Page:A Study of Fairy Tales.djvu/321

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OUTLINE
297
    b. Gesture begins in the face 106
    c. Hands and arms lie close to the body in controlled emotion 106
  4. A power of personality 106
  5. Suggestions for telling 107
    a. The establishment of the personal relation between the teacher and the listener 108
    b. The placing of the story in a concrete situation for the child 110
    c. The consideration of the child's aim in listening, by the teacher in her preparation 112
  6. The telling of the tale 112
    a. The re-creative method of story-telling. Illustrated by a criticism of the telling of The Princess and the Pea 114
    b. The re-creative method illustrated by The Foolish, Timid Rabbit 116
  7. Adaptation of the fairy tale. Illustrated by Thumbelina and by The Snow Man 118
III. The return from the child 119
  Story-telling as one phase of the art of teaching. Introductory 119
    1. Teaching as good art and as great art; and fairy tales as subject-matter suited to accomplish high purposes in teaching 120
    2. The part the child has to play in story-telling 121
    3. The child's return, the expression of his natural instincts or general interests 125
  1. The instinct of conversation 125
    a. Language expression, oral re-telling 125
    b. The formation of original little stories 126
    c. Reading of the tale a form of creative reaction 127
  2. The instinct of inquiry 127
    a. Appeal of the folk-tale to this instinct 128
    b. The instinct of inquiry united to the instinct of conversation, of construction, and of artistic expression, illustrated 128
  3. The instinct of construction 129