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are after all merely single manifestations of
degree and quality of culture； of taste； and of
natural gift。 No set rules can bring charm of
voice and speech to a person whose feeling and
habitual point of view are fundamentally wrong；
the person whose habitual feeling and mental
attitude are fundamentally right needs few or no
rules。 As the whole matter of story…telling is
in the first instance an expression of the complex
personal product； so will this feature of it
vary in perfection according to the beauty and
culture of the human mechanism manifesting it。
A few generally applicable suggestions may；
however； be useful；always assuming the story…
teller to have the fundamental qualifications of
fine and wholesome habit。 These are not rules
for the art of speaking； they are merely some
practical considerations regarding speaking to
an audience。
First； I would reiterate my earlier advice； be
simple。 Affectation is the worst enemy of voice
and enunciation alike。 Slovenly enunciation is
certainly very dreadful； but the unregenerate
may be pardoned if they prefer it to the
affected mouthing which some over…nice people
without due sense of values expend on every
syllable which is so unlucky as to fall between
their teeth。
Next I would urge avoidance of a fault very
common with those who speak much in large
rooms；the mistaken effort at loudness。 This
results in tightening and straining the throat；
finally producing nasal head…tones or a voice
of metallic harshness。 And it is entirely
unnecessary。 There is no need to speak loudly。
The ordinary schoolroom needs no vocal effort。
A hall seating three or four hundred persons
demands no effort whatever beyond a certain
clearness and definiteness of speech。 A hall
seating from five to eight hundred needs more
skill in aiming the voice； but still demands no
shouting。
It is indeed largely the psychological quality
of a tone that makes it reach in through the ear
to the comprehension。 The quiet； clear； restful；
persuasive tone of a speaker who knows his
power goes straight home； but loud speech
confuses。 Never speak loudly。 In a small room；
speak as gently and easily as in conversation；
in a large room； think of the people farthest
away； and speak clearly； with a slight separation
between words； and with definite phrasing；
aiming your MIND toward the distant listeners。
If one is conscious of nasality or throatiness
of voice； it certainly pays to study the subject
seriously with an intelligent teacher。 But a
good； natural speaking…voice； free from extraordinary
vices； will fill all the requirements of
story…telling to small audiences； without other
attention than comes indirectly from following
the general principles of the art。
To sum it all up； then； let us say of the method
likely to bring success in telling stories； that it
includes sympathy； grasp； spontaneity： one
must appreciate the story； and know it； and
then； using the realising imagination as a
constant vivifying force； and dominated by the
mood of the story； one must tell it with all one's
might；simply； vitally； joyously。
CHAPTER V
SOME SPECIFIC SCHOOLROOM USES OF STORY…TELLING
In Chapter II。； I have tried to give my conception
of the general aim of story…telling in school。
From that conception； it is not difficult to deduce
certain specific uses。 The one most plainly
intimated is that of a brief recreation period； a
feature which has proved valuable in many
classes。 Less definitely implied； but not to be
ignored； was the use of the story during； or
accessory to； the lesson in science or history。
But more distinctive and valuable than these；
I think； is a specific use which I have recently
had the pleasure of seeing exemplified in great
completeness in the schools of Providence；
Rhode Island。
Some four years ago； the assistant superintendent
of schools of that city； Miss Ella L。
Sweeney； introduced a rather unusual and
extended application of the story in her primary
classes。 While the experiment was in its early
stages； it was my good fortune to be allowed to
make suggestions for its development； and as
the devices in question were those I had been
accustomed to use as a pastime for children； I
was able to take some slight hand in the formative
work of its adoption as an educational
method。 Carried out most ably by the teachers
to whom it was entrusted； the plan has evolved
into a more inclusive and systematic one than
was at first hoped for； it is one from which I
have been grateful to learn。
Tersely stated； the object of the general plan
is the freeing and developing of the power of
expression in the pupils。
I think there can be no need of dwelling on
the desirability of this result。 The apathy and
〃woodenness〃 of children under average modes
of pedagogy is apparent to anyone who is
interested enough to observe。 In elementary
work； the most noticeable lack of natural
expression is probably in the reading classes； the
same drawback appears at a later stage in
English composition。 But all along the line
every thoughtful teacher knows how difficult it
is to obtain spontaneous； creative reaction on
material given。
Story…telling has a real mission to perform in
setting free the natural creative expression of
children； and in vitalising the general atmosphere
of the school。 The method in use for
this purpose in Providence （and probably elsewhere；
as ideas usually germinate in more than
one place at once） is a threefold GIVING BACK of
the story by the children。 Two of the forms of
reproduction are familiar to many teachers； the
first is the obvious one of telling the story back
again。
It is such fun to listen to a good story that
children remember it without effort； and later；
when asked if they can tell the story of The
Red…Headed Woodpecker or The little Red Hen；
they are as eager to try it as if it were a personal
experience which they were burning to
impart。
Each pupil； in the Providence classes； is given
a chance to try each story； at some time。 Then
that one which each has told especially well is
allotted to him for his own particular story； on
which he has an especial claim thereafter。
It is surprising to note how comparatively
individual and distinctive the expression of
voice and manner becomes； after a short time。
The child instinctively emphasises the points
which appeal to him； and the element of fun in
it all helps to bring forgetfulness of self。 The
main inflections and the general tenor of the
language； however； remain imitative； as is
natural with children。 But this is a gain rather
than otherwise； for it is useful in forming good
habit。 In no other part of her work； probably；
has a teacher so good a chance to foster in her
pupils pleasant habits of enunciation and voice。
And this is especially worth while ill the big
city schools； where so many children come from
homes where the English of the tenement is
spoken。
I have since wished that every city primary
teacher could have visited with me the first…
grade room in Providence where the pupils were
German； Russian； or Polish Jews； and where
some of them had heard no English previous
to that year；it being then May。 The joy that
shone on their faces was nothing less than
radiance when the low…voiced teacher said；
〃Would you like to tell these ladies some of
your stories？〃
They told us their stories； and there was
truly not one told poorly or inexpressively； all
the children had learned something of the joy
of creative effort。 But one little fellow stands
out in my memory beyond all the rest； yet as
a type of all the rest。
Rudolph was very small； and square； and
merry of eye； life was one eagerness and
expectancy to him。 He knew no English beyond
th