NOTES TO THE TEACHER

(The page number following each note number indicates the first appearance of the note in the text)

Note 1 (page 1). Although the lessons in this book are addressed to the pupil, it will probably be advisable for the teacher to reproduce the procedure of the first ones orally and independently of the text, rather than to confront the class at once with the printed page. In some instances, however, it will be preferred from the beginning to work out each lesson as it stands, the class reading and studying the text with the teacher (the "study recitation"). In no case should there be haste. If the teacher finds that the Christmas lessons cannot easily be reached by December, or the valentine lessons by early February, much depending on the class, judicious omissions are advised. The plan of the text makes this both permissible and easy. The teacher is asked to read the Preface and is strongly urged to read the entire book, including the Notes, at the beginning of the year's work.

Note 2 (page 1). The spirit of play should pervade the composition period. Pupils should feel as free and happy as on the playground. It is suggested that they be encouraged to "let go" when they are playing stories. Let there be much action, even exaggerated action. Let there be unembarrassed speaking, even if it be sometimes a little louder than necessary. Let there be energetic pantomime. When animals are imitated, or sleepy boys, or elves, let it be done with a will, perhaps even ludicrously. This freedom and abandon of play and fun will help lay the foundation for natural, vigorous, and interesting self-expression.

Note 3 (page 2). A number of pupils may be asked to show how the sleepy boy looked as he wakened. Let each one lie on the platform or floor before the class, apparently fast asleep; then awaken and stretch and yawn prodigiously; and finally awake fully and realize lazily that mother is at the bedside. This may represent an awakening from dreamless sleep. Next, let each player awake with a start, as Tom may have done after his exciting dream. It may be advisable with some classes, as a preliminary "warming up," to ask that (for example) flying a kite, riding a horse, picking flowers, sweeping and dusting a room, rowing a boat, be represented in pantomime.

Note 4 (page 3). No finished dramatic product is looked for in these exercises. The ends are (1) the pupils' keen pleasure in the activity and expression involved in the play; (2) the creation of a situation that means for the pupils freedom and absence of self-consciousness; (3) purposeful speech by the children "in the situation"; (4) development of increasing interest in the story as a basis for further, and now story-telling, expression work. No rehearsing, no memorizing of speeches, but originality, extemporaneous expression, natural, spontaneous speech, are desired. Later on, different pupils should be asked to be managers of plays, selecting players, giving stage directions, urging the actors to speak more, to act more naturally, etc.

Note 5 (page 3). It is desirable that all pupils take part in the dramatizations, and not only the favored or the forward few. Besides, each pupil should be encouraged to play the part as he sees it. Originality, not thoughtless imitation, is desired. It is the differences that will be recognized as interesting and valuable in schoolrooms where individuality is encouraged; and it is the differences that justify repeated playing of the same story before the same audience. See Note 57.

Note 6 (page 4). It is astonishing and delightful how well little people do when they are permitted to take the initiative and to assume responsibility. Frequently pupils should be allowed to work out a play alone, the teacher helping only when asked or when the situation calls loudly for her assistance.