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diff --git a/old/63750-0.txt b/old/63750-0.txt deleted file mode 100644 index 7c91275..0000000 --- a/old/63750-0.txt +++ /dev/null @@ -1,3749 +0,0 @@ -The Project Gutenberg EBook of The Story Tellers' Magazine, Vol. I, No. 2, -July 1913, by Various - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Story Tellers' Magazine, Vol. I, No. 2, July 1913 - -Author: Various - -Editor: Richard T. Wyche - -Release Date: November 14, 2020 [EBook #63750] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK STORY TELLERS' MAGAZINE, JULY 1913 *** - - - - -Produced by hekula03, Les Galloway and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -book was produced from images made available by the -HathiTrust Digital Library.) - - - - - - - Transcriber’s Notes - -Obvious typographical errors have been silently corrected. Variations -in hyphenation and all other spelling and punctuation remains unchanged. - -There are several ornamental borders within the magazine. These have -been omitted. The more substantial illustrations, without captions, have -been briefly described. - -Italics are represented thus _italic_, and bold thus =bold=. - - - - - The Story Tellers’ - Magazine - - Volume 1 =July= Number 2 - - [Illustration: Knight on horseback] - - King Arthur Series Begins - The Storytellers’ Company, New York - - - - - =Speed= is essential in a typewriter - =Accuracy= is a requirement of speed - =Stability= insures continued efficiency - - The - UNDERWOOD - and the - Underwood - alone - possesses these features - - Here is the proof—the International Typewriter Records - - Year Winner Net words Machine used - 1912 Florence E. Wilson 117 per minute =UNDERWOOD= - 1911 H. O. Blaisdell 112 ” =UNDERWOOD= - 1910 ” ” 109 ” =UNDERWOOD= - 1909 Rose L. Fritz 95 ” =UNDERWOOD= - 1908 ” ” ” 87 ” =UNDERWOOD= - 1907 ” ” ” 87 ” =UNDERWOOD= - 1906 ” ” ” 82 ” =UNDERWOOD= - - “_The Machine You Will Eventually Buy_” - - Underwood Typewriter Company, Inc. - - Underwood Building New York - Branches in all principal cities - - - DESIGNING ∴ PHOTO-ENGRAVING ∴ COLOR - PLATE MAKING ∴ _for_ - MAGAZINES — BOOKS - POST CARDS — ETC. - - M. MOTT 365 OCEAN AVENUE, BROOKLYN, NEW YORK - - - - - The Storytellers’ Magazine - - Richard T. Wyche, Editor - - - Contents - - - PAGE - - The Storytellers’ Bequest to all Boys and Girls 59 - - King Arthur’s Tomb, Innsbruck _Frontispiece_ - - The Story of King Arthur—In Twelve Numbers. First Number: - Merlin and His Prophecies 61 - - Beethoven’s Moonlight Sonata 72 - - A Rose from Homer’s Grave 77 - - The Image in Story Telling _Percival Chubb_ 79 - - Endymion _Frederick A. Child_ 82 - - The Story of St. Christopher _R. T. Wyche_ 85 - - The Story of England’s First Poet _George Philip Krapp_ 90 - - The Uncle Remus’ Stories _Josephine Leach_ 94 - Their Evolution and Place in the Curriculum. - - The Three Goats _Jessica Childs_ 97 - - Story Telling in Washington, D. C. _Marietta Stockard_ 99 - - Story Telling for Camp Fire Girls _Ellen Kate Gross_ 101 - - The Play Spirit in America _R. T. Wyche_ 103 - - What The Leagues Are Doing 106 - - From the Editor’s Study 107 - - From the Book Shelf 112 - - Directory of Story Tellers’ Leagues 115 - - The Business Manager’s Story 119 - - - =Published Monthly= [Except August] - - 27 West 23d St., New York, N. Y. - - BY - - THE STORYTELLERS’ COMPANY - - R. T. WYCHE, _Pres._ E. C. DE VILLAVERDE, _Secty._ - H. D. NEWSON, _Treas._ - - 27 West 23d Street - -=Subscr. $1.00 per year= Copyright 1913, by =10 cents the copy= - The Storytellers’ Company - - - - -[Illustration: Angel holding sword - - “_TONGUES in trees, books in the running brooks, - Sermons in stones, and good in every thing._”] - - - - -[Illustration: Angel] - - The Storytellers’ Bequest to all Boys and Girls - - -¶ _To all girls and boys, but only for the time of their childhood, -the flowers of the field, the blossoms of the wood, with the right to -play among them freely, according to the custom of children, warning -them at the same time against thistles and thorns. We give to them the -banks of the brooks and the golden sands beneath the waters thereof, -and the odors of the willows that dip therein and the white clouds that -float over the giant trees, and we leave to the children the long, long -days to be merry in a thousand ways and the night and the moon, and the -train of the milky way to wonder at._ - -¶ _We give to all boys all idle fields and commons, where ball may be -played, all pleasant waters where one may swim, all snowclad hills -where one may coast, and all streams and ponds where one may fish, or -where, when grim winter comes, they may skate, to have and to hold the -same for the period of their boyhood. And to all boys, all boisterous -inspiring sports of rivalry and the disdain of weakness, and undaunted -confidence in their own strength. We give the powers to make lasting -friendships and of possessing companions, and to them exclusively we -give all merry songs and brave choruses to sing with lusty voices._ - -¶ _And to all girls the yellow fields and green meadows with the clover -blossoms and butterflies thereof, the woods with their appurtenances, -the squirrels and birds and echoes and strange noises, and all distant -places which may be visited, together with the adventures there to be -found._ - -¶ _And to all children wheresoever they may be, each his own place at -the fireside at night with all the pictures that may be seen in the -burning wood, to enjoy without hindrance, and without any encumbrance -of care, and to them also we give memory, and to them the volumes -of the poems of Burns and Shakespeare and of other poets and their -imaginary world, with whatever they may need, such as the red roses -by the wall, the bloom of the hawthorn, the sweet strains of music, -and the stars of the sky, to enjoy freely and fully without tithe or -diminution until the happiness of old age crown them with snow._ - - By Williston Fish (_Adapted_) - - -[Illustration: King Arthur’s Tomb, Innsbruck - - “_That Arthur who with lance in rest, - From spur to plume a star of tournament, - Shot thro’ the lists of Camelot, and charged - Before the eyes of ladies and of Kings._” - - —Tennyson.] - - - - - The Storytellers’ - Magazine - - - VOLUME 1 JULY, 1913 NUMBER 2 - - “_Heaven lies about us in our infancy_” - - - - - “_In tholde dayes of the King Arthur, - Of which the Britons speke great honour - All was this land fulfilled of faery._” - —_The Canterbury Tales._ - - The Story of King Arthur - - (_In Twelve Numbers_) - - By Winona C. Martin - - After the last story is told (the Passing of Arthur), and the children - standing with Sir Bevidere upon the highest crag of the jutting rock, - see the warrior King pass with the three tall queens in the dusky - barge beyond the limits of the world, they too, wonder gazing on the - splendor of his Passing. Though defeated in the last weird battle - in the west, yet he was victorious in his ideals, for he became the - spiritual King of his race. - - “From the great deep to the great deep he goes.” The children hear but - do not quite understand—it is the better for that because something - of the mystery of life and death is awakened in the child. In that it - serves its highest purpose. It helps the child to realize that there - are things in life that eye have not seen nor ear heard, and let it - not be forgotten that while we use these great stories for formal - work, the formal is always the result of the creative. - - “The letter killeth; the spirit giveth life.” Thus it is that child - and teacher leave the low plains of the “lesson hearer” and hand in - hand walk the upland pastures of the soul.—ED. - - - I. Merlin and His Prophecies - -Once, in those dim, far off times when history fades away and is lost -in the mists of tradition, there sat upon the throne of Britain a man -named Vortigern. Like many another king of his day—and of later days -for that matter, he had no right whatever to the crown, for he had -gained it by the betrayal of a trust, and, some believed, by a still -darker crime. Constantine, his overlord, who had reigned in Britain -before him, had, at his death, committed to this Vortigern, his chief -minister, the care of his three sons, Constans, the heir, and his -two brothers Pendragon and Uther. Soon after the King’s death little -Constans had mysteriously disappeared. Then the true friends of the two -remaining princes, fearing for their lives, had fled with them across -the sea and found refuge for them at the court of France. - -All this, however, was now many years ago; and so long had Vortigern’s -right to rule been unquestioned that he had almost forgotten his crime. - -In the early days of his reign he had indeed fought valiantly against -the only enemies that the Britons had at that time greatly to fear. -These were the tall, fair-haired, blue-eyed Saxons who came from beyond -the seas led by Hengest and Horsa. But as the years had passed, he and -his warriors had given themselves up more and more to lives of luxury -and idleness, so that at last they had been obliged to make a shameful -peace with the enemy, and the Saxons were now gradually becoming -masters of the land. - -It so happened, therefore, that on the day when our story opens, King -Vortigern had gathered his court about him in his capital city of -London, there to hold a high festival, and in feasting and carousing to -forget the disgrace of their surrender and the ills of the country. - -Suddenly, up to the castle gate, through the great portal, along the -wide corridors, and into the very banquet-hall itself, never stopping -to dismount, rode a breathless messenger. - -“To arms! Sir King, to arms!” he cried, waiting for no ceremony. -“Pendragon and Uther have this day set sail from the coast of France -with a mighty army, and they have sworn by a great oath to take your -life as you took the life of their brother Constans!” - -Then the King remembered, and his face went ashen grey. He turned to -one after another of the men who should have been his mighty warriors, -and, reading in their flabby cheeks and lustreless eyes the story of -their slothful living, knew that his cause was well-nigh lost before -the fighting began. - -“Summon my messengers!” he was able to say at last, and when these were -brought before him: - -“Ride! into every corner of my kingdom, ride! And call together the -most skillful artificers, craftsmen and mechanics, for I have a great -work for them to do.” - -Within a week the messengers on their fleet horses had scoured the -land, so that there stood before the King a hundred of the best workmen -that Britain could produce. - -“Now hear my command,” said he. “On the plain that lies furthest west -in my kingdom build me a tower whose walls shall be so firm as to -withstand all assault of catapult and battering-ram; and have it ready -for my retreat within a hundred days, or your lives, to the last man, -shall be forfeited.” - -The workmen left the presence of the King with fear in their hearts; -but to such good purpose did they labor that within a few days there -began to be visible upon the plain the jagged outlines of the walls -that were to enclose that mighty tower. Then the weary workmen, for the -first time feeling assured that they could accomplish their task within -the hundred days, lay down for the night and were soon fast asleep. - -With the first pale glimmer of dawn, however, they arose ready to -return to their labors with renewed energy. But what a sight met their -eyes! The tower lay in ruins! The walls had fallen during the night! - -Then with the strength of terror they fell upon their task once more. -When the second morning came they turned their gaze half in hope and -half in dread toward the scene of their labors, only to have their -worst fears confirmed. Once again there lay before them but a heap of -ruins! - -“We must use larger stones,” said one. - -“We have no time to talk,” put in a second. “If our lives are to be -spared we must work as we never worked before.” - -So all through the long hours of the day they toiled in silence and in -dread until the damage of the night had been repaired, only to find -when morning came that, for the third time, their tower had crumbled to -the ground. - -“This is enchantment!” they then cried in despair. “We cannot build -the tower. Let us go and throw ourselves before the King to plead for -mercy!” - -But when Vortigern, with his guilty conscience, heard that word -“enchantment,” a greater dread fell upon his heart. - -“Lead out these useless artificers,” he thundered, “and summon my wise -men.” - -And presently the great doors of the throne-room were thrown open and, -one by one, in solemn procession, trailing their black robes, the -astrologers, the wizards and the magicians of the realm filed in, until -they stood in a silent semi-circle before the King. - -At last Vortigern raised his eyes. - -“Tell me,” he said gloomily, “tell me, O my Wise Men, as you hold in -your possession all the secrets of this world, and of other worlds -unknown to ordinary mortals, tell me, I adjure you, why my tower of -refuge will not stand.” - -He ceased, and a deep silence fell upon the room. Wizard turned to -astrologer, and astrologer to magician, for each knew in his heart that -he could give no answer to the question of the King. - -At last the oldest man present stepped forward and bowing low, began to -speak in deep and solemn tones: - -“Your Majesty,” said he, “give us we pray you until tomorrow at -high noon. This night shall the wizards work their spells and the -astrologers consult the stars in their courses. Then shall we be able -to tell you why your tower will not stand.” - -“Let it be so,” replied the King, “but also let it be well understood -that if at high noon tomorrow you are still unable to answer, your -lives shall pay the penalty, even as the lives of my workmen shall pay -the penalty if they do not raise my tower within the hundred days. Fail -me not, my Wise Men!” - -That night, far down in the deepest dungeons of the castle, the -wizards gathered together about a steaming cauldron, vainly chanted -their incantations and worked their magic spells, while on the highest -battlements, the black-robed astrologers watched the stars from evening -until morning; but when the day-star itself faded from their sight in -the paling blue of dawn, they were no wiser than at the beginning of -their vigil. - -“What shall we do?” they cried to one another in consternation when the -two companies of watchers had met to report their failures. - -“Hush! Speak low!” whispered the Sage. “We must pretend. It is the only -way to save ourselves. I have a plan.” - -And as they gathered about him he continued: - -[Illustration: “_He had fought valiantly against the enemies_”] - -“You all know the prophecy—that a child who never had mortal parents -shall soon appear among us, and that he shall be able to read more -in the stars than the wisest of our astrologers, that he shall be a -greater magician than the greatest of us, and that through him we shall -lose our power and pass away?” - -“Ah! yes, we have heard,” they answered, shaking their white heads -mournfully. - -“That child,” continued the Sage, “is living somewhere in Britain at -this very moment, and his name is Merlin. Let us tell the King that his -tower, to make it stand, needs but the blood of this child sprinkled -upon its foundations. So shall we by the same act save our lives and -rid ourselves of one who otherwise will surely work us harm.” - -Then the Wise Men bowed their heads and answered: - -“You have spoken the words of wisdom.” - -So at high noon that day, when they were once more gathered about the -throne, they gave their answer: - -“Seek, your Majesty,” said they, “a child named Merlin who never had -mortal parents. Sprinkle his blood upon the foundations of your tower. -Then will it stand until the end of time.” - -Thereupon the King summoned his messengers and gave the order: - -“Ride! into every town, village and hamlet of my kingdom, ride! -And seek this child until you find him; but know that if he is not -brought to me within ten days, your lives shall be forfeited, and not -yours alone, but also the lives of my Wise Men for giving me useless -knowledge, and the lives of my workmen for doing useless work! Ride!” - -Then out from old London Town, north and south and east and west, up -hill and down dale, over mountains and across rivers, rode the King’s -messengers on their strange quest. One day, two days, three, four, five -and six days, seven days, eight days; and when the ninth day came two -of them found themselves far from home, riding through the street of a -tiny hamlet. - -“What is the use of seeking further?” said one. “For my part I do not -believe, for all the Wise Men say, that there ever was or ever could be -such a child.” - -“I fear you are right,” replied his companion, “we may as well give up -the search and flee for our lives.” - -As he spoke the last words, however, the men were obliged to draw rein -lest