A Study of Fairy Tales/Outline

by Laura Fry Kready

OUTLINE
I. THE WORTH OF FAIRY TALES
I.	Two public tributes						1
II.	The value of fairy tales in education						3
	1.	They bring joy into child-life					3
	2.	They satisfy the play-spirit of childhood					4
	3.	They give a power of accurate observation					6
	4.	They strengthen the power of emotion, develop the power of imagination, train the memory and exercise the reason					6
	5.	They extend and intensify the child's social relations					7
	6.	In school they unify the child's work or play					8
	7.	In the home they employ leisure time profitably					9
	8.	They afford a vital basis for language-training					10
II.	References						12
II. PRINCIPLES OF SELECTION FOR FAIRY TALES
I.	The interests of children						13
	1.	Fairy tales must follow the law of composition and must contain the interests of children					13
		a.	A sense of life				14
		b.	The familiar				14
		c.	The surprise.				15
		d.	Sense impression				17
		e.	The beautiful				18
		f.	Wonder, mystery, magic				19
		g.	Adventure				19
		h.	Success				20
		i.	Action				20
		j.	Humor				21
		k.	Poetic justice				22
		l.	The imaginative				23
		m.	Animals				24
		n.	A portrayal of human relations, especially with children				24
		o.	The diminutive				25
		p.	Rhythm and repetition				26
		q.	The simple and sincere				28
		r.	Unity of effect				29
	2.	Fairy tales must follow the law of the emotions and avoid elements opposed to the interests of the very young child					30
		a.	The tale of the witch				31
		b.	The tale of the dragon				31
		c.	Giant tales				31
		d.	Some tales of transformation				32
		e.	The tale of strange animal relations and strange creatures				33
		f.	Unhappy tales				34
		g.	The tale of capture				34
		h.	The very long tale				35
		i.	The complicated or the insincere tale				36
II.	The fairy tale as literature						37
	1.	The fairy tale must be a true classic					38
	2.	The fairy tale must have mind and soul					39
	3.	The fairy tale must have the distinguishing marks of literature					40
		a.	A power to appeal to the emotions				41
			1)	Literary emotion is not personal			41
			2)	Literary emotion must have justness			41
			3)	Literary emotion must have vividness			41
			4)	Literary emotion must have steadiness			41
			5)	Literary emotion must have variety			41
			6)	Literary emotion must have moral quality			41
			7)	Application of the test of emotion to the fairy tales			41
			8)	The value of fairy tales in the development of emotion			44
		b.	A power to appeal to the imagination				45
			1)	Appeal to the creative imagination			45
			2)	Appeal to the associative imagination			46
				a)	Appeal to fancy		46
			3)	Appeal to the penetrative imagination			47
			4)	Appeal to the contemplative imagination			47
				a)	Philosophy in the fairy tales		48
				b)	Proverbs in the fairy tales		50
				c)	Relation of the contemplative imagination to science		52
		c.	A basis of truth, or appeal to the intellect				53
			1)	The truth must be idealistic			53
				a)	It may be realistic		53
				b)	It may be romantic		53
			2)	Value of the appeal of literature to the intellect			53
		d.	A form more or less perfect				54
			1)	The elements of form: words, sentences, paragraphs, and wholes			58
				a)	Words, the medium of language must have two powers		54
					(1)	Denotation, to name what they mean	54
					(2)	Connotation, to suggest what they imply	54
				b)	Suggestive power of words illustrated		55
			2)	General qualities characteristic of perfect form			57
				a)	Precision or clearness		57
					(1)	Precision demands that words have denotation	57
					(2)	Precision appeals to the intellect	57
				b)	Energy or force		57
					(1)	Energy demands that words have connotation	58
					(2)	Energy appeals to the emotions and holds the attention	58
				c)	Delicacy or emotional harmony		58
					(1)	Delicacy demands that words have the power of adaptation	58
					(2)	Delicacy demands that form appeal to the aesthetic sense	58
					(3)	Delicacy is secured by selection and arrangement of words according to emotional associations	58
				d)	Personality		58
					(1)	Personality gives the charm of individuality	58
					(2)	Personality suggests the character of the writer	58
			3)	Principles controlling the elements of form, principles of composition			58
				a)	The principle of sincerity		58
					(1)	Sincerity demands a just expression	58
				b)	The principle of unity		59
					(1)	Unity demands a central idea	59
					(2)	Unity demands completeness	59
					(3)	Unity demands no irrelevant material	59
					(4)	Unity demands method, sequence and climax	59
