Page:A Study of Fairy Tales.djvu/321

		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