their horses should trample upon a crowd of children who were -quarreling in the narrow street. One urchin had just given another a -sharp blow across the face, whereupon his victim was proceeding to -vent his rage in words that immediately arrested the attention of the -messengers. - -[Illustration: “_Wizard turned to astrologer_”] - -“How dare _you_ strike _me_?” he was screaming at the top of his shrill -little voice. “You who came nobody knows from where, and who never had -a father or a mother!” - -In an instant one of the men had slipped from his horse. Then, having -seized both boys, he drew them aside that he might question them. Very -soon boys and men found themselves the centre of an interested group -of villagers each one of whom seemed more anxious than his neighbor to -give all the information that he happened to possess on the subject. - -“Yes, his name is Merlin,” said one, “and he was cast upon our shores -by the waves of the sea.” - -“Not at all!” interrupted another. “He was brought to our village in -the night by evil spirits.” - -And so it went, but the anxious messengers soon cut short their -eloquence. - -“If your name is Merlin,” said they to the lad, “and you do not know -who your father and mother are, you must come with us. It is the -command of the King.” - -“I am quite willing,” replied the boy with unexpected meekness. - -“Perhaps he would not be so willing,” whispered one under his breath to -his companion, “if he knew why he is wanted.” - -“I hear what you say,” Merlin broke in, “and what is more, I know -what you mean; but just the same, I am willing to go with you to King -Vortigern. In fact I struck the boy knowing what he would say and what -you would do; so you see I am not afraid.” - -On the tenth day after the departure of his couriers, the King sat -alone in his audience chamber. Suddenly the great doors were swung -wide, and a boy wearing the simple dress of a tiller of the soil -appeared before him. - -“Your Majesty,” said he, “I am Merlin, the child who never had father -or mother. You sent for me because your Wise Men have said that my -blood is needed to make your strong tower stand. They have told you an -untruth because they know nothing about the tower, and also because -they are my enemies. I ask only that you call them together so that I -can prove to you that what I say is so.” - -Then, at the astonished King’s command, the great bell of the castle -was tolled, and presently the black-robed astrologers, wizards and -magicians filed once again into the royal presence. - -“You may question my Wise Men now,” said the King to Merlin, “and save -yourself if you can.” - -“Tell us, then, O Prophets of King Vortigern,” cried the boy, “what -lies under the plain where the King has tried to build his tower.” - -Then the Wise Ones drew apart that they might take counsel together, -and presently the Sage stepped before the King and said: - -“Your Majesty, we are now ready to give our answer. We who have the -power to look deep into the bowels of the earth know well that beneath -the plain where you have sought to build your tower, should you dig -never so deep, you would find nothing but the good, brown soil of your -Majesty’s kingdom.” - -At this Merlin smiled and shook his dark curls. - -“You tell us, then,” said the King. - -“Let your workmen dig,” replied the boy, “and beneath the plain they -will find a deep pool.” - -And when the workmen had dug, they found, just as Merlin had -prophesied—a deep, dark pool beneath the plain. - -Then cried the King: - -“My Wise Men have been put to shame by this mere lad. His life shall be -spared; but they, for their deceit, shall be driven in disgrace from my -kingdom.” - -But Merlin interposed, saying: - -“Not yet, Sir King, I pray you. Let us have another test that you may -feel perfectly sure. Ask your Wise Men what lies under the pool that -lay under the plain where you sought to build your tower.” - -Again the Wise Ones talked together; and again because they knew not -what else to say, they gave the same answer: - -“Sir King, you will find good, brown earth beneath the pool that lay -beneath the plain where Your Majesty sought to build his tower.” - -“No, Sir King,” said Merlin. “Beneath the pool you will find two great -stones. Let your workmen drain the pool and see.” - -And when the pool was drained, there lay two immense boulders, just as -Merlin had said. - -“Truly this is a marvelous child,” exclaimed Vortigern. “Away with -my false prophets! From this time forth I will have no Wise Man but -Merlin!” - -“Stay, Your Majesty,” said Merlin. “Let there be one more test, then -no question can ever arise in your mind. Ask your Wise Men what lies -beneath the stones that lay beneath the pool that lay beneath the plain -where you sought to build your tower.” - -But this time the Wise Ones were wise enough to hold their peace. - -“Very well,” said Merlin, “then I will tell you. Beneath the stones you -will find two great dragons, one red, the other white. During the day -these monsters sleep, but at night they awaken and fight; and it was -because of their terrible underground battles that your tower could not -be made to stand. The night following the raising of the stones they -will fight for the last time; for the red dragon will kill the white -one, and after that, O Mighty King, you may build your tower in peace.” - -Then the Wise Ones trembled, and silently they followed the King and -Merlin across the plain to watch the fatal raising of the stones. - -When at last the mighty boulders had yielded to the combined strength -of all the workmen, there, before the eyes of the crowds that had -gathered, lay the two dragons—fast asleep. - -“Now send the people away,” said Merlin to the King, “but you and I -must stay here and watch, for at midnight the dragons will fight their -last battle.” - -And when the crowds had dispersed, and the Wise Men slunk away one by -one, Vortigern and the boy Merlin sat alone together on the brink of -the pool as the evening shadows fell. - -The air grew chill. Presently the moon arose, shedding its weird light -upon the strange scene; and still the dragons slept on. Toward midnight -Merlin leaned forward, and, lightly touching the King’s arm, whispered: - -“See! They are about to awaken. Make no noise!” - -Then slowly, and still drowsily, the great white dragon stirred and -opened his hideous eyes, while along his whole scaly body there ran a -shudder. This seemed to arouse the red monster from his dreams, for -before King Vortigern could draw breath, the two terrible creatures -had risen on their bat-like wings far above his head, and, with fire -streaming from their nostrils, were gnashing upon each other with their -fangs, and striking at each other with their ugly claws. - -For an hour or more the awful battle continued, sometimes far above -their heads, and sometimes perilously near them on the earth; and -it seemed to the King that neither would ever be able to gain an -advantage—so well were they matched. After a while, however, the white -beast began to show signs of weakening; and at last with a mighty -crash, he fell to the ground—dead. Then the red dragon spread his -wings, and with a strange hissing sound vanished into the shadows of -the night, never to be seen again by mortal eyes. - -“Tell me,” said the King when he could find sufficient voice to speak. -“Tell me, O wonderful boy that you are, what do these strange things -mean?” - -“I will tell you, O mighty King, without fear or favor,” replied -Merlin, “although I know full well that what I have to say will not -be at all to your liking. You may build your tower now, for there is -nothing to hinder you; and you may shut yourself up within its strong -walls. Nevertheless, Pendragon and Uther, the sons of King Constantine -whose trust you betrayed, and the brothers of the young heir Constans -whom you so cruelly murdered, have to-day landed on your shores with a -mighty army. Forty days and forty nights shall the siege continue, and -at the end of that time your tower shall be destroyed with every living -soul within its walls. - -“Then shall reign in Britain first Pendragon and afterwards Uther; and -all the days of their lives they shall war against the Saxon whom you, -Sir King, have brought to this land. The White Dragon stands for the -Saxon, and the Red Dragon for the Briton. Long and deadly shall be the -strife between them, but in the fulness of time there shall be born to -Uther a son whose name shall be called ARTHUR. He shall be the greatest -king that these Islands are destined ever to know. He and his wonderful -knights shall make war on the Saxon and drive him from the land. So -shall the mischief of your reign be repaired—for a season.” - -Then the King, still clinging to the shadow of his former hope, -hastened the building of his tower, and shut himself within its mighty -walls. Nevertheless, within forty days after the beginning of the -siege, having been driven back time and again, Pendragon and Uther, -counselled by Merlin, threw burning brands over the ramparts, so that -the tower took fire and burned with a mighty conflagration until all -within had perished. - -Thus was Merlin’s prophecy concerning Vortigern fulfilled; and as for -his other prophecies—that is another story. - - (_Number Two—“How Arthur Won His Kingdom”—will appear in the next - issue_) - - GLOSSARY FOR BEGINNERS - - 1. _Adjure_, to charge or entreat solemnly. 2. _Artificer_, one who - works or constructs with skill. 3. _Astrologer_, one who reads the - supposed destinies of men in the stars. 4. _Battering-ram_, a long - beam, usually with a heavy head, used in making breaches in walls. - 5. _Boulder_, a stone or rock. 6. _Catapult_, a military engine used - for throwing spears. 7. _Cauldron_, a large kettle or boiler. 8. - _Hamlet_, a small village. 9. _Incantations_, the saying or singing of - magical words for enchantment. 10. _Over-lord_, a king or chief who - held authority over other lords. 11. _Quest_, a search. 12. _Realm_, - a kingdom. 13. _Sage_, a wise man. 14. _Vigil_, a night watch. 15. - _Wizard_, one having the power of magic; a male witch. - - - - -[Illustration: _Beethoven_ - Reproduced by permission Braun et Cie.] - - Beethoven’s - Moonlight - Sonata[A] - - _And the night shall be filled with music - And the cares that infest the day, - Shall fold their tents like the Arabs, - And as silently steal away._ - —_Longfellow._ - - -It happened at Bonn. One moonlight winter’s evening I called upon -Beethoven, for I wanted him to take a walk and afterward sup with me. -In passing through some dark, narrow street he paused suddenly. “Hush!” -he said—“What sound is that? It is from my Sonata in F!” he said -eagerly. “Hark! how well it is played!” - -It was a little, mean dwelling, and we paused outside and listened. The -player went on; but in the midst of the _finale_ there was a sudden -break, then the voice of sobbing. “I cannot play any more. It is so -beautiful, it is utterly beyond my power to do it justice. Oh, what -would I not give to go to the concert at Cologne!” - -“Ah, my sister,” said her companion, “why create regrets when there is -no remedy? We can scarcely pay our rent.” - - [A] The text of the Beethoven Moonlight Sonata is reprinted from the - Aldine Fourth Reader, through the courtesy of the publishers, Newson & - Co., New York. - -“You are right; and yet I wish for once in my life to hear some really -good music. But it is of no use.” - -Beethoven looked at me. “Let us go in,” he said. - -“Go in!” I exclaimed. “What can we go in for?” - -“I will play for her,” he said, in an excited tone. “Here is -feeling—genius—understanding. I will play to her, and she will -understand it.” And, before I could prevent him, his hand was upon the -door. - -A pale young man was sitting by the table, making shoes; and near him, -leaning sorrowfully upon an old-fashioned harpsichord, sat a young -girl, with a profusion of light hair falling about her face. Both were -cleanly but very poorly dressed, and both started and turned toward us -as we entered. - -“Pardon me,” said Beethoven, “but I heard music, and was tempted to -enter. I am a musician.” - -The girl blushed and the young man looked grave—somewhat annoyed. - -“I—I also overheard something of what you said,” continued my friend. -“You wish to hear—that is, you would like—that is—shall I play for you?” - -There was something so odd in the whole affair, and something so comic -and pleasant in the manner of the speaker, that the spell was broken in -a moment, and all smiled involuntarily. - -“Thank you!” said the shoemaker, “but our harpsichord is so wretched, -and we have no music.” - -“No music!” echoed my friend. “How, then, does the Fraulein—” - -He paused and colored up, for the girl looked full at him, and he saw -that she was blind. - -“I—I entreat your pardon!” he stammered. “But I had not perceived -before. Then you play by ear?” - -“Entirely.” - -“And where do you hear the music, since you frequent no concerts?” - -“I used to hear a lady practising near us. During the summer evenings -her windows were generally open, and I walked to and fro outside to -listen to her.” - -She seemed shy; so Beethoven said no more, but seated himself quietly -before the piano, and began to play. He had no sooner struck the first -chord than I knew what would follow—how grand he would be that night. -And I was not mistaken. Never, during all the years I knew him, did I -hear him play as he then played to that blind girl and her brother. He -was inspired; and from the instant when his fingers began to wander -along the keys the very tone of the instrument began to grow sweeter -and more equal. - -The brother and sister were silent with wonder and rapture. The former -laid aside his work; the latter, with her head bent slightly forward, -and her hands pressed tightly over her breast, crouched down near the -end of the harpsichord, as if fearful lest even the beating of her -heart would break the flow of those magical, sweet sounds. It was as if -we were all bound in a strange dream, and only feared to wake. - -Suddenly the flame of the single candle wavered, sank, flickered, and -went out. Beethoven paused, and I threw open the shutters, admitting a -flood of brilliant moonshine. The room was almost as light as before, -and the illumination fell strongest upon the piano and player. But the -chain of his ideas seemed to have been broken by the accident. His head -dropped upon his breast; his hands rested upon his knees; he seemed -absorbed in meditation. It was thus for some time. - -At length the young shoemaker rose, and approached him eagerly, yet -reverently. “Wonderful man!” he said, in a low tone, “who and what are -you?” - -The composer smiled, as only he could smile, benevolently, indulgently, -kingly. “Listen!” he said, and he played the opening bars of the Sonata -in F. - -[Music Score: Six bars of the Sonata] - -[Illustration: _The Moonlight Sonata_] - -A cry of delight and recognition burst from them both, and exclaiming, -“Then you are Beethoven!” they covered his hand with tears and kisses. - -He rose to go, but we held him back with entreaties. - -“Play to us once more—only once more!” - -He suffered himself to be led back to the instrument. The moon shone -brightly in through the window and lit up his glorious, rugged, and -massive figure. “I will improvise a sonata to the moonlight!” he said, -looking up thoughtfully to the sky and stars. Then his hands dropped on -the keys, and he began playing a sad and infinitely lovely movement, -which crept gently over the instrument like the calm flow of moonlight -over the dark earth. - -This was followed by a wild, elfin passage in triple time—a sort -of grotesque interlude, like the dance of sprites upon the sward. -Then came a swift _agitato finale_—a breathless, hurrying, trembling -movement, descriptive of flight and uncertainty, and vague, impulsive, -terror, which carried us away on its rustling wings, and left us all in -emotion and wonder. - -“Farewell to you!” said Beethoven, pushing back his chair and turning -toward the door—“farewell to you!” - -“You will come again?” asked they, in one breath. - -[Illustration: Woman surrounded by fairies] - -He paused, and looked compassionately, almost tenderly, at the face of -the blind girl. “Yes, yes,” he said hurriedly; “I will come again, and -give the Fraulein some lessons. Farewell! I will soon come again!” They -followed us in silence more eloquent than words, and stood at their -door till we were out of sight and hearing. - -“Let us make haste back,” said Beethoven, “that I may write out that -sonata while I can yet remember it.” - -We did so, and he sat over it till long past day-dawn. And this was -the origin of that Moonlight Sonata with which we are all so fondly -acquainted. - - - - -[Illustration: Man reading] - - A Rose from Homer’s Grave - - -The nightingale’s love for the rose pervades all the songs of the East; -in those silent starlit nights the winged songster invariably brings a -serenade to his scented flower. - -Not far from Smyrna, under the stately plantain trees where the -merchant drives his laden camels, which tread heavily on hallowed -ground, and carry their long necks proudly, I saw a blooming hedge of -roses. Wild doves fluttered from branch to branch of the tall trees, -and where the sunbeams caught their wings they shone like mother of -pearl. There was one flower on the rose hedge more beautiful than all -the rest, and to this one the nightingale poured out all the yearning -of its love. But the rose was silent, not a single dewdrop lay like a -tear of compassion upon its petals, while it bent its head towards a -heap of stones. - -“Here rests the greatest singer the world has ever known!” said the -rose. “I will scent his grave and strew my petals over it when the -storms tear them off. The singer of the Iliad returned to earth here, -this earth whence I sprang!