				c)	The principle of mass		59
					(1)	Mass demands that the chief parts readily catch the eye	59
					(2)	Mass demands harmonious proportion of parts	59
				d)	The principle of coherence		59
					(1)	Coherence demands unmistakable relation of parts	59
					(2)	Coherence demands this unmistakable relation be preserved by the order, forms and connections	59
			4)	Form characterized by perfect adaptation of words to thought and feeling is called style			53
				a)	Style demands that form possess the four general qualities of form in perfection: precision, energy, delicacy, and personality		59
				b)	Style demands that form have its elements controlled by the four general principles: sincerity, unity, mass, and coherence		59
				c)	Oeyvind and Marit, a modern tale illustrating style		60
				d)	Three Billy-Goats Gruff, a folk-tale illustrating style		64
				e)	The folk-tale generally considered as to literary form		65
				f)	The tale by Grimm, Perrault, Dasent, Harris, Jacobs, Lang, and Andersen considered as to literary form		67
				g)	The tale of to-day considered as to literary form		69
III.	The fairy tale as a short-story						70
	1.	Characters					71
		a.	Characters must be unique, original, and striking				72
		b.	Characters of the fairy tales				72
	2.	Plot					73
		a.	Plot must be entertaining, comical, novel, or thrilling				73
		b.	Plot must show a beginning, a middle, and an end				73
		c.	Plot must have a distinct climax				74
		d.	Introduction must be simple				74
		e.	Conclusion must show poetic justice				74
		f.	Plot must be good narration and description				74
			1)	Narration must have truth, interest, and consistency			74
			2)	Description must have aptness and concreteness			75
		g.	Structure illustrated by Three Pigs and Briar Rose				76
	3.	Setting					77
		a.	Setting must give the time and place, the background of the tale				77
		b.	Setting must arouse sensation and feeling				77
		c.	Effect of transformation of setting				77
			1)	Story sequence preserved by setting illustrated by Robin's Christmas Song			78
		d.	Setting and phonics, illustrated. The Spider and the Flea				79
		e.	Setting illustrated. Chanticleer and Partlet				81
	4.	A blending of characters, plot, and setting illustrated by The Elves and the Shoemaker					82
	5.	Tests to be applied to fairy tales					84
	6.	Tales examined and tested by the complete test of interests, classic, literature, short-story, narration, and description					84
		a.	How the Sun, Moon, and West Wind Went to Dinner (Indian)				84
		b.	The Straw Ox (Cossack)				86
IV.	References						87
III. THE TELLING OF FAIRY TALES
Story-telling as an Art. Introductory							90
	1.	Story-telling as an ancient art					90
	2.	The place of the story in the home, library, and the school					93
	3.	Principles of story-telling					94
I.	The teacher's preparation. Rules						94
	1.	Select the tale for some purpose					94
		a.	The teacher's problem of selecting the tale psychologically or logically				95
	2.	Know the tale historically as folk-lore, as literature, and as a short-story					96
		a.	The various motives contained in the fairy tales listed				97
	3.	Master the structure of the tale					99
	4.	Dwell upon the life of the story					99
	5.	Secure the message					100
	6.	Master the form					100
II.	The presentation of the tale						102
	1.	Training of the voice					103
		a.	Study of phonetics				103
	2.	Exercises in breathing					104
	3.	A knowledge of gesture					105
		a.	Gesture precedes speech				106
		b.	Gesture begins in the face				106
		c.	Hands and arms lie close to the body in controlled emotion				106
	4.	A power of personality					106
	5.	Suggestions for telling					107
		a.	The establishment of the personal relation between the teacher and the listener				108
		b.	The placing of the story in a concrete situation for the child				110
		c.	The consideration of the child's aim in listening, by the teacher in her preparation				112
	6.	The telling of the tale					112
		a.	The re-creative method of story-telling. Illustrated by a criticism of the telling of The Princess and the Pea				114
		b.	The re-creative method illustrated by The Foolish, Timid Rabbit				116
	7.	Adaptation of the fairy tale. Illustrated by Thumbelina and by The Snow Man					118
III.	The return from the child						119
	Story-telling as one phase of the art of teaching. Introductory						119
		1.	Teaching as good art and as great art; and fairy tales as subject-matter suited to accomplish high purposes in teaching				120
		2.	The part the child has to play in story-telling				121
