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, 253-54; in picture-books, 254-55; in pictures, 255; in poems, 255-56; in standard books, 256-58; of all nations, 258-59; in miscellaneous editions, 259-62; in school editions, 262-64; in Appendix, 265-90.
Familiar, the, 14-15.
Fancy, 46, 47.
Fir Tree, 151-53.
First-grade fairy tales, 231-34, 265-86.
Folk-game, illustrated by Little Lamb and the Little Fish, 147-48,
267-70.
Folk-tales,
generally, as literary form, 65-67;
tested as literary form, 60-70;
characters of, compared with those of Shakespeare, 7, 43-44;
recent collections of, 200.
Foolish, Timid Rabbit,
illustrating method in story-telling, 116-17;
an animal type, 214.
Form,
a distinguishing literary trait, 40, 54;
perfect, 57-60;
general qualities of, 57-58;
precision, a quality, 57;
energy, a quality, 57-58;
delicacy, a quality, 58;
personality, a quality, 58;
principles controlling, 58-60:
sincerity, 58-59;
unity, 59;
mass, 59;
coherence, 59;
style in, 59-60;
illustrated: by Oeyvind and Marit, 60-64;
by Three Billy-Goats Gruff, 64-65;
folk-tales as literary, 65-70;
mastery of tale as, 100-02.
French fairy tales, 179-83.