—I, a rose from Homer’s grave, am too -sacred to bloom for a mere nightingale!” - -And the nightingale sang till from very grief his heart broke. - -The camel driver came with his laden camels, and his black slaves; -his little boy found the dead bird, and buried the little songster in -Homer’s grave. The rose trembled in the wind. Night came; the rose -folded her petals tightly and dreamt that it was a beautiful sunny -day, and that a crowd of strange Frankish men came on a pilgrimage to -Homer’s grave. - -Among the strangers was a singer from the North, from the home of mists -and northern lights. He broke off the rose and pressed it in a book, -and so carried it away with him to another part of the world, to his -distant Fatherland. And the rose withered away from grief lying tightly -pressed in the narrow book, till he opened it in his home and said -“Here is a rose from Homer’s grave!” - -Now this is what the flower dreamt, and it woke up shivering in the -wind; a dewdrop fell from its petals upon the singer’s grave. The sun -rose and the day was very hot, the rose bloomed in greater beauty than -ever in the warmth of Asia. - -Footsteps were heard and the strange Franks whom the rose saw in its -dream came up. Among the strangers was a poet from the North, he broke -off the rose and pressed a kiss upon its dewy freshness, and carried it -with him to the home of mists and northern lights. The relics of the -rose rest now like a mummy between the leaves of his Iliad, and as in -its dream it hears him say when he opens the book, - -“Here is a rose from Homer’s grave!” - - - THE SECRET WOULDST THOU KNOW - TO TOUCH THE HEART OR FIRE THE BLOOD AT WILL? - LET THINE OWN EYES O’ERFLOW; - LET THY LIPS QUIVER WITH THE PASSIONATE THRILL; - SEIZE THE GREAT THOUGHT, ERE YET ITS POWER BE PAST, - AND BIND, IN WORDS, THE FLEET EMOTIONS FAST. - - SO SHALT THOU FRAME A LAY - THAT HAPLY MAY ENDURE FROM AGE TO AGE, - AND THEY WHO READ SHALL SAY: - “WHAT WITCHERY HANGS UPON THIS POET’S PAGE! - WHAT ART IS HIS THE WRITTEN SPELLS TO FIND - THAT SWAY FROM MOOD TO MOOD THE WILLING MIND!” - WILLIAM CULLEN BRYANT. - - - - - The Image in Story Telling - - By Percival Chubb - - -Undoubtedly the element of fundamental importance in story telling, as -in all forms of art, is structure; “the bones,” as a Japanese phrase -has it; the bones of the limbs, properly joined together to form the -well-knit skeleton of the living body of a work of art. “Let there be -form!” is the first fiat of the artist. That form is literally the -“embodiment” of the soul of intention which animates the creative -process of the artist’s mind. Such is the meaning of Spencer’s, “the -soul is form, and doth the body make.” - -It is not, however, about form or the joinery of the story-teller’s -craft that I would speak; but of what comes next in importance,—the -clothing of the skeleton in a beautiful texture of bodily substance. -That substance must be of imagination all compact. The language of -which it is made must employ the image, must evoke imagery. Language, -it has been said, is fossil poetry; and that is because in the first -place the essential of poetry is the image; and, secondly, because -language seizes upon the graphic qualities of things. So saving -a quality is imagination, that the use of appropriate and vivid -imagery will sometimes atone in a story teller for lack of structural -soundness. This is true, for instance, of some Irish story tellers and -stories. The joinery is often poor; for the architecture of form is not -the Celt’s strong point. The skillful management of development and -climax is frequently wanting in his work. He does not know just when -to stop; he loves to talk on, and embroider, and gossip. And yet the -winning charm of the genuine Celtic story is irresistible. It holds -us by the charm of style; and the power of its style lies to a large -extent in felicity of imagery, and what we must call by the larger -phrase, imaginative power. - -This view was again borne in upon the writer in reading recently a -passage from one of the letters of the great French painter, Millet. -Indeed, it is for the sake of using Millet’s delightful illustration -to enforce once more the truth of a not unfamiliar principle that this -brief article is written. - -Millet’s illustration is taken from Theocritus. It is worth noting, -in passing, what a wonderful instinct for greatness Millet had. He -nurtured himself upon the great masters; took to them naturally from -the first. This was true of the literature as well as the art which -he came across. The peasant lad felt the distinction and power of -the poetry of Virgil even while he learned to construe the difficult -lines there on the farm in Normandy, with the aid of the priest who -instructed him. Later on he took as naturally to Theocritus as to -Virgil. He was always a pupil of the great spirits. - -In the letter I quote from, he begins by expressing his enthusiasm for -the Sicilian poet. He seizes upon the copy of the Idylls sent to him, -and does not leave it till he has “devoured the contents.” But he adds, -“It is when I take it word for word that I am most delighted.” He finds -things in the original which are lacking in the translation; and he -gives this one striking example: - - “In the first idyl, on the vase upon which all kinds of things are - sculptured, among others is a vine, full of ripe grapes, which a - little fellow guards, sitting on a wall. But on both sides are two - foxes; one surveys the rows, devouring the ripe grapes. Does not - ‘surveys the rows’ show you the layout of a grape-vine? Does it not - make it real? And can’t you see the fox trotting up and down, going - from one row to another? It is a picture, an image! You are there. But - in the translation this living image is so attenuated that it would - hardly strike you. ‘Two foxes; one gets into the vineyard and devours - the grapes.’ O translator, it is not enough to understand Greek: you - must also know a vineyard to be struck by the accuracy of your poet’s - image, that it may spur you to the exertion of rendering it well! And - so on with everything. But I come back to that: _I can’t see the fox - trotting—in the translator’s vineyard_. - -Could there be a more convincing plea for the enlivening image -than that? The image, in other words, is the condition of sight, -visualization, realization. The story teller, on looking over a written -draft of the story he is going to tell, can ask no more important -question than this: “Where can I substitute for any weak abstract word -one that arouses an image?” It is not enough to think in images one’s -self, to have an image, one must be able to convey it by the use of an -image-evoking word. - -Another very good instance which I have frequently cited to students in -talking about story telling is the expression employed in Shakespeare’s -“Hamlet” when it is said, - - “The cock that is the trumpet to the morn - Doth with his lofty and shrill-sounding _throat_ - Awake the god of day.” ... - -Consider how the effect would have been weakened if, instead of the -concrete, image-evoking word “throat,” Shakespeare had used the word -which most of us would have employed, namely, the word “voice.” -That word merely suggests a sound; “throat” flashes the visible -image of that “bird of dawning.” We _see_. Not only do we hear that -“shrill-sounding” trumpeter, but we see that straining throat. We are -there with the bird. - -Many other examples might be cited, but these must suffice to bring -home once more, with fresh emphasis perchance the truth that, after -structural form, after securing sequence, coherence, climax, unity, -the most important factor in story telling is the apt and adequate -employment of the image. Imagery is the magic of the story-teller’s -art. - - - - -[Illustration: Full moon through clouds] - - Endymion - - By Frederick A. Child[B] - - -Endymion is the name of a man who fell in love with the Moon, the -beautiful, bright shining Moon whom the waves obey, and which sends her -light silver down upon the earth to ripple across the tranquil waters -and to shine upon the towers of sleeping cities, to creep peacefully -into the bed-chambers of its inhabitants and kiss the tangled, golden -ringlets of dreaming children. Now Endymion’s friends thought he was -very foolish to fall in love with any one so far beyond his reach. -Especially was this true of the Earth, who was, in fact, in love with -Endymion. And altho Earth put forth her gayest and sweetest smelling -flowers to attract Endymion, Endymion would not even take the trouble -to look upon poor Earth, but always kept his eyes directed toward the -shining Moon. - - [B] Retold from Lyly’s “Endymion.” - -At last poor Earth could stand it no longer, so she went to an old -enchantress named Dipsas and asked her whether she could weave a charm -that would bring Endymion’s thoughts back to Earth. Dipsas said that -such was not her power, but she could bewitch Endymion so that a long -sleep would fall upon him and therefore he couldn’t love the Moon any -more. So one night when Endymion was out gazing longingly upon the Moon -and sighing and calling for her to look down upon him and at least -smile upon him, the enchantress Dipsas stole up behind him and waving a -fan of hemlock above his head, put him in a sound sleep. - -[Illustration: _The Spirit of the Moon_] - -And there upon the bank he slept for twenty years, and finally even the -Moon began to miss him and inquired where he was, and when she found -that Endymion had been thrown into a long sleep she became interested -in his welfare and perhaps sighed a little for his love, but try as she -would she could find no one who could break the spell. Finally she sent -Eumenides, a close friend of Endymion, to seek over the world for a -remedy. - -In his travels about the earth to find a remedy Eumenides met with an -old man sitting beside a fountain, and he told the old man what he -sought. - -“Oh,” said the old man, “you need travel no farther, for he who can -clearly see the bottom of this fountain has found remedy for anything.” - -And so Eumenides looked and saw the bottom of the fountain clearly -and read as follows: “When the bright, round Moon shall come and kiss -Endymion, he shall rise from his sleep.” - -Eumenides hastened back and told the Moon what he had read at the -bottom of the fountain. - -Now the Moon was much surprised when she heard of the remedy for -Endymion’s long sleep, but finally she consented to kiss him, -and—wonder upon wonders!—the sleeper of twenty years awoke. And so -delighted was Endymion for the awakening that he immediately lost -all traces of his twenty years’ sleep and stood before them a young -man again. And so delighted was the Moon with this young man who had -undergone so much because of his love for her that she said he might -continue to worship her forever and ever. - -And the writer of this story meant to represent by the Moon the Queen -of England, Queen Elizabeth, whom all Englishmen loved and honored -and some day when you study English history you will see what brave -deeds these Englishmen performed for their Queen, the shining Moon, so -bright, and beautiful, but so beyond their reach. - - -“GIVE ME LEAVE TO ENJOY MYSELF; THAT PLACE THAT DOES CONTAIN MY BOOKS, -THE BEST COMPANIONS, IS TO ME A GLORIOUS COURT, WHERE HOURLY I CONVERSE -WITH THE OLD SAGES AND PHILOSOPHERS; AND, SOMETIMES, FOR VARIETY, I -CONFER WITH KINGS AND EMPERORS, AND WEIGH THEIR COUNSELS; CALLING THEIR -VICTORIES, IF UNJUSTLY GOT, INTO A STRICT ACCOUNT, AND, IN MY FANCY, -DEFACE THEIR ILL-PLACED STATUES.”—_Beaumont and Fletcher._ - - - - -[Illustration: _St. Christopher, Memling_ -_Royal Museum, Dresden_ -Reproduced by permission Braun et Cie.] - - The Story of Saint Christopher - - As told by R. T. Wyche - - - _The meaning and value of the story of Saint Christopher_ - - The story of Saint Christopher is a story of the misunderstood boy. - Many a child is misunderstood by parent and teacher, and, like St. - Francis of Assisi, is driven from home and yet makes a great success - in life. - - The story is an epitome of a man’s life. Christopher in his boyhood - had strength—he worshiped strength—he could not find normal means of - recreation, so he did evil. His hero, the German Emperor, represents - the interest of the child from eight to twelve years, with splendid - physical health, with moral and religious nature undeveloped. - Christopher followed the normal impulse in serving the German Emperor. - The adolescent boy in high-school period, is represented, in a way, by - the second hero that Christopher served, a devil, a mischief-maker, - but as the boy grows out of that he catches a glimpse of the moral - hero just as Christopher did when he heard of the man of Galilee.—ED. - - -Once on a time, a long time ago, beyond the seas, there lived a boy -named Christopher. As he grew up he was unusually strong and giant -like. He drove the cattle to field and lived in the mountains and on -the plains. Being alone much of his time he had little opportunity for -play or sport with other children, and when he came home his parents -did not play with him or entertain him, and so he sought recreation -where he could find it in other places. He was full of energy and his -parents frequently scolded him, which drove him off to himself in bad -moods. On one occasion he tied the cows’ tails together, just to hear -them bellow. On another occasion he set fire to a forest, all in sport, -because he had no one to join him in better things. His stepmother -scolded him and punished him so that he would frequently go away alone -or join bad companions in mischief. Finally, one day, quarreling with a -man, he killed him because of his greater strength. - -Fearing to return home, he wandered in strange lands, sometimes working -for his living, and sometimes living on what was given him. Wherever -he went people admired his broad shoulders and manly form, for he was -giantlike in size. - -One day he heard of the Emperor of Germany, who was king and the -mightiest man in all the world. As Christopher admired and worshiped -strength, he wanted to see and to serve the Emperor. At last after long -journeys he came and stood before the German Emperor and offered his -services. The Emperor was at that time waging wars for his kingdom, -and when he saw Christopher, giantlike and strong, he admired him -and readily accepted his services, taking him along as a bodyguard. -Christopher was delighted and threw his whole strength into the service -of the Emperor and did many wonderful deeds. - -So strong was Christopher that frequently he would bear on his -shoulders great logs, place them across gullies and ravines and build -a bridge for the army to pass over. The Emperor frequently talked with -him and encouraged him, all of which immensely pleased Christopher, for -he thought, “I have at last found him who is most worthy of worship and -service.” - -But on one occasion as the Emperor was riding near a forest, -Christopher noticed that the Emperor made the sign of the cross and -turned aside from the dark forest and went in another direction. -Christopher said to the Emperor: “Why did you turn back from the -forest?” The Emperor said: “The devil lives in that forest and I fear -him.” “What,” said Christopher, “afraid? I thought that you were afraid -of nothing!” But the Emperor said: “This demon of darkness is very -strong and I fear him.” Then Christopher said: “If you are afraid I -wish to leave your service and join myself to the devil, because I do -not want to serve any but the strongest.” Whereupon the Emperor paid -Christopher his wages and reluctantly parted with him. - -Christopher turned his face toward the dark forest, plunged into -its depths, and finally found a black altar, whereon the devil had -sacrificed the bodies of people. Hard by he found the devil and -offered his services to him. Right gladly the devil took him into his -fellowship, and straightway took him on trips of deviltry and mischief. -But one day they came along by a hill in an Eastern land. On the top -of the hill there stood three crosses. The devil turned aside as if in -fear. Christopher was quick to notice this and he said to the devil: - -“Why are you afraid?” - -Then the devil said: “On that middle cross was crucified a man who is -greater than I, and I fear him.” - -“What,” Christopher said, “you afraid? Why, then, I am done with you; I -want to serve him who is not afraid.” - -And so he parted from the devil and as he went away the devil laughed -and mocked him. Christopher wandered a long time, inquiring here and -there for the man who had died upon the cross. Finally, one day he -found a priest, who lived in a cave that opened upon a beautiful river. -Tired, footsore and weary, he sat down at the invitation of the priest, -who brought him refreshing water from the spring and gave him food. -After he had rested a moment, he said to the priest: “Can you tell me -about the man who died on the cross?” for Christopher had never heard -of this man until the devil had told him. “Yes,” said the priest, -“right gladly will I tell you the story of his life.” - -Then the priest told Christopher how the man of Galilee had lived, and -toiled, and suffered to make the world better; how he was crucified, -died, and rose again. The story was a new and beautiful one to -Christopher, the wonder of it! The priest told him that though this -man was dead, his spirit was still in the world to make the world -better. Then Christopher said to the priest: “He is the one that I wish -to serve. How can I serve him?” Then the priest said: “You see this -river?