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children； do not lie hidden in every book。 And
even many of the stories which are most charming
to read do not answer the double demand；
for the appeal to the eye differs in many
important respects from that to the ear。 Unless one
is able to change the form of a story to suit the
needs of oral delivery； one is likely to suffer
from poverty of material。 Perhaps the commonest
need of change is in the case of a story
too long to tell； yet embodying some one beautiful
incident or lesson； or one including a series
of such incidents。 The story of The Nurnberg
Stove； by Ouida；＇1＇ is a good example of the latter
kind； Ruskin's King of the Golden River will
serve as an illustration of the former。
＇1＇ See Bimbi； by Ouida。 （Chatto。 2s。）
The problem in one case is chiefly one of
elimination； in the other it is also in a large
degree one of rearrangement。 In both cases I
have purposely chosen extreme instances； as
furnishing plainer illustration。 The usual story
needs less adaptation than these； but the same
kind； in its own degree。 Condensation and
rearrangement are the commonest forms of change
required。
Pure condensation is probably the easier for
most persons。 With The Nurnberg Stove in
mind for reference； let us see what the process
includes。 This story can be readily found
by anyone who is interested in the following
example of adaptation； for nearly every library
includes in its catalogue the juvenile works of
Mlle。 de la Ramee （Ouida）。 The suggestions
given assume that the story is before my
readers。
The story as it stands is two thousand four
hundred words long； obviously too long to tell。
What can be left out？ Let us see what must
be kept in。
The dramatic climax toward which we are
working is the outcome of August's strange
exploit；his discovery by the king and the
opportunity for him to become an artist。 The
joy of this climax is twofold： August may stay
with his beloved Hirschvogel； and he may learn
to make beautiful things like it。 To arrive at
the twofold conclusion we must start from a
double premise；the love of the stove and the
yearning to be an artist。 It will； then； be
necessary to include in the beginning of the
story enough details of the family life to show
plainly how precious and necessary Hirschvogel
was to the children； and to state definitely
how August had learned to admire and wish to
emulate Hirschvogel's maker。 We need no
detail beyond what is necessary to make this
clear。
The beginning and the end of a story decided
upon； its body becomes the bridge from one to
the other； in this case it is August's strange
journey； beginning with the catastrophe and his
grief…dazed decision to follow the stove。 The
journey is long； and each stage of it is told in
full。 As this is impossible in oral reproduction；
it becomes necessary to choose typical incidents；
which will give the same general effect as the
whole。 The incidents which answer this purpose
are： the beginning of the journey； the
experience on the luggage train； the jolting
while being carried on men's shoulders； the final
fright and suspense before the king opens the
door。
The episode of the night in the bric…a…brac
shop introduces a wholly new and confusing
train of thought； therefore； charming as it is； it
must be omitted。 And the secondary thread of
narrative interest； that of the prices for which
the stove was sold； and the retribution visited
on the cheating dealers； is also 〃another story；〃
and must be ignored。 Each of these destroys
the clear sequence and the simplicity of plot
which must be kept for telling。
We are reduced； then； for the whole； to this：
a brief preliminary statement of the place
Hirschvogel held in the household affections； and
the ambition aroused in August； the catastrophe
of the sale； August's decision； his experiences
on the train； on the shoulders of men； and just
before the discovery； his discovery； and the
denouement。
This not only reduces the story to tellable
form； but it also leaves a suggestive interest
which heightens later enjoyment of the original。
I suggest the adaptation of Kate Douglas
Wiggin； in The Story Hour； since in view of the
existence of a satisfactory adaptation it seems
unappreciative to offer a second。 The one I
made for my own use some years ago is not
dissimilar to this； and I have no reason to
suppose it more desirable。
Ruskin's King of the Golden River is somewhat
difficult to adapt。 Not only is it long； but its
style is mature； highly descriptive； and closely
allegorical。 Yet the tale is too beautiful and
too suggestive to be lost to the story…teller。
And it is； also； so recognised a part of the
standard literary equipment of youth that
teachers need to be able to introduce children
to its charm。 To make it available for telling；
we must choose the most essential events of the
series leading up to the climax； and present
these so simply as to appeal to children's ears；
and so briefly as not to tire them。
The printed story is eight thousand words in
length。 The first three thousand words depict
the beauty and fertility of the Treasure Valley；
and the cruel habits of Hans and Schwartz； its
owners； and give the culminating incident which
leads to their banishment by 〃West Wind。〃
This episode；the West Wind's appearance in
the shape of an aged traveller； his kind reception
by the younger brother； little Gluck； and the
subsequent wrath of Hans and Schwartz； with
their resulting punishment；occupies about two
thousand words。 The rest of the story deals
with the three brothers after the decree of West
Wind has turned Treasure Valley into a desert。
In the little house where they are plying their
trade of goldsmiths； the King of the Golden
River appears to Gluck and tells him the magic
secret of turning the river's waters to gold。
Hans and Schwartz in turn attempt the miracle；
and in turn incur the penalty attached to
failure。 Gluck tries； and wins the treasure through
self…sacrifice。 The form of the treasure is a
renewal of the fertility of Treasure Valley； and
the moral of the whole story is summed up in
Ruskin's words； 〃So the inheritance which was
lost by cruelty was regained by love。〃
It is easy to see that the dramatic part of the
story and that which most pointedly illustrates
the underlying idea； is the triple attempt to win
the treasure；the two failures and the one
success。 But this is necessarily introduced by
the episode of the King of the Golden River；
which is； also； an incident sure to appeal to a
child's imagination。 And the regaining of the
inheritance is meaningless without the fact of
its previous loss； and the reason for the loss； as
a contrast with the reason for its recovery。 We
need； then； the main facts recorded in the first
three thousand words。 But the West Wind
episode must be avoided； not only for brevity；
but because two supernatural appearances； so
similar； yet of different personalities； would
hopelessly confuse a told story。
Our oral story is now to be made out of a
condensed statement of the character of the
Valley and of its owners； and the manner of
its loss； the intervention of the King of the
Golden River； the three attempts to turn the
river to gold； and Gluck's success。 Gluck is
to be our hero； and our underlying idea is the
power of love versus cruelty。 Description is to
be reduced to its lowest terms； and the language
made simple and concrete。
With this outline in mind； it may be useful
to compare the following adaptation with the
original story。 The adaptation is not intended
in any sense as a substitute for the original； but
merely as that form of it which can be TOLD；
while the original remains for reading。
THE GOLDEN RIVER＇1＇
＇1＇ Adapted from Ruskin's King o