As evil must appear in life, it may appear in stories, but it must be brought in in such a way that it is known as evil, and children must be taught to recognize it as evil.
The motives which govern the words and actions of the persons who appear in a well-written story are more easily discerned than the motives which actuate the human beings around us. Thus a child who reads intelligently is helped to discover in the words and deeds of the people whom he meets the elements of real character. A study of the heroes of fiction is a study in human life.
Improbable stories and those presenting impossible or unreal things are not necessarily bad; in fact they are often good and distinctly serviceable. No matter how true they appear to a child, the time comes when he rejects them as impossible, although he may always be indebted to them for keen pleasure and the awakening of his imagination. Belief in the myth of Santa Claus never destroyed a child’s love and respect for his parents; faith in the unlimited power of good fairies never made a child less able to recognize the laws of nature. It is the halfway truths that are troublesome; it is the little misrepresentations not liable to be detected that may permanently deceive.
To understand the good and the true, to discriminate between the bad and the false, to find pleasure that shall awaken, enliven and inspire, to arouse curiosity and interest in wider, more thoughtful and helpful study, are some of the important aims of story-reading.
Purposeful reading on the part of children may be brought about by direct instruction from parent or teacher or it may be acquired by the child through his own efforts. Manifestly the former is the really efficient way and its efficiency may be increased if it is carried on systematically. The following outline will assist those who have children in charge to do their part easily and in the best manner.
In reading any story there are several things to be considered if one is to get the most out of it. These things are mentioned in natural order in the outline, each item of which will be treated at length in the pages immediately following.
In reading stories consider:
- Primarily,
- A. The Plot.
- B. The Persons.
- C. The Scenes.
- Secondarily,
- D. The Lesson.
- E. The Author’s Purpose.
- F. The Method and Style of the Author.
- G. Emotional Power.
In the volumes of Journeys Through Bookland, intended as they are for reading by children, it was not thought wise to make the studies extensive nor to attach much comment to the selections, lest the young readers weary of the task or neglect it entirely. In this volume a different case confronts us and we put the discussions on a higher plane. If these suggestions are used in the instruction of children, some care in adaptation will be necessary. The age and sex of the children, their advancement in their studies, their surroundings at home and in school, will all need to be taken into account in determining what selections to use and how far to carry the method. A good general principle to follow is to present to the children only so much as will hold their interest; present it in the manner that will best retain their interest, and change the subject or the method when interest flags.
Speaking in general terms, children are most interested in that of which they already know something, and prefer to study intensively something which is “easy to read.” The familiar selections of old readers often are found to be alive with interest, if studied by a new method. A method is understood most easily when it is applied to a simple subject; in this case, to a story in which the youngest children will be interested. A word of caution may be worth while: Especially with young children,—“Do not let the method be seen; it is the story that is to be brought out.”