale into parts for re-telling would result in the following analysis:—
(1) Rabbit asleep under a palm tree . . . to his meeting hundreds of Rabbits.
(2) Rabbits met a Deer . . . to when the Elephant joined them.
(3) Lion saw the animals running . . . to when he came to the Rabbit who first had said the earth was all breaking up.
(4) Lion asked the Foolish Rabbit, 'Is it true the earth is all breaking up,' . . . to end of the story, 'And they all stopped running.'
