How To Tell Children Stories(如何给孩子讲故事)

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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
1
HOW TO TELL
STORIES TO CHILDREN
AND SOME STORIES TO
TELL
BY SARA CONE BRYANT
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
2
To My Mother THE FIRST, BEST STORY-TELLER THIS LITTLE
BOOK IS DEDICATED
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
3
PREFACE
The stories which are given in the following pages are for the most
part those which I have found to be best liked by the children to whom I
have told these and others. I have tried to reproduce the form in which I
actually tell them,--although that inevitably varies with every repetition,--
feeling that it would be of greater value to another story-teller than a more
closely literary form. For the same reason, I have confined my statements
of theory as to method, to those which reflect my own experience; my
"rules" were drawn from introspection and retrospection, at the urging of
others, long after the instinctive method they exemplify had become
habitual.
These facts are the basis of my hope that the book may be of use to
those who have much to do with children.
It would be impossible, in the space of any pardonable preface, to
name the teachers, mothers, and librarians who have given me hints and
helps during the past few years of story-telling. But I cannot let these
pages go to press without recording my especial indebtedness to the few
persons without whose interested aid the little book would scarcely have
come to be. They are: Mrs Elizabeth Young Rutan, at whose generous
instance I first enlarged my own field of entertaining story-telling to
include hers, of educational narrative, and from whom I had many
valuable suggestions at that time; Miss Ella L. Sweeney, assistant
superintendent of schools, Providence, R.I., to whom I owe exceptional
opportunities for investigation and experiment; Mrs Root, children's
librarian of Providence Public Library, and Miss Alice M. Jordan, Boston
Public Library, children's room, to whom I am indebted for much gracious
and efficient aid.
My thanks are due also to Mr David Nutt for permission to make use
of three stories from English Fairy Tales, by Mr Joseph Jacobs, and
Raggylug, from Wild Animals I have Known, by Mr Ernest Thompson
Seton; to Messrs Frederick A. Stokes Company for Five Little White
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
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Heads, by Walter Learned, and for Bird Thoughts; to Messrs Kegan Paul,
Trench, Trubner & Co. Ltd. for The Burning of the Ricefields, from
Gleanings in Buddha-Fields, by Mr Lafcadio Hearn; to Messrs H. R.
Allenson Ltd. for three stories from The Golden Windows, by Miss Laura
E. Richards; and to Mr Seumas McManus for Billy Beg and his Bull, from
In Chimney Corners. S. C. B.
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
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CONTENTS
INTRODUCTION
The Story-teller's Art--Recent Revival--The Difference between telling
a Story and reading it aloud--Some Reasons why the Former is more
effective
CHAPTER I THE PURPOSE OF STORY-
TELLING IN SCHOOL
Its immediate Advantages to the Teacher-Its ultimate Gifts to the Child
CHAPTER II SELECTION OF STORIES TO
TELL
The Qualities Children like, and why--Qualities necessary for Oral
Delivery--Examples: The Three Bears, The Three Little Pigs, The Old
Woman and her Pig--Suggestions as to the Type of Story especially useful
in the several primary Grades-- Selected List of familiar Fairy Tales
CHAPTER III ADAPTATION OF STORIES FOR
TELLING
How to make a long Story short--How to fill out a short Story--
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
6
General Changes commonly desirable-- Examples: The Nurnberg Stove,
by Ouida; The King of the Golden River, by Ruskin; The Red Thread of
Courage, The Elf and the Dormouse--Analysis of Method
CHAPTER IV HOW TO TELL THE STORY
Essential Nature of the Story--Kind of Appreciation necessary--
Suggestions for gaining Mastery of Facts --Arrangement of Children--
The Story-teller's Mood--A few Principles of Method, Manner and Voice,
from the Psychological Point of View
CHAPTER V SOME SPECIFIC SCHOOLROOM
USES
Exercise in Retelling--Illustrations cut by the Children as Seat-work--
Dramatic Games--Influence of Games on Reading Classes
STORIES SELECTED AND ADAPTED FOR
TELLING
ESPECIALLY FOR KINDERGARTEN AND CLASS I.
Nursery Rhymes Five Little White Heads Bird Thoughts How we
came to have Pink Roses Raggylug The Golden Cobwebs Why the
Morning-Glory climbs The Story of Little Tavwots The Pig Brother The
Cake The Pied Piper of Hamelin Town Why the Evergreen Trees keep
their Leaves in Winter The Star Dollars The Lion and the Gnat
ESPECIALLY FOR CLASSES II. AND III.
The Cat and the Parrot The Rat Princess The Frog and the Ox The
Fire-Bringer The Burning of the Ricefields The Story of Wylie Little
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
7
Daylight The Sailor Man The Story of Jairus's Daughter
ESPECIALLY FOR CLASSES IV. AND V.
Arthur and the Sword Tarpeia The Buckwheat The Judgment of Midas
Why the Sea is salt Billy Beg and his Ball The Little Hero of Haarlem The
Last Lesson The Story of Christmas
THE CHILD-MIND; AND HOW TO SATISFY IT
A short List of Books in which the Story-teller will find Stories not too
far from the Form in which they are needed.
