cannot tell their children stories, and who, having an appreciation of their mother English, want their children to hear stories, not only told by themselves rather than by their servants, but also told in the best literary form possible. They recognize that these earliest years, when the child is first learning his language, are the years for a perfection of form to become indelibly impressed. The fairy tale, like every piece of literature, is an organism and "should be put before the youngest child with its head on, and standing on both feet." The wholesale re-telling of every tale is to be deplored. And stories which have proved themselves genuine classics, which have a right to live, which have been handed down by tradition, which have been preserved by folk-lore records, and which have been rescued from oblivion,—in this age of books should have a literary form, which is part of their message, settled upon them. The Grimm tales await their literary master.
III. THE FAIRY TALE AS A SHORT-STORY
The fairy tale, then, which in an objective sense, from the standpoint of literature, has proved itself subject-matter of real worth, must be a classic, must have the qualities of mind and soul, must possess the power to appeal to the emotions, a power to appeal to the imagination, and it must have a basis of truth and a perfection of form. But in addition to possessing these characteristics, because the fairy tale
