Here and Now Story Book / Two- to seven-year-olds

by Lucy Sprague Mitchell

—Vachel Lindsay.

From The Dinkey-Bird

So when the children shout and scamper
And make merry all the day,
When there’s naught to put a damper
To the ardor of their play;
When I hear their laughter ringing,
Then I’m sure as sure can be
That the Dinkey-bird is singing
In the amfalula tree.

—Eugene Field.

Of the two “Jack and Jill” and “Birdie with the Yellow Bill,” surely Stevenson’s is the more charming to the adult ear. But when I have read it to three-year-olds, I have felt that they were lost. They could not sustain the long grammatical suspense, could not carry over “A birdie” from the first line to the conclusion and so actually did not know who was saying “Ain’t you shamed, you sleepy-head!” Mother Goose repeats her subject. The span to carry is two phrases in Mother Goose as against four in Stevenson. The Vachel Lindsay I have found is as easily remembered and as much enjoyed as Mother Goose, though it is a pity it is about an unfamiliar animal. As for the Dinkey-bird even a seven-year-old can hardly hear the rhyme even if intellectually he could follow the adult vocabulary and the complicated sentence with its long postponed subject.

It is the same with stories. The classic tales which have held small children,—“The Gingerbread Man,” “The Three Little Pigs,” “Goldylocks,”—have patterns so obvious and so simple that they cannot be missed. In “The Gingerbread Man” the pattern is one of increasing additions. It belongs to the aptly called “cumulative” tales. The refrains act like sign-posts to help the child to mark the progress. This is simply a skilful way of making the continuity close, of showing the ladder rungs for the child’s feet. I venture to say that any good story-teller consciously or unconsciously puts up sign-posts to help the children. If he is skilful, he makes a pattern of them so that they are not merely intellectually helpful but charming as well. So Kipling in his “Just So Stories” uses his sign-posts,—which are sometimes words, sometimes phrases, sometimes situations,—in such a way that they ring musically and give a pleasant sense of pattern even to children too young to find them intellectually helpful.

In other words, the little child is not equipped psychologically to hear complicated units. I wish some one could determine how the average four-year-old hears the harmony of a chord on the piano. Is it much except confusion? In the same way, he is not equipped to leap a span between units. I wish some one would determine the four-year-old’s memory span for rhymes, for instance. The involutions, the suggestiveness so attractive to adult ears, he cannot hear. Even an adult ear, untutored, can scarcely hear the intermingling rhythms and overlapping rhymes which blend like overtones of a chord in such verse as Patmore’s Ode “The Toys.” I feel sure the small child cannot hear complexities; he cannot leap gaps. And so he cannot understand when even simple ideas are given in complex and discontinuous form. This explains his notorious love of repetition. Repetition is the simplest of patterns, simple enough to be enjoyed as pattern. I have found that almost any simple phrase of music or words repeated slowly and with a kind of ceremonious attention, enthralls a year-old child. If the unit is simple enough to be remembered he will inevitably enjoy recognizing it as it recurs and recurs. This is the embryonic pattern sense.

This pattern enjoyment too is motor in its basis. His early repetitions of sounds are probably largely pleasure in muscle patterns. We all know that a child uses first his large muscles,—arm, leg and back,—and that he early enjoys any regular recurrent use of these muscles. So at the time when the vocal muscles tend to become his means of expression, he enjoys repeating the same sounds over and over. And soon he gets enjoyment from listening to repetitions or rhythmic language,—a vicarious motor enjoyment. Surely it is important that stories should furnish him this exercise and pleasure. Three- and four-year-olds will enjoy a positively astounding amount of repetition. In the Arabella and Araminta stories a large proportion of the sentences are given in duplicate by the simple device of having twins who do and say the same things and by telling the remarks and actions of each. The selection quoted is repeated entire four times, the variation being only in the flower picked:

And Arabella picked a poppy, and Araminta picked a poppy, and Arabella picked a poppy, and Araminta picked a poppy, and Arabella picked a poppy, and Araminta picked a poppy, and Arabella picked a poppy, and Araminta picked a poppy, and Arabella picked a poppy, and Araminta picked a poppy, until they each had a great big bunch (I should say a very large bunch), and then they ran back to the house.

Arabella got a glass and put her poppies in it, and Araminta got a glass and put her poppies in it.