		3.	The child's return, the expression of his natural instincts or general interests				125
	1.	The instinct of conversation					125
		a.	Language expression, oral re-telling				125
		b.	The formation of original little stories				126
		c.	Reading of the tale a form of creative reaction				127
	2.	The instinct of inquiry					127
		a.	Appeal of the folk-tale to this instinct				128
		b.	The instinct of inquiry united to the instinct of conversation, of construction, and of artistic expression, illustrated				128
	3.	The instinct of construction					129
		a.	Clay-modelling				129
		b.	Construction of objects				129
	4.	The instinct of artistic expression					130
		a.	Cutting of free silhouette pictures. Illustrated				130
		b.	Drawing and crayon-sketching. Illustrated				132
		c.	Painting. Illustrated				132
		d.	Song. Illustrated				133
		e.	Dance, rhythm plays. Illustrated				134
		f.	Game. Illustrated				135
		g.	Representation of the fairy tale. Illustrated by The Steadfast Tin Soldier				135
		h.	Free play and dramatization				138
			1)	Virtues of dramatization			138
				a)	It develops voice		138
				b)	It gives grace of movement		138
				c)	It develops control and poise		138
				d)	It strengthens attention and power of visualization		138
				e)	It combines intellectual, emotional, artistic, and physical action		138
				f)	It impresses many pieces of literature effectively		138
				g)	It is the true Direct Moral Method and may establish a habit		143
			2)	Dangers of dramatization			139
				a)	Dramatization often is in very poor form		139
				b)	Dramatization may develop boldness in a child		141
				c)	Dramatization may spoil some literature		142
				d)	Dramatization has lacked sequence in tales used from year to year		142
		i.	Illustrations of creative return				144
			1)	The Country Mouse and the City Mouse as expression in language, dramatization, drawing, and crayon-sketching			144
			2)	The Elves and the Shoemaker as expression in the dramatic game			145
			3)	Little Two-Eyes as expression in dramatization. A fairy-play outline. (See Appendix)			145
			4)	Snow White as expression in dramatization. (See Appendix)			145
			5)	Sleeping Beauty as expression of partial narration, dramatic game, and dramatization combined			146
			6)	The Little Lamb and the Little Fish,an original tale developed from a Grimm fragmentary tale, illustrating expression in folk-game and dramatization. (See Appendix)			147
			7)	The Bird and the Trees, an original play illustrating expression in rhythm play and dramatization			149
			8)	How the Birds came to Have Different Nests, an original play illustrating language expression and dramatization. (See Appendix)			151
			9)	Andersen's Fir Tree as expression in dramatization, illustrating organization of ideas through a play			152
IV.	References						154
IV. THE HISTORY OF FAIRY TALES
I.	The origin of fairy tales						158
	1.	The fairy tale defined					159
	2.	The derivation and history of the name, fairy					159
		a.	Four senses in which fairy has been used				160
	3.	The theories concerning the origin of fairy tales					161
		a.	Fairy tales are detritus of myth				161
			1)	The evolution of the tale			161
		b.	Fairy tales are myths of Sun, Rain, Dawn, Thunder, etc., the Aryan Theory				162
		c.	Fairy tales all arose in India, the Philological theory				165
		d.	Fairy tales owe their origin to the identity of early fancy				167
		e.	Fairy tales owe their origin to a combination of all these theories				167
II.	The transmission of fairy tales						167
	1.	The oral transmission of fairy tales					167
		a.	Examples of transmission of fairy tales: Jack the Giant-Killer, Dick Whittington, etc.				168
	2.	Literary transmission of fairy tales					170
		a.	An enumeration of the literary collections and books that have handed down the tales; as Reynard the Fox, the Persian King-book, The Thousand and One Nights, Straparola's Nights, Basile's Pentamerone, and Perrault's Tales of Mother Goose				170
		b.	French publications of fairy tales				179
			1)	The tales of Perrault			179
			2)	Tales by followers of Perrault			181
			3)	A list of tales from the time of Perrault to the present time			183
		c.	English and Celtic publications of fairy tales				183
			1)	Tales of Scotland and Ireland			184
			2)	English tales and books			184
			3)	A list illustrating the history of the English fairy tale, including chap-books: Jack the Giant-Killer, Tom Hickathrift; old collections: etc.			184
			4)	A list illustrating the development of fairy-tale illustration in England			188
		d.	German publications of fairy tales				192