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
8
INTRODUCTION
Not long ago, I chanced to open a magazine at a story of Italian life
which dealt with a curious popular custom. It told of the love of the people
for the performances of a strangely clad, periodically appearing old man
who was a professional story-teller. This old man repeated whole cycles of
myth and serials of popular history, holding his audience-chamber in
whatever corner of the open court or square he happened upon, and always
surrounded by an eager crowd of listeners. So great was the respect in
which the story-teller was held, that any interruption was likely to be
resented with violence.
As I read of the absorbed silence and the changing expressions of the
crowd about the old man, I was suddenly reminded of a company of
people I had recently seen. They were gathered in one of the parlours of a
women's college, and their serious young faces had, habitually, none of the
childlike responsiveness of the Italian populace; they were suggestive,
rather, of a daily experience which precluded over-much surprise or
curiosity about anything.
In the midst of the group stood a frail-looking woman with bright eyes.
She was telling a story, a children's story, about a good and a bad little
mouse.
She had been asked to do that thing, for a purpose, and she did it,
therefore. But it was easy to see from the expressions of the listeners how
trivial a thing it seemed to them.
That was at first. But presently the room grew quieter, and yet quieter.
The faces relaxed into amused smiles, sobered in unconscious sympathy,
finally broke in ripples of mirth. The story-teller had come to her own.
The memory of the college girls listening to the mouse-story brought
other memories with it. Many a swift composite view of faces passed
before my mental vision, faces with the child's look on them, yet not the
faces of children. And of the occasions to which the faces belonged, those
were most vivid which were earliest in my experience. For it was those
early experiences which first made me realise the modern possibilities of
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
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the old, old art of telling stories.
It had become a part of my work, some years ago, to give English
lectures on German literature. Many of the members of my class were
unable to read in the original the works with which I dealt, and as these
were modern works, it was rarely possible to obtain translations.
For this reason, I gradually formed the habit of telling the story of the
drama or novel in question before passing to a detailed consideration of it.
I enjoyed this part of the lesson exceedingly, but it was some time before I
realised how much the larger part of the lesson it had become to the class.
They used--and they were mature women--to wait for the story as if it
were a sugarplum and they, children; and to grieve openly if it were
omitted. Substitution of reading from a translation was greeted with
precisely the same abatement of eagerness that a child shows when he has
asked you to tell a story, and you offer, instead, to "read one from the
pretty book." And so general and constant were the tokens of enjoyment
that there could ultimately be no doubt of the power which the mere story-
telling exerted.
The attitude of the grown-up listeners did but illustrate the general
difference between the effect of telling a story and of reading one.
Everyone who knows children well has felt the difference. With few
exceptions, children listen twice as eagerly to a story told as to one read,
and even a "recitation" or a so-called "reading" has not the charm for them
that the person wields who can "tell a story." And there are sound reasons
for their preference.
The great difference, including lesser ones, between telling and
reading is that the teller is free; the reader is bound. The book in hand, or
the wording of it in mind, binds the reader. The story-teller is bound by
nothing; he stands or sits, free to watch his audience, free to follow or lead
every changing mood, free to use body, eyes, voice, as aids in expression.
Even his mind is unbound, because he lets the story come in the words of
the moment, being so full of what he has to say. For this reason, a story
told is more spontaneous than one read, however well read. And,
consequently, the connection with the audience is closer, more electric,
than is possible when the book or its wording intervenes.
HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
10
Beyond this advantage, is the added charm of the personal element in
story-telling. When you make a story your own and tell it, the listener gets
the story, PLUS YOUR APPRECIATION OF IT. It comes to him filtered
through your own enjoyment. That is what makes the funny story thrice
funnier on the lips of a jolly raconteur than in the pages of a memoir. It is
the filter of personality. Everybody has something of the curiosity of the
primitive man concerning his neighbour; what another has in his own
person felt and done has an especial hold on each one of us. The most
cultured of audiences will listen to the personal reminiscences of an
explorer with a different tingle of interest from that which it feels for a
scientific lecture on the results of the exploration. The longing for the
personal in experience is a very human longing. And this instinct or
longing is especially strong in children. It finds expression in their delight
in tales of what father or mother did when they were little, of what
happened to grandmother when she went on a journey, and so on, but it
also extends to stories which are not in themselves personal: which take
their personal savour merely from the fact that they flow from the lips in
spontaneous, homely phrases, with an appreciative gusto which suggests
participation.
The greater ease in holding the attention of children is, for teachers, a
sufficient practical reason for telling stories rather than reading them. It is
incomparably easier to make the necessary exertion of "magnetism," or
whatever it may be called, when nothing else distracts the attention. One's
eyes meet the children's gaze naturally and constantly; one's expression
responds to and initiates theirs without effort; the connection is immediate.
For the ease of the teacher, then, no less than for the joy of the children,
may the art of story- telling be urged as pre-eminent over the art of
reading.
It is a very old, a very beautiful art. Merely to think of it carries one's
imaginary vision to scenes of glorious and touching antiquity. The tellers
of the stories of which Homer's Iliad was compounded; the transmitters of
the legend and history which make up the Gesta Romanorum; the
travelling raconteurs whose brief heroic tales are woven into our own
national epic; the grannies of age-old tradition whose stories are parts of
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