—there is no bridge for the people to cross; it is wide and at -times dangerous. If you would serve him, help those who try to cross -the river. You are tall, with broad shoulders and mighty strength. Day -after day people as they travel through this land come to this river -but cannot cross—you can help them across, and in that way you will -serve him who, though dead, still lives.” - -That pleased Christopher so that he built a house of logs and boughs -by the river’s side, and when people came to the river he would wade -through the water, take them on his shoulders and bear them across. -Years passed by; Christopher grew grey in the service of humanity and -his Master. Those who saw him day after day admired him and looked for -him and he became a friend of all the country, loved by all. - -One dark night when Christopher lay upon his bed, he heard some one -calling, like the voice of a child: “Oh! Christopher, kind, good -Christopher, come help me across!” Christopher arose from his bed and -seizing his great staff, waded through the water until he reached the -other side of the river, but there he found no one; all was silent, -save the ripple and murmur of the waves along the river’s margin. -“Strange,” he said, “I thought I heard some one calling.” - -After looking all around, he said: “I must have been mistaken,” and -waded back through the water to the other side of the river and lay -down upon his couch again. But soon thereafter he heard the same -voice calling: “Oh! Christopher, kind, good Christopher, come help me -across!” “Strange,” said Christopher to himself, “some one must be -there,” and seizing his staff he again crossed the river. - -But no one could he find, all was silent. Above his head the stars -shone, and he said to himself: “Strange it is I cannot find him who -called me.” - -He went across the river and laid down upon his bed again. He had not -been lying there long before he heard the voice calling him a third -time: “Oh! Christopher, kind, good Christopher, come help me across!” -Christopher sat upon his bed—he was troubled. “Strange,” he said, “some -one calls me and yet I cannot find him.” But again seizing his staff -he said: “I will make one more trip.” When he reached the other side -of the river, there he saw a little boy, and he said: “My little man, -where were you,—twice I crossed the river to find you?” The little boy -said: “I was here.” And then Christopher bent low and took the little -man upon his shoulders and waded through the water, but the boy grew -heavier until he seemed as heavy as a man. When Christopher reached -the other side and put him down and turned to look to see why, what -seemed to be a little child should be so heavy—lo! he was more than -a child; a young man in appearance, with a shining face, and he said -to Christopher: “I am he whom you serve; bury your staff and after a -certain number of days buds will appear thereon.” Then he disappeared, -vanishing as a mist, or as a shadow, though Christopher saw not. He -went and lay down upon his couch and slept in great peace of mind and -body. - -Years passed. Christopher was still beloved by all the people and -faithful to his work, but his days were numbered. Though somewhat -feeble, he still bore the people on his shoulders across the river. -One dark stormy night, when the wind roared through the treetops and -the rain fell, Christopher, lying upon his bed, heard a voice call. He -tried to rise and answer; he did go in response to the voice, but it -was his spirit only that went, the last call had come to him. - -The next morning the storm was gone and the sky was blue. People came -to cross the river and called as usual to Christopher, but there was no -response. They thought perhaps he was asleep and went to the cottage. -There they found him-— asleep, but it was the long sleep. And a smile -was on his face. Because of his service to the people they afterwards -called him Saint Christopher. - - - SOULS THAT HAVE TOIL’D AND WROUGHT AND THOUGHT WITH ME— - THAT EVER WITH A FROLIC WELCOME TOOK - THE THUNDER AND THE SUNSHINE, AND OPPOSED - FREE HEARTS, FREE FOREHEADS—YOU AND I ARE OLD; - OLD AGE HATH YET HIS HONOR AND HIS TOIL, - DEATH CLOSES ALL: BUT SOMETHING ERE THE END, - SOME WORK OF NOBLE NOTE MAY YET BE DONE, - NOT UNBECOMING MEN THAT STROVE WITH GODS. - THE LIGHTS BEGIN TO TWINKLE FROM THE ROCKS: - THE LONG DAY WANES: THE SLOW MOON CLIMBS: THE DEEP - MOANS ROUND WITH MANY VOICES. - TENNYSON. - - - - - The Story of England’s First Poet[C] - - By George Philip Krapp - - -On the northern coast of England in the town of Whitby (White-town) was -built a monastery many centuries ago by a woman whose name was Hild; -and when the monastery was completed she became the abbess. In this -monastery ruled over by the Abbess Hild, there were not only monks and -nuns, but also a number of servants and helpers who had not devoted -themselves to the religious life. Among these was a poor herdsman whose -name was Cadmon. He could neither read nor write, and his work in the -monastery consisted in taking care of the cows and other cattle which -were needed to supply the monastery table with milk and butter. - - [C] Reprinted by permission from “In Oldest England” by George Philip - Krapp. Copyright, 1912, by Longmans, Green & Co. - -Now it was a common custom for Cadmon and his friends to entertain -themselves, when the day’s work was done, by sitting around the fire -telling stories and singing songs. Among other amusements they had one -especially which is known as “passing the harp.” According to this -custom, the harp was passed along from one person to another, and -as it came each man’s turn, he took the harp and sang a song to its -accompaniment. Most people in those days knew many stories which they -could recite in this way, but unfortunately for Cadmon, this was an -accomplishment which he could never learn. Consequently when he saw the -harp approaching him, he would get up and leave the circle, ashamed to -confess that he could not sing a song as the others had done. - -It happened that one night Cadmon left the group of his friends in this -way, as he had often done before, and went into the stable where he was -to pass the night watching the cattle. After a time he fell asleep. As -he lay sleeping, he heard a voice calling to him, which said: “Cadmon, -sing for me.” Then Cadmon answered the voice, saying: “I cannot sing; -and it is for that reason that I have left the company of my friends -and have come hither.” “Nevertheless, I say you must sing for me,” the -voice continued. “What shall I sing?” asked Cadmon. “Sing for me,” the -voice answered, “the story of how all things were created.” And then -Cadmon, greatly to his own astonishment, found that he was able to -sing, and he began to sing the praises of God the Creator in verses -which he had never heard before. - -The next morning, when Cadmon awoke from the sleep in which he had had -this dream or vision, the strangest part of it was that he remembered -perfectly what he had sung in his sleep during the night, and better -still, he was able to add other verses to these. He told what had -happened to him to his master, and his master went directly to Abbess -Hild and repeated the story to her. Hild immediately called Cadmon to -her, and, sending for several learned monks, she bade them recite a -passage of Scripture in English to Cadmon, and then she asked Cadmon -to turn what he had heard into verse. The next morning Cadmon came -back and recited to her in perfect and melodious verse all that he had -been told by the learned monks. Then Hild immediately perceived that -this poor cowherd in her monastery was possessed of a very precious -gift. She gave orders that he should be accepted as a monk into her -monastery, and that the other monks should teach him all the story of -the Bible. This was so done, and being unable to read, Cadmon learned -all the stories of the Bible by having them told to him, and then he -turned them into poetical form. The monks were glad to write down the -poems as Cadmon recited them, and thus together they put into verse the -whole story of the creation of the world, of the fall of man, of the -children of Israel and the Exodus out of Egypt into the Promised Land, -and many other stories contained in the Bible. - -[Illustration: - “The Singing Royal Museum - Angels” Berlin - Van Eyck -“_It was a common custom for Cadmon and his friends to sing songs._”] - -For many years Cadmon continued to live in the monastery at Whitby, -making noble use of this poet’s gift that had been granted to him. -And it was here at Whitby that he finally died. He had been unwell -for several weeks before his death, but it was not supposed that his -sickness was serious. One night, however, the night on which he died, -he asked his nurse to take him to the infirmary, which was the part -of the monastery where those brothers who were dangerously sick and -on the point of death were usually cared for together. The man was -surprised that Cadmon should want to be taken to the infirmary, but -he did as he was asked to do. Cadmon seemed to be bright and happy, -and talked cheerfully with the other sick people in the infirmary. -When it was about midnight, he asked if the Eucharist was there in the -infirmary. “Why do you ask that?” his friends said. “You are not so -near to death that you need ask for the Eucharist.” But Cadmon asked -for the Eucharist again, and when he had it in his hand he inquired -whether they were all kindly disposed and at peace with him. When they -said they were, then Cadmon continued: “And I, too, am at peace with -all men.” Having made his last communion, he asked if the time was near -when the brothers of the monastery should arise and say the prayers -known as nocturns. “It is almost time,” they answered. “Let us then -wait for it,” he said; and blessing himself with the sign of the cross, -he lay back upon his pillow, and so falling asleep, as peacefully and -as gently as he had lived, he passed to his final rest. - -This is the simple story of the blameless life of the first English -poet whose name has come down to us. Other poets there must have been -before Cadmon, poets who sang the stories of the bloody combats of -English heroes before the days of Augustine and Aidan. From the very -earliest times the English have had their bards or minstrels, whose -task it was to keep alive the fame of the nation’s great men. But not -even the names of any of these earlier heathen poets are known to us, -and but a few fragments of their songs have survived to our day. These -songs were of the kind which Cadmon could not sing, but which his -companions, at their feasts and banquets, all sang so freely to the -accompaniment of the harp. This heathen minstrelsy is now all lost and -silent, while down through the ages the clear voice of Cadmon is heard, -singing the old story of the Creation of the World and of the ways of -God to man. From Cadmon to Milton it is a thousand years, but the poor -cowherd who became the chief ornament of Hild’s ancient monastery on -the cliff above Whitby sang his songs in the same spirit as the author -of “Paradise Lost.” - - - - - The “Uncle Remus” Stories - - Their Evolution and Place in the Curriculum - - By Josephine Leach - - - Part One - -The fame of the “Uncle Remus” stories, according to Joel Chandler -Harris, himself, was an accident. But it is quite possible, that the -fame has not been quite as much of an accident as his modesty declares -it to be. - -Mr. Harris was the son of a very poor woman in Georgia. She had very -little to give her children, and very early Joel Chandler was put out -to work. When, but a mere lad, he went to work as printer boy on the -plantation of Mr. Joseph A. Turner. Mr. Turner was a well educated and -cultured gentleman, who spent his leisure hours in publishing (on his -own plantation) a small paper, voicing the sentiment of the times. - -Mr. Turner became very much interested in the Harris boy. He recognized -the lad’s ability, for very frequently he found unsigned paragraphs, -quite good in quality, in his paper, which had been composed by the -printer boy Harris, who inserted them as he set up the type. Mr. Turner -gave the boy free access to his very large and splendid library. When -Joel Chandler was not seated, during leisure hours, in the chimney -corner of a cabin in the negro quarters, listening to negro folk-lore, -he was delving deep into the best literature of all ages. He lived so -completely with the great masters in the library, that it is said, that -this quite largely influenced his charming literary style in years to -come. - -Here on the plantation, in the negro cabins, he came, through the -stories, to feel the emotions of the negro. No one has ever been so -capable of putting himself in another’s place as has Joel Chandler -Harris. He became possessed of all the curious knowledge of the negro, -he learned of dogs and horses, he knew the path of the red stream in -the swamp, and the way of the wild folk in the woods. In fact, one -writer has gone so far as to say, that had Joel Chandler Harris not -spent these boyhood days in the plantation home of Joseph A. Turner, -there would have been no “Uncle Remus” with all that he now means to -literature. - -In 1876, Mr. Harris was invited to take a place on the paper called -“The Constitution,” published at Atlanta, Georgia. Samuel Small was -then writing humorous sketches for this paper. Small suddenly resigned. -His sketches had been very popular, and the editor immediately looked -around for some one who could continue the work. Mr. Harris was given -the place. He went about his new task with much foreboding. He was -steeped in the quaint stories of the plantation, but would the people -accept these? He resolved to make the attempt, and then came the Uncle -Remus stories for their first appearance. - -The stories grew in popularity, and for the same reason that made -Æsop’s fables an imperishable classic, these stories have taken their -permanent place in literature. They were the simple stories that had -been linked with the thoughts and emotions since earliest time, and -have now, for the first time, been put in artistic form, by one who -had so entered into the life of the negro, that he was able to express -the negro’s emotions in the negro’s way. In quoting from an article -on Joel Chandler Harris in “The Bookman,” Volume 27, the author says, -“When Mr. Harris chose for his subject, the plantation negro, he had a -character of much subtility to deal with. His subject is a creature of -extremes, carelessly happy one day, deeply despondent the next, which -characteristic has sprung from his very helplessness; with a never -failing sense of humor, which acts as a continual balance wheel. He is -a being, whose mystical side has been highly developed, and one to whom -the “creeturs” have become brothers and sisters, being endowed by him, -with human virtues and vices.” - -“Uncle Remus” gave to literature and the world a new type of negro, -that of a good kind-hearted, sympathetic old man, who was willing to -spend hours in telling stories to a little boy. So little is said of -Uncle Remus himself. He is merely the teller of the stories and yet one -feels him to be just such an old man, for his character is interpreted -by the stories he tells. Indeed, some one once asked the author, “Mr. -Harris, really, don’t you suppose that Uncle Remus would steal chickens -if he had a chance?” and Mr. Harris replied, “If I follow Uncle Remus -all day, you surely can’t expect me to know what he does all