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INDEX
307
| story, 82–84; creative return, 145. |
| Emelyan the Fool, 170. |
| Emotion, appeal to, distinguishing literary trait, 40–41; qualities of literary, 41; literary, in fairy tales, 41–44; growth of, 44–45; comparison of, in fairy tales and Shakespeare's dramas, 7, 43–44. |
| Energy or force, quality of, 57–58; illustrated, 61, 64. |
| English fairy tales, 184–92; collections of, 184–88; illustrating development of illustration, 188–92; by Jacobs, list, 247–48; editions, 257. |
| Expression in: language, 125–27; reading, 127; inquiry, 127–29; construction, 129–30; art, 130–54; paper-cutting, 130–31; drawing, 132; painting, 132; rhythm play, 133–34; song, 132–33; game, 134–35; representation, 135–38; dramatization, 138–54, 265–72. |
| Fairy, derivation of, 159–60; history of the name, 160. |
| Fairy tales: worth of, 1–12; principles of selection for, 13–89; telling of, 90–157; history of, 158–203; classes of, 204–44; sources of material for, 245–64; tributes to, 1–3; interests in, 13–37; as literature, 37–70; as classics, 38–39; possessing mind and soul, 39–40; distinguished by marks of literature, 40; as emotion, 41–45; as imagination, 45–53; philosophy in, 48–52; proverbs in, 50; as truth, 53–54; as form, 54–70; powers of words in, 54–57 general qualities of form in, 57–58; general principles controlling form in, 58–59; style in, defined, 59–60; tested as literary form, 60–70; as a form of short-story, 70–87; characters, 71–73; plot, 73–77: narration, 74–75; description, 75; structure, 76–77; setting, 77–82; three elements blended, 82–84; tested by complete standards, 84–87; teacher's preparation for telling, 94–102; presentation of, by teacher 102–19; return of child from, 119–54; rules for preparation of, 94–102; selection of, 95–96; motifs in, 96–98; re-telling of, 101–02; training of voice in telling, 103–04; breathing in telling, 104–05; gesture in telling, 105–06; power of personality, in telling, 106–07; suggestions for telling, 107–12; establishment of personal relation in telling, 107–10; placing of, in a concrete situation, 110–11; conception of child's aim in listening to, 112; re-creative method of telling, 112–17; adaptation of, 117–19; art of teaching, in telling, 119–25; as expression of conversation, 125–27; as expression of inquiry, 127–29; as expression of construction, 129–30; as expression of art, 130–54; origin of, 158–67; transmission of, 167–200; French, 179–83; Celtic, 183–84; English, 184–92; German, 192–93; tales of other nations, 193–95; American, 195–99; collections of folklore, 200; accumulative, 205–11; animal, 211–17; humorous, 217–23; realistic, 223–28; romantic, 228–34, 275–86; old and modern, 234–43; of Perrault, 246; of the Grimms, 246–47; Norse, 247; English, by Jacobs, 247–48; modern, by Andersen, 248; Uncle Remus, by Harris, 248–49; miscellaneous, 249–53; bibliography of, |