			1)	A list of tales from the time of the Grimms to the present			193
		e.	Fairy-tale publications of other nations				193
		f.	American publications of fairy tales				195
			1)	A list of tales from the earliest times to 1870			196
		g.	Recent collections of folk-lore				200
III.	References						201
V. CLASSES OF FAIRY TALES
I.	Available types of tales						204
	1.	The accumulative or clock story					205
		a.	Tales of simple repetition				206
			1)	The House that Jack Built			206
			2)	The Key of the Kingdom			207
		b.	Tales of repetition with an addition				208
			1)	The Old Woman and Her Pig			208
			2)	Titty Mouse and Tatty Mouse			208
			3)	Johnny Cake			209
			4)	The Gingerbread Man			209
			5)	The Straw Ox			209
		c.	Tales of repetition and variation				209
			1)	The Three Bears			209
			2)	The Three Billy Goats			211
	2.	The animal tale					211
		a.	The evolution of the animal tale				211
		b.	The animal tale may be an old beast tale				211
			1)	Henny Penny			213
			2)	The Foolish Timid Rabbit			214
			3)	The Sheep and the Pig			215
			4)	Medio Pollito			215
			5)	The Three Pigs			216
		c.	The animal tale may be an elaborated fable, illustrated				211
		d.	The animal tale may be an imaginary creation, illustrated				211
		e.	The Good-Natured Bear, a modern type. (See Appendix)				217
	3.	The humorous tale					217
		a.	The humorous element for children				218
		b.	The Musicians of Bremen, a humorous type				219
		c.	Humorous tales mentioned previously				221
		d.	Drakesbill, a humorous type				221
	4.	The realistic tale					223
		a.	Lazy Jack, a realistic type of common life				224
		b.	The Old Woman and Her Pig, a realistic type				225
		c.	How Two Beetles Took Lodgings, a realistic tale of scientific interest				226
		d.	Titty Mouse and Tatty Mouse, a realistic theme transformed into a romantic tale				227
	5.	The romantic tale					228
		a.	Cinderella				228
		b.	Sleeping Beauty				231
		c.	Red Riding Hood				232
		d.	Puss-in-Boots. (See Appendix)				232
			1)	The Norse Lord Peter (See Appendix)			232
		e.	Tom Thumb, a romantic tale of fancy. (See Appendix)				232
			1)	The French Little Thumb. (See Appendix)			232
			2)	The English Tom Thumb. (See Appendix)			232
		f.	Snow White and Rose Red, a highly idealized romantic type tested by the standards included here. (See Appendix)				232
	6.	The old tale and the modern tale					234
		a.	The modern tale often lacks the great art qualities of the old tale, unity and harmony, sincerity and simplicity				235
		b.	The modern tale often fails to use the method of suggestion				235
		c.	The modern tale often does not stand the test of literature				235
		d.	The modern tale gives richly to the primary and elementary field				235
		e.	Criticism of a few modern tales				236
			1)	Little Beta and the Lame Giant, a good modern tale			236
			2)	The Cock, the Mouse, and the Little Red Hen, a good modern tale			238
			3)	Peter Rabbit, a classic; other animal tales			239
			4)	The Elephant's Child, a modern animal tale. (See Appendix)			239
			5)	A Quick-Running Squash, a good modern tale			240
			6)	A few St. Nicholas fairy stories			241
			7)	The Hop-About-Man, a romantic modern fairy tale			241
		f.	What the modern fairy tale is				243
VI. SOURCES OF MATERIAL FOR FAIRY TALES: A LIST OF FAIRY TALES, FOLK-TALES, PICTURES, PICTURE-BOOKS, POEMS, AND BOOKS
Basis on which lists are made. Introductory							245
I.	A list of fairy tales and folk-tales suited to the kindergarten and first grade						246
	1.	Tales of Perrault					246
	2.	Tales of the Grimms					246
	3.	Norse tales					247
	4.	English tales, by Jacobs					247
	5.	Modern fairy tales, by Andersen					248
	6.	Uncle Remus tales, by Harris					248
	7.	Miscellaneous tales					249
II.	Bibliography of fairy tales						253
III.	A list of picture-books						254
IV.	A list of pictures						255
V.	A list of fairy poems						256
VI.	Main standard fairy-tale books						256
VII.	Fairy tales of all nations						258
VIII.	Miscellaneous editions of fairy tales						259
IX.	School editions of fairy tales						262
APPENDIX
Illustrations of creative return							265
	Tales suited for dramatization						265
		Little Two-Eyes					265
		Snow White					266
		The Little Lamb and the Little Fish					267
		How the Birds came to Have Different Nests					270
Types of tales							272
	An animal tale						272
		The Good-Natured Bear					272
	A few romantic tales						275
		Puss-in-Boots and Lord Peter					275
		Tom Thumb and Little Thumb					278
		Snow White and Rose Red					282
	A modern tale						287
		The Elephant's Child					287