night.” - -Joel Chandler Harris in writing his “Uncle Remus” stories, did not -labor to place them in logical sequence. He cared little about their -value to students of comparative folk-lore, and had little notion of -their evolution when he wrote them. The series cannot be placed into -one great cycle that follows a hero through a number of incidents and -at last brings him to the end, victorious. Mr. Harris told them for the -pure enjoyment, and he was much surprised to find such a demand for a -thing that was all pleasure and no work to him. He loved the simple -tales because they were so near to nature’s heart, because they were -full of primitive wonder, quaint flashes of humor, homely philosophy, -and simple goodness. - -The stories, however, readily group themselves into four classes. - - I. Those that account for Certain Animal Traits, or Characteristics. - II. Stories with Brer Rabbit as a Hero. - III. Those stories told to the little Boy for their Ethical Value. - IV. Stories that attempt to Account for some Natural Phenomena. - -Under the first group, Stories that account for certain animal -characteristics, I have placed the following: - - Why the Hawk Catches Chickens. - Miss Partridge has a Fit. - Why Brer Possum has no Hair on his Tail. - Why Brer Fox’s Legs are Black. - Why Mr. Possum Loves Peace. - Why Brother Bull Growls and Complains. - How Mr. Rabbit Lost His Fine Bushy Tail. - Mr. Terrapin Shows His Strength. - Brer Buzzard Teaches Brer Terrapin to Fly. - -The stories that show the shrewdness of Brer Rabbit, might be taken as -a small cycle which has Brer Rabbit as a hero. - -The following are examples: - - The Wonderful Tar Baby Story. - Old Mr. Rabbit, He’s a good Fisherman. - Brer Rabbit and de’ skeeters. - Brer Fox Says Grace. - Brer Rabbit Has Fun at the Ferry. - Why Brer Wolf didn’t eat the little Rabbits. - Brer Fox “Smells Smoke.” - Brer Rabbit Frightens Brer Tiger. - Brer Rabbit Conquers Mr. Lion. - Heyo House. - Sis Cow Falls a Victim to Mr. Rabbit. - How Mr. Rabbit Saved his Meat. - The Sad Fate of Mr. Fox. - Brer Rabbit Nibbles up de Butter. - -The third group of stories that were told to the little boy for their -ethical value, presents quite a modern idea of the purpose of a good -story; namely, that in order to teach, a moral must be tacked on. When -Uncle Remus found the little boy in mischief, he straightway told him -a story with a homely moral. As for example the story of “Brother Bear -and the Honey Orchard.” Uncle Remus caught the little boy eating a -great piece of cake, while his little brother stood by, crying for -some. ’Tis then that he relates of the selfishment of Brer B’ar with -his own conclusion, that “to his membrence stingy folks nevah come to -no good ’een.” - -The following stories were told with this idea in mind: - - Brother Bear and the Honey Orchard. - The Man and the Wild Cattle. - Brer Rabbit’s Money Mint. - Brother Billy Goat’s Dinner. - The King that talked Biggity. - According to how the Drap Falls. - -Under the fourth heading I have grouped such stories as: - - The Story of the Deluge and how it came about. - Where the Hurricane Comes from. - The Creation. - Why the Negro is Black. - -No one can doubt but that these simple stories were first told when the -human race was very young. The things that are at present accomplished -by science were then met by magic. Whether or not we believe that the -child in his development passes through much the same experience as the -race has in its development, there are certain things that are evident: -the child makes human and holds conversation with everything in his -backyard world. The same voices speak to him that spoke to his cave -dwelling ancestors. To him the wind is a person of might and power, -that moans when in anguish and sighs when weary. - - - (_To be concluded in next issue_) - - - - - The Three Goats - - By Jessica Childs - - This story, contributed by Miss Jessica Childs of the Pittsburgh (Pa.) - Training School for Teachers, is a translation from the Norse Folk - Lore. It is very popular, Miss Childs finds, with children in the - first school year. - - -Now you shall hear! - -There was once a Boy who had three Goats. All day they leaped and -pranced and skipped and climbed up on the rocky hill, but at night the -Boy drove them home. One night, when he went to meet them, the frisky -things leaped into a turnip field and he could not get them out. Then -the Boy sat down on the hillside and cried. - -As he sat there a Hare came along. “Why do you cry?” asked the Hare. - -“I cry because I can’t get the Goats out of the field,” answered the -Boy. - -“I’ll do it,” said the Hare. So he tried, but the Goats would not come. -Then the Hare, too, sat down and cried. - -Along came a Fox. - -“Why do you cry?” asked the Fox. - -“I am crying because the Boy cries,” said the Hare; “and the Boy is -crying because he cannot get the Goats out of the turnip field.” - -“I’ll do it,” said the Fox. So the Fox tried, but the Goats would not -come. Then the Fox also sat down and cried. - -Soon after, a Wolf came along. “Why do you cry,” asked the Wolf. “I -am crying because the Hare cries,” said the Fox; “and the Hare cries -because the Boy cries; and the Boy cries because he can’t get the Goats -out of the turnip field.” - -“I’ll do it,” said the Wolf. He tried, but the Goats would not leave -the field. So he sat down beside the others and began to cry too. - -After a while, a Bee flew over the hill and saw them all sitting there -crying. “Why do you cry?” said the Bee to the Wolf. - -“I am crying because the Fox cries, and the Fox cries because the Hare -cries; and the Hare cries because the Boy cries; and the Boy cries -because he can’t get the Goats out of the turnip field.” - -“I’ll do it,” said the Bee. - -Then the big animals and the Boy all stopped crying a moment to laugh -at the tiny Bee. He to do it, indeed, when they could not! But the tiny -Bee flew away into the turnip field and lit upon the ear of one of the -Goats and said, - -“Buz-z-z-z-z!” And out ran the Goats every one! - - - “_The child makes human and holds conversation with everything in his - backyard world._ - - ”_The same voices speak to him that spoke to his cave-dwelling - ancestors._ - - “_To him the wind is a person of might and power, that moans when in - anguish and sighs when weary._”JOSEPHINE LEACH. - - - - - Story Telling in Washington, D. C. - - By Marietta Stockard - - -To the Kindergarten perhaps more than to any other department of -education, must be conceded the credit for having recognized the power -of the story in the life of the child. The best Kindergarten training -schools would no more omit a well organized course in story telling -than they would a course in psychology or child study, so it is with no -claim of something new or different that I respond to the invitation -of the STORYTELLERS’ MAGAZINE to tell of the work as it is done in the -Washington Normal School. - -We are fortunate in having a Principal who has been willing to allow -a full two years’ course in stories. This makes possible a broader -literary basis, better developed principles of selection, more of -adaptation and practical story telling than could be accomplished in a -shorter time. It also makes possible a more leisurely, more psychologic -approach to the subject, and therefore launches us upon the actual -story telling with much of the beginner’s painful self-consciousness -eliminated. - -My first question to a new class is, “What have you read and really -enjoyed during your past summer?” Next, “What are your favorite books?” -Through a careful study of the students’ responses to these questions -I gain a knowledge of the literary background and taste of each -individual of whom I shall strive to make a successful story teller. - -Discussion of these books which the students know and like leads us -into the field of basic principles of selection in literature. Brief -studies of a few typical short stories, analysis of purpose, structure, -and style follow. - -Realizing that the two absolute essentials in a successful story -teller are, on the one hand, a sympathetic knowledge of the best in -literature, and on the other, real understanding of the child, we read -together as much of the best literature about children as time permits. - -Our first approach to the story for the child is through a discussion -of favorite fairy tales, remembered from the student’s own childhood. -Comparison shows that there are many common favorites, further study -reveals these same stories as favorites of generations of children. - -Re-telling and enjoying these we gradually search out the secret of -their universal appeal and come to formulate a standard embodying the -essential characteristics which all stories for children should contain. - -This knowledge of type stories is further developed by a brief study -of Norse Myths and Folk Tales. No other literature gives quite so well -the fundamental characteristics of action, simplicity and embodiment -of ideals as does the Norse. The student who has read Mabie’s Norse -Myths, Dasent’s Popular Tales from the Norse, Stories from Bjornstern -and Selma Lagerlöf, absorbs the essential characteristics of the best -story and can scarcely help telling a story with vigor, simplicity, -directness and imaginative appeal. - -Sympathetic attitude toward child and story and basis for selection of -stories in the light of fundamental principles of literature having -been developed, we next formulate the requisites of a good story teller -and methods of story telling. This is done through story telling in -class under criticism and a study of such books as: Voice and Spiritual -Education, by Corson; How to Tell Stories to Children, by Sara Cone -Bryant; Stories and Story Telling, by Porter St. John. We study, -re-tell, adapt, and collect in a manuscript story book such stories as -are particularly suitable for use in the kindergarten. - -The demand for story tellers in the schools, in playground and library -work, in social centers and Sunday schools, led to the establishing -of a course in story telling and children’s literature at George -Washington University. This course is credited both in the teacher’s -department and in the English department of the University. - -The work consists of lectures, required readings and reports. The -history of the story, its relation to literature, its relation to the -child, the story as a moral force, methods of story telling, including -adaptation, preparation, and presentation are a few of the topics -discussed. Studies of groups of animal stories, folk and fairy tales, -hero tales, Bible stories, Christmas and Thanksgiving stories, spring -stories and humorous stories constitute the content of the course. - -Every student of children’s stories not only gains a deeper -appreciation of the best in literature and an added sympathy with and -understanding of the child, but also discovers an inexhaustible source -of usefulness and joy. - - - - - Story Telling for Camp Fire Girls - - By Ellen Kate Gross - - _Chief Guardian, Children’s Playground Association of Baltimore, Md._ - - -Apropos to our conversation at the Richmond Congress in regard to -stories for Camp Fire Girls, the following plea is submitted to your -editorial board with the hope that your splendid magazine will help us -in one phase of our work. - -In furthering the development of the Camp Fire Girls, there arises the -necessity for a supply of Indian folk tales well told and embodying the -out-of-door spirit of the Indian and his ideals. Moreover the various -points of the law of the Camp Fire can best be exemplified through -stories which develop the ideal held up. This law is to - - “Seek beauty - Give service - Pursue knowledge - Hold on to health - Glorify work - Be happy” - -The following suggestive list may illustrate how this method can be -carried out,—the thought and meaning of each precept being developed -through one of the stories named. - - -_SEEK BEAUTY_ - - Hawthorne, “The Great Stone Face.” - Kingsley, “Water Babies”—in parts. - - -_GIVE SERVICE_ - - Robert Louis Stevenson, “Prince Otto.” - Stockton, “Old Pypes and the Dryad,” in Fanciful Tales. - Biographies and Autobiographies. - Example “Florence Nightingale.” - “Lucretia Mott.” - “The Little Hero of Haarlem” - Emile Poulsson, “Nahum Prince,” in “In the Child’s World.” - -_BE TRUSTWORTHY_ - - “Ruth and Esther,” told in Hamilton Mabie’s “Stories Every Child - Should Know.” - - -_GLORIFY WORK_ - - 19th Psalm. - Lives of Burbank, Edison and other Inventors. - “The Basket Weaver.” - “Beowulf,” in Hamilton Mabie’s “Legends Every Child Should Know.” - “The Message to Garcia,” by Elbert Hubbard. - - -_BE HAPPY_ - - “King Midas.” - “Ugly Duckling.” - “Pine Tree that changed its Leaves.” - King Arthur tales. - -If some of these stories or similar ones, and also some Indian legends -could be published in your magazine from time to time, it would be a -great help to those who are working with Camp Fire Girls. - - - “Wohelo” - -“Wohelo,” the musical cry of the Camp Fire Girls was sounded by more -than nine hundred of them at the first Grand Council held in the 69th -Regiment Armory, New York City, recently. - -Clad in the picturesque attire of the American Indian, they sat in -a big circle around three lighted candles, representing their three -foundation principles, and groups of lights representing real camp -fires, a Camp Fire ceremonial which is performed to the music of “Burn, -Fire; Burn!” - -Under the supervision of the guardian Hiltini, who is Mrs. Luther -H. Gulick, three other guardians, Mrs. Bradley, Mrs. Weber and Miss -McCarthy, representing respectively WORK, HEALTH, LOVE, lighted the -camp fire by the Indian expedient of rubbing two sticks together. - -The call of the Camp Fire Girls, “Wohelo,” is formed by the first -syllables of the three foundation words of their organization: WORK, -HEALTH, LOVE. - - - - - The Play Spirit in America - - -Those who have lost the play spirit are beginning to die. These were -the words of Dr. Cabot of the Massachusetts General Hospital of Boston -at the recent Congress of the Playground and Recreation Association -of America, held at Richmond, Va. True recreation is re-creation—to -be made anew from day to day, mind and body. The old saying that all -work and no play makes Jack a dull boy is true of adults as well as -children. It is more important that adults emphasize recreation for -themselves than for the child. It is so much easier for grown people to -forget to play. - -The serious person is only half awake. Seriousness often excludes humor -and thus shuts out the play spirit in life. The serious person is not -always thoroughly in earnest. He who excludes humor and play cannot be -in earnest because he does not use all the resources at his command. -Young people are always earnest; play and humor are part of their -program. - -The calculating business man sitting in his close office or the hard -taskmaster sitting at a teacher’s desk may be making a living and yet -not living but prematurely dying. Compare such a one with a group of -young people who shout and laugh in joyous play or work outside and ask -yourself which is preferable, which is life? The business man once had -the play spirit but he has lost it, and with it life and its joy. When -he went to school years ago he was not taught to live but to calculate; -not to think but to imitate and accumulate a living, not a life. He has -been true to his teaching. He might be rescued even now if he could be -made to see the necessity for play and feel the rejuvenating effect of -rhythmic games. He must get rid of the idea that it is undignified for -a grown man or woman to play, to join hands in a circle, to shout and -laugh and sing and play games on the green. - -The American people must be taught recreation, not only in public -playgrounds but the necessity of using home, lawn and yard for play for -child and adult as well. We must get rid of the idea that people are -made for parks and substitute the idea, parks are made for people. - -A one-time city superintendent of schools in a large city and for a -number of years a college president recently spent a year on his farm -and says that as a result his whole feeling and view toward life has -been changed by the year of recreation. To have normal feelings is more -important than abnormal knowledge. Knowledge is sometimes weakness -rather than power. - -A child without a playground is the father of a man without a job, says -one of our playground officials, and we might add that a man without -play will soon be a man without a job and without health. It is high -time that school faculties realize their sin in failing themselves to -play. Enthusiastic teachers often study and teach all the winter, then -go to a summer school and pile on more of the same kind of work. We -recognize the evil of this, yet few are brave enough to stop in the -midst of work and play and teach play. Summer schools should send their -students back home rejuvenated, with renewed health and