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a pause and an expressive gesture do the whole
thing。
It may be said here that it is a good trick of
description to repeat an epithet or phrase once
used； when referring again to the same thing。
The recurrent adjectives of Homer were the
device of one who entertained a childlike
audience。 His trick is unconscious and
instinctive with people who have a natural gift
for children's stories。 Of course this matter
also demands common sense in the degree of its
use； in moderation it is a most successful device。
Brevity； close logical sequence； exclusion of
foreign matter； unhesitant speech；to use these
is to tell a story directly。
After simplicity and directness； comes that
quality which to advise； is to become a rock of
offence to many。 It is the suggestion； 〃Tell
the story DRAMATICALLY。〃 Yet when we quite
understand each other as to the meaning of
〃dramatically；〃 I think you will agree with me
that a good story…teller includes this in his
qualities of manner。 It means； not in the
manner of the elocutionist； not excitably； not
any of the things which are incompatible with
simplicity and sincerity； but with a whole…
hearted throwing of oneself into the game；
which identifies one in a manner with the
character or situation of the moment。 It means
responsively； vividly； without interposing a blank
wall of solid self between the drama of the tale
and the mind's eye of the audience。
It is such fun； pure and simple； so to throw
oneself into it； and to see the answering
expressions mimic one's own； that it seems
superfluous to urge it。 Yet many persons do
find it difficult。 The instant； slight but
suggestive change of voice； the use of onomatopoetic
words； the response of eyes and hands；
which are all immediate and spontaneous with
some temperaments； are to others a matter of
shamefacedness and labour。 To those； to all
who are not by nature bodily expressive； I
would reiterate the injunction already given；
not to pretend。 Do nothing you cannot do
naturally and happily。 But lay your stress on
the inner and spiritual effort to appreciate； to
feel； to imagine out the tale； and let the
expressiveness of your body grow gradually with
the increasing freedom from crippling self…
consciousness。 The physique will become more
mobile as the emotion does。
The expression must； however； always REMAIN
SUGGESTIVE RATHER THAN ILLUSTRATIVE。 This
is the side of the case which those who are
over…dramatic must not forget。 The story…
teller is not playing the parts of his stories；
he is merely arousing the imagination of his
hearers to picture the scenes for themselves。
One element of the dual consciousness of the
tale…teller remains always the observer； the
reporter； the quiet outsider。
I like to think of the story…teller as a good
fellow standing at a great window overlooking
a busy street or a picturesque square； and
reporting with gusto to the comrade in the rear
of the room what of mirth or sadness he sees；
he hints at the policeman's strut； the organ…
grinder's shrug； the schoolgirl's gaiety； with a
gesture or two which is born of an irresistible
impulse to imitate； but he never leaves his
fascinating post to carry the imitation further
than a hint。
The verity of this figure lies in the fact that
the dramatic quality of story…telling depends
closely upon the CLEARNESS AND POWER WITH WHICH
THE STORY…TELLER VISUALISES THE EVENTS AND CHARACTERS
HE DESCRIBES。 You must hold the image before
the mind's eye； using your imagination to
embody to yourself every act； incident and
appearance。 You must； indeed； stand at the window
of your consciousness and watch what happens。
This is a point so vital that I am tempted
to put it in ornate type。 You must SEE what
you SAY！
It is not too much； even； to say； 〃You must
see more than you say。〃 True vividness is lent
by a background of picture realised by the
listener beyond what you tell him。 Children
see； as a rule； no image you do not see； they
see most clearly what you see most largely。
Draw； then； from a full well； not from a supply
so low that the pumps wheeze at every pull。
Dramatic power of the reasonably quiet and
suggestive type demanded for telling a story
will come pretty surely in the train of effort
along these lines； it follows the clear concept
and sincerity in imparting it； and is a natural
consequence of the visualising imagination。
It is inextricably bound up； also； with the
causes and results of the quality which finds
place in my final injunction； to tell your story
WITH ZEST。 It might almost be assumed that
the final suggestion renders the preceding one
superfluous； so direct is the effect of a lively
interest on the dramatic quality of a narration；
but it would not of itself be adequate； the
necessity of visualising imagination is paramount。
Zest is； however； a close second to
this clearness of mental vision。 It is entirely
necessary to be interested in your own story；
to enjoy it as you tell it。 If you are bored and
tired； the children will soon be bored and tired；
too。 If you are not interested your manner
cannot get that vitalised spontaneity which
makes dramatic power possible。 Nothing else
will give that relish on the lips； that gusto；
which communicates its joy to the audience
and makes it receptive to every impression。
I used to say to teachers； 〃Tell your story
with all your might；〃 but I found that this
by a natural misconception was often interpreted
to mean 〃laboriously。〃 And of course
nothing is more injurious to the enjoyment of
an audience than obvious effort on the part
of the entertainer。 True zest can beoften
isextremely quiet； but it gives a savour
nothing else can impart。
〃But how； at the end of a hard morning's
work； can I be interested in a story I have told
twenty times before？〃 asks the kindergarten or
primary teacher； not without reason。
There are two things to be said。 The first is
a reminder of the wisdom of choosing stories in
which you originally have interest； and of having
a store large enough to permit variety。 The
second applies to those inevitable times of weariness
which attack the most interested and well…
stocked story…teller。 You are； perhaps； tired
out physically。 You have told a certain story
till it seems as if a repetition of it must produce
bodily effects dire to contemplate； yet that
happens to be the very story you must tell。
What can you do？ I answer； 〃Make believe。〃
The device seems incongruous with the repeated
warnings against pretence； but it is necessary；
and it is wise。 Pretend as hard as ever you can
to be interested。 And the result will bebefore
you know itthat you will BE interested。 That
is the chief cause of the recommendation； it
brings about the result it simulates。 Make
believe； as well as you know how； and the
probability is that you will not even know when the
transition from pretended to real interest comes。
And fortunately； the children never know the
difference。 They have not that psychological
infallibility which is often attributed to them。
They might； indeed； detect a pretence which
continued through a whole tale； but that is so
seldom necessary that it needs little consideration。
So then： enjoy your story； be interested in
it；if you possibly can； and if you cannot；
pretend to be； till the very pretence brings
about the virtue you have assumed。
There is much else which might be said and
urged regarding the method of story…telling； even
without encroaching on the domain of personal
variations。 A whole chapter might； for example；
be devoted to voice and enunciation； and then
leave the subject fertile。 But voice and enunciation
are after all merely single manifestations of
degree and quality of culture； of taste； and of
natural gift。 No