enthusiasm -and with a new feeling for life rather than book-burdened, tired and -nervous. - -We have in America a wealth of folk-games, folk-dances, folk-songs, -folk-stories brought hither by the various races of Europe, that would -give us wholesome recreation,—a folk-culture, yet we stand idly by and -let an ignorant commercial schemer run a dance hall and give our young -people dissipation instead of recreation. Churches and homes make a -great mistake when they say “Don’t do this” or that and stop there. We -must be positive and say “Do this, these are the games to play, these -are the songs to sing, these are the stories to tell, come and join -us.” If good people do not give us good recreation, bad people will -give us bad recreation and make us pay for it. A machine can add a -column of figures for us, another person can spell a word for us, but -no one else can recreate or have health, personality and enthusiasm for -us. - - R. T. W. - - - - - Invocation - - Rev. Jenkin Lloyd Jones - - - Father, make us glad that we are here, glad in the dear fellowships of - the past, glad in the strong ties that bind us to our tasks, glad of - the tasks. O Thou Burden Giver, lift us above the selfishness of the - ease-seeker. - - ¶ Father, we come to listen to Thy commissions. Grant us power to go - into the dark places of human lives, the sad places of human hearts, - and in Thy name speak the word that may bring strength, peace, - consolation. Father, help us to realize the opportunities that await - us; gird us anew for the high and holy warfare wherein the weapons are - the instruments of love, the counters of kindness. Help us to forget - the things that hurt, to rise above all discouragements, to dwell with - Thee in deathless places; to rejoice with Thee in the boundless realms - where the petty lines of caste, class and sect, of race and prejudice, - do not obtain, but where Thy children, conscious of Thy Fatherhood, - rejoice in the largeness of the love that includes all races, all - climes, and all ages. - - ¶ Father, take our hands and touch them with usefulness. Take our feet - that they may be shod with willingness. Take our hearts that they may - glow with kindness. Take our minds and tutor them in the way of truth. - Take our voices and tune them to the universal harmonies, that in - finite time we may sound some notes of thy never-ending song. Amen - - - - - What the Leagues are Doing - - -The closing meeting of the Knickerbocker Story Tellers’ League of New -York City, for the season 1913, was held on Saturday evening, May 17th. - -The recent work of the League has been directed along the lines of the -English, Spanish and American Schools of Art. At a previous meeting -the stories of the Florentine, Flemish and Dutch Schools were told and -no actual reading was done throughout the entire evening. Mrs. Estelle -Davis Burt, the President, handled the topic Dutch Art. - - * * * * * - -The last meeting of the Atlanta Story Tellers’ League is reported by -Mr. George B. Hinman as the most interesting of the year. - -Mrs. Goodman gave a very charming and illuminating account of her visit -with Mr. R. T. Wyche to the Knickerbocker Story Tellers’ League in New -York, and Mrs. Stevens told a most interesting original story, which -held her audience spellbound throughout. Miss Ray Klein, who is one of -the friends of the League, told a beautiful fairy story. The attendance -was large and appreciative. - - * * * * * - -The Story Tellers’ League of Little Rock, Arkansas, held its closing -meeting at the public library in May, when the following officers -were elected: Miss Eliza Hockins, president; Miss Grace Boyce, -vice-president; Miss Johnnie Bledsoe, secretary and treasurer. The -program was excellent. Miss Marguerite English told of “The Hall of -Heroes”; Mrs. L. W. Cherry told an Egyptian legend, adding to the -beautiful story by touches of personal experience in Egypt; Mrs. W. B. -Rawlings told the story of a Syrian mother; Miss Abbie Whitcomb gave -the story of a Parisian boy hero in her usual expressive way. - - * * * * * - -A conference was held May 27, 1913, at the Sinton Hotel from three to -five, with Dr. Richard Wyche, President of the National Story Tellers’ -League of New York, who has started a magazine for the benefit of story -tellers, entitled “The Storytellers’ Magazine.” Dr. Lester Riley, Miss -Pearl Carpenter, Miss Alice Adele Folger, Miss Annie Laws, Miss Marie -Dickore, Miss Josephine Simrall and others of the Cincinnati branch of -the National Story Tellers’ League were present.—_Cincinnati Commercial -Tribune._ - - - - - From the Editor’s Study - - -The revival of interest in story telling on the part of educators today -is due perhaps more to scientific men than any other group. The old -conception of the child was that he was born in depravity and therefore -his natural impulses were bad, and he should be repressed. Methods of -suppression resulted; the child had no rights. If the things he was -compelled to study were meaningless and obnoxious to him, well and -good. The things he was interested in were ignored. - -But with the coming of the biologist, geologist, and psychologist, -we have seen a world of growth and change, reaching back into the -immeasurable past, and man in this order, not fallen and depraved, but -natural and normal with his face to the morning, ever moving upward -and onward. The students of history, primitive art and folk-literature -have traced for us the path-way along which the soul of the race, ever -growing into self-realization gave expression to its beliefs, its -hopes, its prayers and its religion, in myth, fairy story, folk-lore -and folk epic. As one who travels through low land and forest yet ever -climbing reaches an upland peak and looking back sees path, forest, -field and rim of sea all in the perspective of beauty, so we today -looking back have an infinitely larger and deeper view of life and its -meaning. It is this view that has changed our attitude toward the child -and will result in our setting him, “the last serf of civilization -free.” - -This new valuation of the child, respect for his rights and a better -understanding of his needs has brought story telling to the front -again. It is true that the race and the individual of all races have -had stories told them more or less by troubadour and rhapsodist—the old -story tellers, chief among them Homer, but not until modern times have -educators so seriously studied this story as a means of education. -For many centuries literature lived orally and was handed down by the -story tellers; but when printing was invented the teacher began to -busy himself with grammar for young and old alike, until language form -became an end instead of a means. - -Man in his development did not invent letters and language with the -hope that he might have something to say, but he had so much to say -he was compelled to invent language in order to express himself. So -with the child, we must feed the springs of imagination and emotion -if we would give him something to express. As a tree puts forth leaf -and blossom in obedience to the laws of life within, so will the child -give back in vital expression the things that nurture his inner life. -Expression is life, suppression is death. It is the recognition of this -truth that has given us the pedagogical basis for the story, whether it -be re-telling, dramatization or illustration of the story; modelling -into clay, carving into wood or motiving in life. - -Man becomes like that which he admires, therefore, stories of noble -deed and great heroes are used in school and Sunday-school for -character building in place of memorizing abstract statements. - -Young people will read books from which interesting stories have been -told them, therefore many of the public libraries have a story teller -for the children’s room, who by story telling, directs the reading -of the children for a whole community. Story telling is a means -of recreation and pure pleasure, therefore the public playgrounds -throughout the land have their story tellers for the young people. -Parents who tell in their homes the right kind of stories make an -atmosphere in which a soul can grow and bind their off-spring to them -with spiritual ties, the most lasting of all. - -Story telling is an alluring subject for study, a means of delightful -social intercourse and reinforcement for life, therefore many have -organized themselves into the National Story Tellers’ League and its -local branches. - -It is to deal with this work of story telling in all of its aspects -that the STORYTELLERS’ MAGAZINE is founded. It is our purpose to point -out as far as we can the vital principles that underlie the whole -movement. - -The question of what stories to tell is supremely important. We cannot -tell or read one-hundredth part of the good stories. In order to answer -this question, we propose to re-tell in the pages of the magazine some -of the best stories recognized by educators the world over; and by -articles from specialists, point out the stories most worth while from -the standpoint of literature. It is true we shall deal as do the oral -story tellers with much of the old literature but with a creative touch -that will give it the breath of life, making it a living literature and -a new expression of American life and art. - -We propose to answer the question of what stories to tell by a study -of the child and his needs in the various periods of his development. -Stories that contribute most to the making of ideal womanhood and -manhood, in the last analysis, are the stories to emphasize. - -The ancient story teller who by fireside or in royal court told stories -of their nation heroes like King Arthur, Siegfried or Ulysses had quite -a simple and direct use for the story compared to the situation today. -With the complexity of modern life the use of the story becomes far -more rich and varied. We expect through short articles from authorities -in this work to point out all legitimate uses of the story. - -Many a one has a gift for story telling but knows not how to use it. We -shall have an occasional article by those who have made a success of -story telling and can speak from experience. - -When we think of the many educational institutions and individual -workers taking up this work of story telling, and when we see the many -young men and women who could, if they but knew how, become evangels -of the fine art of story telling, and when we hear the voices of the -great multitudes of children in neglected country districts as well as -cities, saying “tell us a story” surely there is an opportunity and a -call to service for THE STORYTELLERS’ MAGAZINE. - -American thought is in a creative period. Old forms in education, art, -religion and government are assuming new forms to fit new conditions. -The story telling movement is one with this growing life. Let us make -it a true expression of the Nation’s best life. We are still young; -much lies ahead of us. In the spirit of the great heroes of the old -story books let us spread every sail, make for the mid-seas and -discover lands not laid down in any chart. - - -In this issue of THE STORYTELLERS’ MAGAZINE will be found the initial -number of Miss Martin’s admirable King Arthur Series, composed of -twelve stories, as follows: - - 1. Merlin and His Prophecies. - 2. How Arthur Won His Kingdom. - 3. How Arthur won His Sword “Excalibur,” his Bride and his Round - Table. - 4. The Adventures of Gareth—the Kitchen Knave. - 5. The Adventures of Geraint. - 6. The Adventures of Tristram, the Forest Knight. - 7. The Adventures of Launcelot of the Lake. - 8. The Dolorous Stroke. - 9. The Coming of Galahad. - 10. The Quest of the Sangreal. - 11. The Achieving of the Sangreal. - 12. The Passing of Arthur. - -At least one story will appear in each succeeding issue of the Magazine -until the series is finished, and should space permit, possibly two -stories will appear in some of the numbers. - - - The Immortal Stories - - -They were told long before anybody had learned how to write them out, -though most of the fairy tales which the children feed on now are of -the second crop, to be sure. - -Dr. Greville MacDonald, writing in the _Contemporary Review_ of “The -Fairy Tale in Education,” insists as strongly as Ruskin did upon the -vital importance of the fairy story in the right kind of ministering -to children. He regrets the tendency among the science worshipers to -regard the fairy tale as a weed of superstition, to be pulled up and -cast out with all such worn out beliefs. And he goes on: - -“The fairy tale is a wild flower. It is native to that pasture of -aboriginal, uncultivated innocence wherein, among the roots of grass -and flowers, the elemental passions dwell.... - -“Not the least important of these elemental passions is the individual -sense of unity with the world beyond. It is dominant in all unspoiled -peasant folk, and dormant when not dominant in all children. It takes -concrete form in folk-lore, folk-song and folk-dance. It throve -fearlessly in the thirteenth century painters, in the Gothic masons and -glass stainers of the great cathedrals. It is, indeed, the elemental -gift in whose atmosphere and inspiration the true art grows. Hence -comes the child’s fellow feeling with all simple life—his clutching at -the flower, his delight in kitten, bird or butterfly. These are fellow -creatures all, allies in “effort and expectation and desire.” - -Dr. MacDonald is not worried by the protest that fairy tales sometimes -have “bad morals.” He finds much popular confusion between the words -“meaning” and “moral” in such complaints. What we do actually and -rightly dislike, he thinks, is a moral label. - -This is why the short sighted, the unco guid, or those whose “heads are -filled with science” (to paraphrase a great writer), stupidly object -to the fairy tale; they always want to append a copy book moral. The -bad figures in fairy tales often play tricks successfully upon the good -ones, but the child is not thereby deceived. His unerring instinct, -unwarped by any sophistry of man’s education, pierces all the shams, -and he loves the good and turns away, just as surely, from the bad. -The spiritual sense of what is deeply true is integral in the child’s -imagination, and must be held sacred.—_N. Y. Evening Sun._ - - - - - From the Book Shelf - - - “IN OLDEST ENGLAND,” by G. P. Krapp. Price, 75 cents. Longmans, Green - & Co., New York. - -Dr. Krapp, a professor of literature in Columbia University, has given -us an interesting and valuable book, for both youth and adult. He -relates in an interesting way the story of England’s history, from the -beginning up to the Norman conquest, using facts, ancient manuscripts, -pictures and early literature to tell the story. He makes an appeal to -the imagination, to re-create those far-off days, that we may fully -realize how our ancestors lived a thousand years ago. - -The measure of a people’s civilization, he says, is not in the amount -of machinery they possess, but in the thoughts and affections which go -to make up character. We cannot give a better idea of the book than the -story of England’s first poet, which we give on another page of the -Magazine. - - * * * * * - - “TALES OF THE ENCHANTED ISLES OF THE ATLANTIC.” By Thomas Wentworth - Higginson. Price, $1.50. The Macmillan Company, New York. - -“Bancroft, the historian, made it a matter of pride that the beginning -of American annals was bare and literal,” says the author, and he goes -on to prove, through two hundred and fifty-nine interesting pages, that -Bancroft was mistaken. To Europeans, undiscovered America lay beyond -the great unknown sea of awe, danger and vanishing isles. The islands -within sight of European shores, Irish, Breton, Welsh and Spanish, had -the glamour of enchantment cast about them. They were the gateways to a -sea of mystery. The Canary Isles were discovered before the Christian -era and then lost sight of for thirteen centuries. A continent called -Atlantis, thought to have been submerged in the Atlantic, had long -haunted the imagination of people in Europe and Africa. Solon, the -law-giver and poet, wrote a letter in which he said that when a student -in Egypt, he was told that the island of Atlantis, was sunk thousands -of years ago. This letter was read and studied by both Socrates and -Plato. From these traditions, taught by Greek and Egyptian, and -believed by the inhabitants of Western Europe, who ever looked out upon -the Atlantic, grew the interesting tales which the author gives, such -as “Island of Youth,” “Swan Children of Lir,” “Castle of Active Door,” -and “Island of Seven Cities.” King Arthur visited one of the Islands, -and wrestled with Half-Man, which meant Habit, and when he fought his -last battle in the West, and sailed away, it was to Avalon, one of the -enchanted isles. - -These traditions were great psychic forces, that lured men on until -they discovered a new world, more marvelous than Atlantis. A fine book -for the story tellers and one bearing directly on American history. - - * * * * * - - “INDIAN SKETCHES, PÈRE MARQUETTE AND THE LAST OF THE POTTAWATOMIE - CHIEFS.” By Cornelia Steketee Hulst. Price, 60 cents. Longmans, Green - & Co., New York. - -Mrs. Hulst combines historical data and literary art in such proportion -as to make a most readable book, an Indian epic, beginning where the -Song of Hiawatha left off, and bringing the Indian down to modern -times. The story of the white man’s injustice and greed toward the -Indian should be told our children. Our histories have omitted the -accounts of the exile and banishment of tribes to the Far West. -“To frankly confess a fault indicates a higher plane of honor and -sincerity,” says the author. We have wronged our brothers, the Redmen, -the first Americans. Let us as far as we can right the wrong. The book -is a voice from the present speaking to the future. No one can read the -book without feeling its appeal to fair play and eternal justice and -right. - -The Indian’s religion of the Great Spirit, his folk-games and -folk-stories,—a true folk-culture that came out of the countless ages -of American geography and history may yet be made over into the culture -of modern America for our good. The author has set us thinking. - - * * * * * - - “WILLIE WYLD,” three volumes, Natural History Stories: “VOYAGE TO - THE ISLAND OF ZANZIBAR,” “HUNTING BIG GAME IN AFRICA,“ ”LOST IN THE - JUNGLES OF AFRICA.” By William James Morrison, with an introduction by - Dr. P. P. Claxton, United States Commissioner of Education. Price, 60 - cents a vol. Publishing House M. E. Church South, Nashville, Tenn. - -The wide circulation these books have had prove the author’s position -that a story need not be a fairy story to hold a child’s attention, but -that Natural History has a marvelous story of its own to tell. While -the books are instructive, yet the narrative holds the attention to the -end. The plot is original and so is the method. Dr. Claxton says in -his Introduction, “All people like stories of adventure, boys and girls -most of all. Our ancestors told them about their camp fires, at night, -in the long winter and on the meadows and in the openings of the great -forests in the long twilights of the summer. - -“Dr. Morrison has become known among modern story tellers for his -realistic stories of adventure in which are interwoven valuable -information of strange lands, peoples and animals. The stories in -‘Willie Wyld’ were first told by Dr. Morrison to the children of -Nashville, in the Children’s Reading Room of the Public Library of -that city, and have been written down as told, hence their freshness, -simplicity and realism. I have just read them at a sitting without -skipping a sentence, and I am sure many another child will want to do -the same.” A helpful set of books for boys and girls. - - * * * * * - - THE ALDINE SERIES OF READERS: The Primer, 32 cents; 1st Reader, 36 - cents; 2d Reader, 42 cents; 3d Reader, 48 cents; 4th Reader, 65 cents; - 5th Reader, 75 cents; 4th, 5th, 6th and 7th Grade Readers, 48 cents - each. - - LEARNING TO READ. A Teachers’ Manual, 60 cents. By Frank E. Spaulding, - Superintendent of Schools, Newton, Mass., and Catherine T. Bryce, - Supervisor of Primary Schools, Newton, Mass. Newson & Company, New - York. - -These Readers are based on the Aldine Method of Teaching Reading, as -explained in “Learning to Read,”—A Manual for Teachers. Attractive -as they undoubtedly are, with Miss Webb’s delightful illustrations -and the excellent general arrangement of the material, they are far -more important in the means employed to attract and hold the child’s -attention; in the way in which they arouse the child’s interest and -stimulate and direct the child’s thought. The Aldine Method in reading -is in reality the Story Telling method of teaching the child to read. - -Thus, learning to read by the Aldine Method, or the story-telling -method, appeals to the child as real pleasure; he enters upon the -undertaking with the enthusiasm of his play and his recreation. It is -an enthusiasm which does not easily tire. - -Any teacher who is interested in the art of story telling as a means of -instruction for young children will surely be interested in the Aldine -Readers. - - - - - Story Tellers’ Leagues - - -THE STORYTELLERS’ MAGAZINE publishes for the convenience of those -interested in the story telling movement a finding list of Story -Tellers’ Leagues throughout the United States. Correspondence is -invited in order to supply omissions caused by lack of information so -that the MAGAZINE may be made as complete as possible. - -Leagues marked with a * publish Year Books. - - - The National Story Tellers’ League - - HOME OFFICE: 27 West Twenty-third Street, New York - - -Officers - - Richard T. Wyche, President - 27 West 23d St., N. Y. - - James H. Van Sickle, Vice President - Superintendent of Schools, Springfield, Mass. - - R. M. Hodge, Secretary - 552 West 113th St., N. Y. - - W. H. Keister, Treasurer - Superintendent of Schools, Harrisonburg, Va. - - - ALABAMA - - BIRMINGHAM - - STORY TELLERS’ LEAGUE - ————, _President_ - ————, _Cor. Secretary_ - P. O. Address—Care J. H. Phillips, Supt. Birmingham Public Schools - - MONTEVALLO - - *ALABAMA GIRLS’ TECHNICAL INSTITUTE - STORY TELLERS’ LEAGUE - Miss Myrtle Brooke, _President_ - ————, _Cor. Secretary_ - P. O. Address—Alabama Girls’ Technical Institute, Montevallo, Ala. - - TUSCUMBIA - - STORY TELLERS’ LEAGUE - Miss Rayner Tillman, _President_ - ————, _Cor. Secretary_ - P. O. Address—Care Public Schools, Tuscumbia, Ala. - - ARKANSAS - - LITTLE ROCK - - *STORY TELLERS’ LEAGUE - Miss Grace Boyce, _President_ - Miss Dora Hooper, _Cor. Secretary_ - P. O. Address—Care Superintendent City Schools, Little Rock, Ark. - - COLORADO - - DENVER - - STORY TELLERS’ LEAGUE - Miss Edwina Fallis, _President_ - ————, _Cor. Secretary_ - P. O. Address—637 Franklin St., Denver, Col. - - CONNECTICUT - - HARTFORD - - STORY TELLERS’ LEAGUE - Prof. E. P. St. John, _President_ - Miss Ethel H. Wooster, _Secretary_ - P. O. Address—Hartford School Religious Pedagogy, Hartford, Conn. - - GEORGIA - - ATHENS - - “ROUND TABLE” - Prof. D. L. Earnest, _President_ - Miss Janie Tharpe, _Cor. Secretary_ - P. O. Address—State Normal, Athens, Ga. - - ATLANTA - - STORY TELLERS’ LEAGUE - Mr. George B. Hinman, _Hon. President_ - Mrs. Charles Goodman, _President_ - Mrs. Meta Barker, _Cor. Secretary_ - P. O. Address—24 Park Lane, Ansley Park, Atlanta, Ga. - - “JUST-SO” STORY TELLERS’ CLUB - Mr. Walter McElrath, _President_ - Miss Meta Barker, _Secretary and Treasurer_ - P. O. Address—68 East Avenue, Atlanta, Ga. - - DALTON - - STORY TELLERS’ LEAGUE - Mr. T. S. Lucas, _President_ - ————, _Cor. Secretary_ - P. O. Address—Supt. City Schools, Dalton, Ga. - - ILLINOIS - - BLOOMINGTON - - STORY TELLERS’ LEAGUE - Miss Frances E. Foote, _Hon. President_ - Mrs. C. B. Hanson, _President_ - Mrs. Perry B. Johnson, _Cor. Secretary_ - P. O. Address—402 West Chestnut St., Bloomington, Ill. - - CARBONDALE - - STORY TELLERS’ LEAGUE - Miss Fadra R. Holmes, _President_ - ————, _Cor. Secretary_ - P. O. Address—State Normal School, Carbondale, Ill. - - CHICAGO - - *STORY TELLERS’ LEAGUE. (Chicago Branch Natl. S. T. L.) - Miss Alice O’Grady, _President_ - Miss Grace Hemingway, _Cor. Secretary_ - P. O. Address—444 N. Oak Park Ave., Oak Park, Ill. - - DECATUR - - STORY CLUB - Miss Flora B. Smith, _President_ - ————, _Cor. Secretary_ - P. O. Address—657 W. Main St., Decatur, Ill. - - NORMAL - - STORY TELLERS’ LEAGUE, Normal University - Frances E. Foote, _President_ - Miss Ada Kreider, _Cor. Secretary_ - P. O. Address—Normal University, Normal, Ill. - - SPRINGFIELD - - SANGAMON COUNTY STORY TELLERS’ LEAGUE - Miss Emma Grant, _President_ - ————, _Cor. Secretary_ - P. O. Address, Care of Superintendent Schools, Springfield, Ill. - - IOWA - - DES MOINES - - STORY TELLERS’ LEAGUE - Miss Jeanette Ezekiels, _President_ - ————, _Cor. Secretary_ - P. O. Address—Kindergarten Dept., Drake University, Des Moines, Ia. - - KANSAS - - KANSAS CITY - - STORY TELLERS’ LEAGUE - Miss Mary L. Dougherty, _President_ - ————, _Cor. Secretary_ - P. O. Address—540 Oakland Ave., Kansas City, Kan. - - TOPEKA - - STORY TELLERS’ LEAGUE - Miss Linna E. Bresette, _President_ - ————, _Cor. Secretary_ - P. O. Address—506 Polk St., Topeka, Kan. - - KENTUCKY - - COVINGTON - - STORY TELLERS’ LEAGUE - Miss Lily Southgate, _President_ - ————, _Cor. Secretary_ - P. O. Address—High School, Covington, Ky. - - FORT THOMAS - - STORY TELLERS’ LEAGUE - ————, _President_ - Miss Bessie J. White, _Cor. Secretary_ - P. O. Address—Southgate Ave., Fort Thomas, Ky. - - - LOUISVILLE - - STORY TELLERS’ LEAGUE - Miss Nannie Lee Frayser, _President_ - ————, _Cor. Secretary_ - P. O. Address—University School, Louisville, Ky. - - NEWPORT - - CAMPBELL COUNTY STORY TELLERS’ LEAGUE - ————, _President_ - Miss Florence Savage, _Cor. Secretary_ - P. O. Address—36 Home Ave., Newport, Ky. - - LOUISIANA - - NEW ORLEANS - - *STORY TELLERS’ LEAGUE - Miss Eleanor Payne, _President_ - Miss Ida Barnett, _Cor. Secretary_ - P. O. Address—1631 Octavia St., New Orleans, La. - - SHREVEPORT - - STORY TELLERS’ LEAGUE - Miss Pearl Fortson, _President_ - ————, _Cor. Secretary_ - P. O. Address—High School, Shreveport, La. - - MASSACHUSETTS - - WORCESTER - - STORY TELLERS’ CLUB - Miss Edna Collamore, _President_ - Miss Mary Woodward, _Cor. Secretary_ - P. O. Address—40 Merrick St., Worcester, Mass. - - MICHIGAN - - ADRIAN - - *STORY TELLERS’ LEAGUE - Miss Nellie Stow, _President_ - Miss Fanny Rich, _Cor. Secretary_ - P. O. Address—Care Public Library, Adrian, Mich. - - CALUMET - - STORY TELLERS’ LEAGUE - Mrs. Robert Wetzel, _President_ - Miss Ella Josey, _Cor. Secretary_ - P. O. Address—Care C. & H. Library, Calumet, Mich. - - DETROIT - - STORY TELLERS’ LEAGUE - Miss Mary Conover, _President_ - Miss Alice M. Alexander, _Cor. Secretary_ - P. O. Address—Children’s Room, Public Library, Detroit, Mich. - - MISSOURI - - ST. JOSEPH - - *ST. JOSEPH STORY TELLERS’ LEAGUE - Miss Martina Martin, _President_ - Miss Georgiana Behne, _Cor. Secretary_ - P. O. Address—209 North 18th Street, St. Joseph, Mo. - - MISSISSIPPI - - BLUE MOUNTAIN - - STORY TELLERS’ LEAGUE - Miss Jennie Hardy, _President_ - ————, _Cor. Secretary_ - P. O. Address—Blue Mountain College, Blue Mountain, Miss. - - COLUMBUS - - STORY TELLERS’ LEAGUE - - Miss Rosa B. Knox, _President_ - ————, _Cor. Secretary_ - P. O. Address—Normal Institute, Columbus, Miss. - - MONTANA - - BOZEMAN - - STORY TELLERS’ LEAGUE - Mrs. R. J. Cunninghan, _President_ - ————, _Cor. Secretary_ - P. O. Address—Bozeman, Mont. - - DILLON - - STORY TELLERS’ LEAGUE - Miss Florence Mayer, _President_ - Miss Susie Karas, _Cor. Secretary_ - P. O. Address—State Normal, Dillon, Mont. - - HELENA - - STORY TELLERS’ LEAGUE - Mr. J. W. Curtis, _President_ - Miss Lucile Dyas, _Cor. Secretary_ - P. O. Address—Care City Schools, Helena, Mont. - - NEBRASKA - - OMAHA - - *STORY TELLERS’ LEAGUE - Mrs. C. W. Axtell, _President_ - Miss Emma Rosicky, _Cor. Secretary_ - P. O. Address—1015 William St., Omaha, Neb. - - *WYCHE STORY TELLERS’ LEAGUE - Miss Ida M. Crowell, _President_ - Miss Mary Krebs, _Cor. Secretary_ - P. O. Address—1332 S. 25th Ave., Omaha, Neb. - - - LINCOLN - - STORY TELLERS’ LEAGUE, Nebraska State Teachers’ Association - Miss Margaret Cleland, _President_ - P. O. Address—2491 Q Street, Lincoln, Neb. - - NEW YORK - - NEW YORK CITY - - KNICKERBOCKER STORY TELLERS’ LEAGUE - Mrs. E. D. Burt, _President_ - Mrs. Anna P. Ball, _Cor. Secretary_ - P. O. Address—500 West 121st Street, New York. - - INFORMAL FIRESIDE STORY TELLING CIRCLE - Miss L. A. Palmer, _President_ - Miss Charlotte Cornish, _Cor. Secretary_ - P. O. Address—235 East 18th St., New York - - STORY TELLERS’ LEAGUE, Y.W.C.A. Training School - ————, _President_ - ————, _Cor. Secretary_ - P. O. Address—113 East 34th Street, New York. - - SYRACUSE - - STORY TELLER’ LEAGUE - Miss Maude C. Stewart, _President_ - ————, _Cor. Secretary_ - P. O. Address—Care Willard School, Syracuse, N. Y. - - NORTH CAROLINA - - WILSON - - STORY TELLERS’ LEAGUE - Miss Daphne Carraway, _President_ - Miss Florence Mayerberg, _Cor. Secretary_ - P. O. Address—208 North Pine Street, Wilson, N. C. - - OHIO - - CINCINNATI - - *STORY TELLERS’ LEAGUE - Miss Pearl Carpenter, _President_ - Miss L. O’Neill, _Cor. Secretary_ - P. O. Address—2371 Fairview Ave., Cincinnati, O. - - OXFORD - - STORY TELLERS’ LEAGUE - Miss Annie Logan, _President_ - ————, _Cor. Secretary_ - P. O. Address—Miami University, Oxford, O. - - PIQUA - - STORY TELLERS’ LEAGUE - Miss Jessie H. Masden, _President_ - ————, _Cor. Secretary_ - P. O. Address—Schmidlapp Free Public Library, Piqua, O. - - OKLAHOMA - - PONCA CITY - - STORY TELLERS’ LEAGUE - Miss Lenna Mead, _President_ - Miss Roberta McCullough, _Cor. Secretary_ - P. O. Address—Ponca City, Okla. - - PENNSYLVANIA - - PHILADELPHIA - - STORY TELLERS’ LEAGUE - Prof. F. A. Child, _President_ - Miss Helen D. Mills, _Cor. Secretary_ - P. O. Address—Box 38, College Hall, University of Pennsylvania, - Philadelphia, Pa. - - NORTH EAST - - NORTH EAST STORY TELLERS’ CLUB - Miss Laura Selkregg, _President_ - Miss Almeda Wells, _Cor. Secretary_ - P. O. Address—140 W. Main St., North East, Pa. - - SOUTH CAROLINA - - TIMMONSVILLE - - STORY TELLERS’ LEAGUE - Miss Annie W. Shuler, _President_ - ————, _Cor. Secretary_ - P. O. Address—Box 247, Timmonsville, S. C. - - TENNESSEE - - HARRIMAN - - STORY TELLERS’ LEAGUE - Miss Inez A. Ayers, _President_ - ————, _Cor. Secretary_ - P. O. Address—Public Library, Harriman, Tenn. - - NASHVILLE - - *STORY TELLERS’ LEAGUE - Miss Elizabeth Oehmig, _President_ - Miss Cornelia Barksdale, _Cor. Secretary_ - P. O. Address—1207 Ordway Place, Nashville, Tenn. - - - TEXAS - - SAN ANTONIO - - MARK TWAIN STORY TELLERS’ LEAGUE - ————, _President_ - ————, _Cor. Secretary_ - P. O. Address—High School, San Antonio, Tex. - - WACO - - STORY TELLERS’ LEAGUE OF BAYLOR UNIVERSITY SUMMER SCHOOL - ————, _President_ - ————, _Cor. Secretary_ - P. O. Address—Care Prof. W. W. Pelham, Waco, Tex. - - VIRGINIA - - HARRISONBURG - - STORY TELLERS’ LEAGUE - Prof. C. J. Heatwole, _President_ - ————, _Cor. Secretary_ - P. O. Address—State Normal School, Harrisonburg, Va. - - RICHMOND - - STORY TELLERS’ LEAGUE - Miss Lucy Coleman, _President_ - ————, _Secretary_ - P. 0. Address—13 North 5th Street, Richmond, Va. - - WEST VIRGINIA - - GLENVILLE - - STORY TELLERS’ LEAGUE - Mr. Blaine Engle, _President_ - ————, _Cor. Secretary_ - P. O. Address—State Normal School, Glenville, W. Va. - - HINTON - - STORY TELLERS’ LEAGUE - Mr. R. L. Cole, _President_ - ————, _Cor. Secretary_ - P. O. Address—High School, Hinton, W. Va. - - MORGANTOWN - - BEOWULF STORY TELLERS’ CLUB - Mr. J. A. McRae, _President_ - Miss Marian Tapp, _Cor. Secretary_ - P. O. Address—West Virginia University, Morgantown, W. Va. - - WHITE SULPHUR SPRINGS - - STORY TELLERS’ LEAGUE - Mr. H. C. Bailey, _President_ - Miss Bettie Dunbar, _Cor. Secretary_ - P. O. Address—White Sulphur Springs, W. Va. - - - - -[Illustration: Mother and child] - - The School of Mothercraft - - OFFERS BRIEF COURSES IN - -Story Telling, Nursery Play and Handwork; Methods of Teaching Nature -Study; Practical Child Study. - -Classes for Mothers, Mothers’ Assistants, Sunday School Workers, Social -Workers. Reference Library. - - _For further particulars, write the Director_, - - Summer Address: MARY L. READ - 59 West 96th St., New York City - - - - - Business Manager’s Story - - -Well, we came, we are seen, we are conquered—by the many kind things -our readers are saying about us. - -Of course, we understand our friends and well wishers are apt to -emphasize our good points and minimize our failings. The most -conscientious critics are perhaps silent over our shortcomings out of -sympathy and good nature. - -We hope not, however. Constructive ideas from friendly critics is the -most encouraging form of appreciation. The best service any one can -render the Magazine is to show how it can be made better. - -THE STORYTELLERS’ letter bag since the publication of the first -number of the Magazine has been running over with comment of the most -encouraging nature, and, as we venture to hope the public at large will -share in some degree our pleasure over the cordial recognition of our -efforts which it indicates, we give below a few of the many comments -received: - - AMHERST, N. H. Miss Rebecca Spaulding writes: - - “Perhaps you will be interested in knowing that at the news-stand - where I stopped to buy the magazine the first day it was out the - newsboy himself was devouring it.” - - “Is it a good Magazine?” I asked. - - “It’s better’n the novels,” he answered with a bright smile, and was - soon lost in its pages again. - - “Isn’t that a good advertisement in itself.” - -SAINT LOUIS, MO. Percival Chubb, President of the Ethical Society -writes: - - “Congratulations on your first number. It promises very well and I - hope you will be receiving assistance all over the country which will - enable you to make a notable thing of your new venture.” - -ILLINOIS NORMAL UNIVERSITY. Miss Frances E. Foote writes: - - “Hurrah for the Storytellers’ Magazine! I’m delighted with this - initial number.” - -YONKERS, N. Y. Charles Welsh, author and editor, writes: - - “You have struck it right the first time, and I hope you have ‘struck - it rich.’ The Magazine is a little gem from the point of view of - get-up, and a glance at the contents suffices to show me that you have - struck a rich vein of good things. No home where there are children - should be without it.” - -ALBANY, N. Y. Sherman Williams, Chief of the School Libraries’ -Division, New York State Education Department, writes: - - “I wish it might go into the hands of every first and second grade - primary teacher in the land.” - -PHILADELPHIA, PA. Frederic A. Child, Professor of English Language and -Literature, University of Pennsylvania, writes: - - “The Magazine is fine, both in appearance and content.” - -CHICAGO, ILL. Miss Georgene Faulkner—“The Story Lady”—writes: - - “The Magazine is excellent and contains very valuable material. The - Bibliography alone is worth a year’s subscription.“ - -UTICA, N. Y. Miss Georgina Speare writes: - - ” ... And last but not at all the least I shall aid you to get - subscribers, because I want to help the financial side of your - undertaking. You are beginning a splendid work and I wish you the - greatest success.” - -The last writer, Miss Speare, in her desire “to help the financial -side,” hits the nail squarely on the head. - -That is the business manager’s side. - -No one knows so well as he what the making of a magazine costs. - -Have you ever reckoned up the thousands and thousands of dollars it -takes to make and publish ten or twelve numbers of a magazine? - -Have you ever thought how little it costs the subscriber—just eight and -one-third cents _per month—including the postage_? - -If you have thought of these things you already understand how -necessary the subscriber is to the life of the Magazine. - -“He, who is not for us, is against us” is just as true of a Magazine -subscription as any other form of endeavor. - -We have received much substantial encouragement already from -subscribers, and new ones are coming in every day. - -We have also many earnest representatives at work making friends and -subscribers for the Magazine, but we need many more—in fact, we need -_you_. - -If you are not already a subscriber will you not send in your -subscription _now_—and then lend us your assistance to get others. - -REMEMBER, we _make it worth your while_ to work for THE STORYTELLERS’ -MAGAZINE. - - Address BUSINESS MANAGER, - THE STORYTELLERS’ MAGAZINE, - 27 West 23d St., New York. - - - - - BIBLIOGRAPHY - - -In this list of books, Column I gives the price upon receipt of which -the book named will be sent post-paid. Column II gives the price upon -receipt of which the book named will be sent post-paid together with -The Storytellers’ Magazine for one year. Remittances may safely be made -by Money or Express Order or by draft on New York. All communications -should be sent to The Storytellers’ Magazine, 27 West 23d Street, -New York, giving the name of the book wanted; the date at which the -subscription to The Storytellers’ Magazine should begin, and the name -and full post-office address of the sender. - - - I. Story Telling - - Column I Column II - Price Price - at which Book of Book and - will be sent THE STORYTELLERS’ - post-paid MAGAZINE for - one year - Book and - STORYTELLERS’ - BRYANT, Sara Cone.—How to Tell Stories MAGAZINE - to Children, 1.00 Combined $1.65 - Stories to Tell Children. 1.00 1.65 - HOUGHTON, Louise.—Telling Bible Stories 1.25 ” 1.85 - KEYES.—Stories and Story-Telling. 1.25 ” 1.85 - LYMAN, Edna.—Story-Telling: What to - Tell and How to Tell It 0.75 ” 1.55 - PARTRIDGE, E. N. & G. P.—Story-Telling - in School and Home. 1.25 ” 1.75 - WYCHE, R. T.—Some Great Stories and - How to Tell Them. 1.00 1.55 - - -II. Bible Stories - - BUNYAN.—Pilgrim’s Progress. 1.00 ” 1.65 - CHISHOLM.—Stories from The Old Testament. 0.50 ” 1.30 - CHURCH.—Story of the Last Days of - Jerusalem. 1.25 ” 1.85 - HODGES.—Saints and Heroes. 1.35 ” 1.95 - KELMAN.—Stories from the Life of Christ. 0.50 ” 1.30 - PENDLETON.—In Assyrian Tents. 0.75 ” 1.55 - SHEPARD.—Young Folks Josephus. 1.25 ” 1.85 - SIVITER.—Nehe, Story of Nehemiah. 1.50 ” 2.10 - TOLSTOI.—Where Love Is—There is God Also. 0.35 ” 1.25 - - -III. Epics, Romances and Classic Tales - - ARNOLD.—Sohrab and Rustem. 0.25 ” 1.15 - BALDWIN.—Story of Roland. 1.50 ” 2.10 - BALDWIN.—Story of Siegfried. 1.50 ” 2.10 - CARPENTER.—Hellenic Tales. 0.60 ” 1.45 - CHURCH.—Odyssey for Boys and Girls. 1.50 ” 2.10 - CHURCH.—Stories of Charlemagne. 1.75 ” 2.25 - CHURCH.—Stories of Homer. 1.25 ” 1.85 - CRAWFORD.—Tr. the Kalevala, the National - Epic of Finland. 3.00 ” 3.50 - DARTON.—Tales of the Canterbury Pilgrims. 1.50 ” 2.10 - DARTON.—Wonder-book of Old Romance. 1.50 ” 2.10 - DAVIDSON.—A Knight Errant—Story of - Amadis of Gaul. 1.75 ” 2.25 - HAVELL.—Stories from Don Quixote. 1.50 ” 2.10 - HIGGINSON.—Tales of the Enchanted - Islands of the Atlantic 1.50 ” 2.10 - HOLBROOK.—Northland Heroes. 0.35 ” 1.25 - HULL.—The Boy’s Cuchulain-Irish Hero - Legends. 1.50 ” 2.10 - IRVING.—Tales from the Alhambra. 0.60 ” 1.40 - LANG, A.—Book of Romance. 1.60 ” 2.15 - LANG, Andrew.—”Tales of Troy and - Greece.” 1.00 ” 1.65 - LANG, L. B.—Red Book of Heroes. 1.60 ” 2.15 - LANIER.—The Boy’s King Arthur. 2.00 ” 2.45 - MABIE.—Heroes Every Child Should - Know. 0.50 ” 1.30 - MACLEOD.—Book of King Arthur, etc. - (Inexpensive edition.) 1.00 ” 1.65 - MACLEOD.—Book of King Arthur and His - Noble Knights. 1.50 ” 2.10 - MACLEOD.—Stories from the Faerie Queene 1.50 ” 2.10 - MCSPADDEN.—Stories from Wagner. 0.50 ” 1.30 - MCSPADDEN.—Stories from Chaucer. 0.50 ” 1.30 - MARSHALL.—Stories of Beowulf. 0.50 ” 1.30 - MARSHALL.—Stories of Childe Roland. 0.50 ” 1.30 - MARSHALL.—Story of William Tell. 0.50 ” 1.30 - MORRIS.—Story of Sigurd the Volsung. 2.00 ” 2.45 - PALMER.—Tr. Odyssey of Homer. 1.00 ” 1.65 - PYLE.—Story of King Arthur and his Knights. 2.00 ” 2.45 - PYLE.—Story of Launcelot and his Companions.2.00 ” 2.45 - PYLE.—Some Merry Adventures of Robin - Hood. (Condensed) 0.50 ” 1.30 - PYLE.—Merry Adventures of Robin Hood 3.00 ” 3.30 - RAGOZIN.—Frithj and Roland. 1.25 ” 1.85 - RAGOZIN.—Siegfried and Beowulf. 1.25 ” 1.85 - ROYDE-SMITH.—Una and the Red Cross Knight.2.50 ” 2.85 - TEGNER.—Frithiof’s Saga. 1.25 ” 1.85 - TINKER.—Beowulf. Tr. by Tinker. 1.00 ” 1.65 - WILMOT-BUXTON.—Stories of Persian Heroes. 1.50 ” 2.10 - WILSON.—The Story of the Cid. 1.25 ” 1.85 - - -IV. Fables, Myths, Heroes and Folk Lore - - ÆSOP’S FABLES.—Ed. by Joseph Jacobs. 1.50 ” 2.10 - ANDERSEN.—Wonder Stories. 1.00 ” 1.65 - AUSTIN.—The Basket Woman—Ute Indian Tales. 1.50 ” 2.10 - BALDWIN.—Story of the Golden Age. 1.50 ” 2.10 - BALDWIN.—Wonder-book of Horses. 0.75 ” 1.60 - BLUMENTHAL.—Folk Tales from the Russians 0.60 ” 1.45 - BRADISH.—Old Norse Stories. 0.45 ” 1.28 - BROWN.—In the Days of Giants. 1.10 ” 1.85 - BRYCE.—Fables from Afar. 0.45 ” 1.28 - Short Stories for Little Folks. 0.35 ” 1.20 - BRYCE.—That’s Why Stories. 0.45 ” 1.28 - DASENT.—Popular Tales from the Norse. 2.50 ” 2.85 - GRIFFIS.—The Fire-Fly’s Lovers, Japanese - Folk Tales. 1.00 ” 1.65 - GRIMM.—Household Stories. Tr. by Crane. 1.00 ” 1.70 - HAWTHORNE.—Wonderbook and Tanglewood Tales. 1.00 ” 1.70 - HARRIS.—Uncle Remus and His Friends. 1.50 ” 2.10 - HARRIS.—Uncle Remus, His Songs and Sayings. 2.00 ” 2.45 - KINGSLEY.—Heroes of Greek Fairy Tales. 1.00 ” 1.65 - KUPFER.—Legends of Greece and Rome. 0.75 ” 1.60 - LAGERLÖF.—Swedish Folk Tales. 1.50 ” 2.10 - LANG, Andrew.—True Story Book. 2.00 ” 2.45 - MABIE.—Norse Stories Retold from The Eddas. 1.25 ” 1.75 - PEABODY.—Old Greek Folk Stories. 0.25 ” 1.15 - RAMASWAMI, Raju.—Indian Fables. 1.50 ” 2.10 - ROULET-NIXON.—Japanese Folk Stories - and Fairy Tales. 0.40 ” 1.25 - SCUDDER.—Children’s Book. 2.50 ” 2.85 - STORR.—Half-a-Hundred Hero Tales. 1.35 ” 1.95 - WIGGIN & SMITH.—Tales of Laughter. 1.35 ” 1.95 - WIGGIN & SMITH.—Tales of Wonder. 1.50 ” 1.95 - ZITKALA-SA.—Old Indian Legends. 0.60 ” 1.40 - - -V. Fairy Tales—Old and New - - ANDERSEN.—Fairy Tales. Tr. by Mrs. Lucas. 2.50 ” 2.85 - ANDERSEN.—Fairy Tales. Vol. I. 0.40 ” 1.25 - Vol. II. 0.40 ” 1.25 - ANDERSEN.—Stories and Tales. 0.30 ” 1.20 - ASBJORNSEN.—Fairy Tales from the Far - North (Burt). 1.00 ” 1.65 - BALDWIN.—Fairy Stories and Fables. 0.35 ” 1.25 - BAIN.—Russian Fairy Tales. 0.00 ” 1.65 - BAIN.—Cossack Fairy Tales and Folk Tales. 0.00 ” 1.65 - CARY.—Fairy Legends of the French - Provinces. 0.60 ” 1.45 - CHISHOLM.—In Fairy Land. 3.00 ” 3.30 - COMPTON.—American Indian Fairy Tales. 1.50 ” 2.10 - CRAIK.—The Fairy Book. 0.50 ” 1.30 - DOLE.—Russian Fairy Book. 2.00 ” 2.45 - GRIMM.—Fairy Tales. Tr. by Mrs. Lucas. - Ill. by Arthur Rackham. 1.50 ” 2.10 - JACOBS.—Celtic Fairy Tales. 1.00 ” 1.65 - JACOBS.—More Celtic Fairy Tales. 1.25 ” 1.85 - JACOBS.—English Fairy Tales. 1.00 ” 1.65 - JACOBS.—More English Fairy Tales. 1.25 ” 1.85 - JACOBS.—Indian Fairy Tales. 1.00 ” 1.65 - LANG, Andrew.—Blue True Story Book. 2.00 ” 2.45 - LANG, Andrew.—Crimson Fairy Book. 1.60 ” 2.15 - MACDONNELL.—Italian Fairy Book. 1.35 ” 1.90 - OZAKI.—Japanese Fairy Book. 1.50 ” 2.10 - RHYS.—Fairy Gold. 0.70 ” 1.55 - WILLISTON.—Japanese Fairy Tales. 0.75 ” 1.55 - - -VI. History, Biography, Travel and Adventure - - ABBOTT.—Daniel Boone. 1.25 ” 1.85 - Christopher Carson, Known as Kit - Carson. 1.25 ” 1.85 - ABBOTT.—David Crockett. 1.25 ” 1.85 - AMBROSI.—When I was a Girl in Italy. 0.75 ” 1.55 - BARNES.—Yankee Ships and Yankee Sailors. 0.50 ” 1.30 - BOLTON.—Lives of Poor Boys Who Became - Famous. 1.50 ” 2.10 - BOYESEN.—Boyhood in Norway. 1.25 ” 1.85 - BROOKS.—Story of Marco Polo. 1.50 ” 2.10 - BROOKS.—True Story of Christopher Columbus. 1.50 ” 2.10 - BUTTERWORTH.—Zigzag Journeys around - the World. Per vol. 1.50 ” 2.10 - CARPENTER.—Asia. 0.60 ” 1.45 - CARPENTER.—South America. 0.60 ” 1.45 - CHURCH.—Stories of the East from Herodotus. 1.25 ” 1.85 - CUSTER (Mrs).—Boy General. Story of - the Life of Major-General George - A. Custer. 0.50 ” 1.40 - DANA.—Two Years Before the Mast - (University). 1.00 ” 1.65 - DU CHAILLU.—Country of the Dwarfs. 1.25 ” 1.85 - Lost in the Jungle. 1.25 ” 1.85 - My Apingi Kingdom. 1.25 ” 1.85 - Stories of the Gorilla Country. 1.25 ” 1.85 - Wild Life Under The Equator. 1.25 ” 1.85 - DUTTON.—Little Stories of Germany. 0.40 ” 1.25 - GARLAND.—Boy Life on the Prairie. 1.50 ” 2.10 - GIBSON.—In Eastern Wonder-Lands. 1.50 ” 2.10 - GOLDING.—Story of David Livingston. 0.50 ” 1.30 - HAWTHORNE.—Biographical Stories. 0.25 ” 1.15 - JENKS.—Boy’s Book of Explorations. 2.00 ” 2.45 - JOHNSTON AND SPENCER.—Ireland’s Story 1.40 ” 2.05 - KINGSLEY.—Westward Ho! 0.60 ” 1.45 - KNOX.—Boy Travellers in Great Britain - and Ireland. 2.00 ” 2.45 - MABIE.—Heroines Every Child Should Know. 0.50 ” 1.30 - MCMANUS.—Our Little Hindu Cousin. 0.60 ” 1.40 - MACGREGOR.—Story of France. 2.50 ” 2.85 - PARKMAN.—Oregon Trail. 0.40 ” 1.25 - ROOSEVELT AND LODGE.—Hero Tales - from American History. 1.50 ” 2.10 - ROOSEVELT.—Ranch Life and the Hunting - Trail. 2.50 ” 2.85 - SCHWATKA.—Children of the Cold. 1.25 ” 1.85 - STARR.—American Indians. 0.45 ” 1.30 - TAPPAN.—Story of the Greek People. 1.50 ” 2.00 - Story of the Roman People. 1.50 ” 2.00 - VAN BERGEN.—Story of Russia. 0.65 ” 1.50 - WHITE.—The Magic Forest. 0.50 ” 1.30 - YOUNGE.—Book of Golden Deeds. 1.00 ” 1.55 - - - - - STORIES FOR CHILDREN - - -=TWO LITTLE RUNAWAYS= (_Just Published_) - - Adapted and revised by MELVIN HIX and WALTER L. HERVEY. Illustrated. - 95 pp. 30 cents. - -Snappy and Spitfire are a dog and a cat who become dissatisfied with -their surroundings and decide to run away. Their various adventures -make an amusing and interesting book for children. It was designed -particularly to be used at that important stage when children are ready -to begin the independent practice of the most delightful of all arts, -the art of finding stories in books. The simplicity of plot and general -content are admirably suited to the needs and abilities of six-year-old -readers. - - -INDIAN SKETCHES - - By CORNELIA STEKETEE HULST. Illustrated. 120 pages. 60 cents. - -New material, drawn from the beautiful and heroic stories of the -Northwest Territory, has been worked up with the aim of presenting -the Indian in a much pleasanter and fairer light than is usual in -literature. Social and racial customs, the dances of the various -seasons, etc., are described. Parents and teachers of younger children -will find these “Sketches” interesting and historically accurate. - - -IN OLDEST ENGLAND - - By GEORGE PHILIP KRAPP. Illustrated. 173 pp. 60 cents. - -A collection of well-chosen stories which represent old English life. -Tales of adventure, accounts of battles, vivid descriptions of their -homes and dress, all serve to make real this distant period. The story -of the beginnings of the English people up to the Norman Conquest is -given, and the heroic characters of those times are brought to view in -a setting altogether new. - - -THE MAGIC SPEECH FLOWER - - By MELVIN HIX. Illustrated. 179 pp. 35 cents. - -This is the story of a little boy who was kind to animals, and, because -of his goodness to them, gained the power to understand and to speak -the speech of the animal folk. Thus he hears from them all about their -habits and they tell him many interesting legends of the woods. Most of -the stories are new and they are told in simple language which can be -read by children of eight or nine years of age. - - -HISTORICAL PLAYS OF COLONIAL DAYS - - By LOUISE E. TUCKER and ESTELLE L. RYAN. Twenty-six plays. With - full-page Frontispiece. 163 pp. 65 cents. - -This book makes history real by lifting it into a dramatic presentation -faithfully reproducing people and events in colonial times in America. -It teaches history in its pleasantest form. All of the plays have been -acted over and over again by children nine or ten years old. They also -immensely enjoy reading the plays without acting. The average time -required to give each of the plays is about fifteen minutes. - - -Fairy and Other Story Books by Andrew Lang. - - All Sorts of Stories Book _By Mail_, $1.75; _Net_ $1.60 - Animal Story Book 2.00 - Animal Story Book Reader .50 - Arabian Nights 2.00 - Blue Fairy Book 2.00 - Book of Princes and Princesses _By Mail_, $1.75; _Net_ 1.60 - Book of Romance _By Mail_, $1.75; _Net_ 1.60 - Book of Saints and Heroes _By Mail_, $1.75; _Net_ 1.60 - Brown Fairy Book _By Mail_, $1.75; _Net_ 1.60 - Crimson Fairy Book _By Mail_, $1.75; _Net_ 1.60 - Green Fairy Book 2.00 - Grey Fairy Book 2.00 - Lilac Fairy Book _By Mail_, $1.75; _Net_ 1.60 - My Own Fairy Book 2.00 - Olive Fairy Book _By Mail_, $1.75; _Net_ 1.60 - Orange Fairy Book _By Mail_, $1.75; _Net_ 1.60 - Pink Fairy Book 2.00 - Red Book of Animal Stories 2.00 - Red Book of Heroes _By Mail_, $1.75; _Net_ 1.60 - Red Book of Romance _By Mail_, $1.75; _Net_ 1.60 - Red Fairy Book 2.00 - Red True Story Book 2.00 - True Story Book 2.00 - Violet Fairy Book _By Mail_, $1.75; _Net_ 1.60 - Yellow Fairy Book 2.00 - - - LONGMANS, GREEN, & CO., Publishers - Fourth Avenue and 30th Street, New York - - - - - LEARNING TO READ - - BY THE - - Story Telling System - - -“Every primary teacher should be able to tell a story to children -effectively; this is an accomplishment almost indispensable in her art. -If you, as a teacher, have never told a story, begin at once.” Thus -write the authors of - - The Aldine Readers - in - “LEARNING TO READ” - - A Manual for Teachers - - -Rhymes, introduced by appropriate stories, furnish the most effective -means of acquiring an initial stock of “sight words.” - -The story with which the teacher introduces each rhyme is not a mere -device for making a hard task easy for the child. - -The story _does_ serve this purpose, but it does much more than that. - -It arouses the child’s interest; it attracts and hold the child’s -attention; it stimulates and directs the child’s thought; in short, the -told story does for the child what the printed story must do later. By -teaching the child to listen well, the teacher is preparing him to read -well. - -Story tellers use the Aldine Method, because learning to read in -this way appeals to the child as a real pleasure; he enters upon the -undertaking with the enthusiasm of his play and recreation. - -=Do YOU use the ALDINE METHOD OF READING?= - -If not the publishers will welcome an opportunity to tell you all about -it. - - - NEWSON & COMPANY, Publishers - Boston NEW YORK Chicago - - - - - -End of the Project Gutenberg EBook of The Story Tellers' Magazine, Vol. I, -No. 2, July 1913, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK STORY TELLERS' MAGAZINE, JULY 1913 *** - -***** This file should be named 63750-0.txt or 63750-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/7/5/63750/ - -Produced by hekula03, Les Galloway and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -book was produced from images made available by the -HathiTrust Digital Library.) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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