Educating by Story-Telling / Showing the Value of Story-Telling as an Educational Tool for the Use of All Workers with Children

by Mrs. Katherine Dunlap Cather

Stories of the Ancient World Retold from St. Nicholas. Century Co.

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INDEX

• Abraham, story of, suitable for children in heroic period, [124].
• Adventure stories,
• period for telling, to children, [32];
• opportunity offered by, [32-33];
• class of pernicious, [33];
• examples of good, [34-40];
• sources of material for, [41];
• found in Old Testament, [124-128].
• Æsop’s fables, suitability of, for acting in pantomime, [114].
• Alp horn, Swiss legend of the, [274].
• Alsatian folk tale, “The Story of the Man in the Moon,” [203].
• American Folklore Society, work of, [172].
• Andersen, H. C.,
• high character of tales by, [28];
• beginnings of tales by, [54].
• Animals, fascination of stories introducing cries and calls of, [14].
• “Apollo and Daphne,” story of, of little meaning to young children, [37].
• Arabian folk tales retold, [195], [269].
• Art,
• story-telling to awaken an appreciation of, [95-106];
• music and, to be drawn upon by the Bible story-teller, [129-130];
• story to use in connection with teaching, [283].
• Arthur, King, stories of,
• as sources of material for heroic period, [35-36];
• enjoyed in romantic period [43];
• care necessary in use of tales from, [43-44];
• material for dramatic work in, [114].
• Aryan theory, Max Müller’s, [3].
• Bailey, Carolyn Sherwin, Stories for Sunday Telling by, [137].
• Bancroft, George, legend “Why Grizzly Bear Goes on All Fours” adapted from, [299].
• Basile, Giambattista, early collector of fairy tales, [26].
• “Bat and His Partners, The,” story of, [208].
• Bavarian folk tales, [208], [228].
• Bayard, story of, admirable for heroic period, [38].
• Beginnings of stories, [54-55].
• “Belle au Bois Dormant,” Perrault’s, [26].
• Ben Hur, to be read by tellers of Bible stories, [123].
• Bible stories,
• history tales suitable for heroic period found among, [40];
• in The Courtship of Miles Standish, [79-80];
• discussion of use of, in story-telling, [118-130].
• Biographical stories,
• suitable for heroic period, [38-39];
• types of, suited to romantic period, [45-47];
• as a means of interesting children in authors’ works, [71-73];
• use of, in field of art, [98-101];
• material in, for teaching of ethics, [140];
• use of, in history teaching, [145-146];
• story of “The Duty That Wasn’t Paid,” [278];
• story of “Wilhelmina’s Wooden Shoes,” [283].
• “Blue Beard,”
• first appearance of, [26];
• not suitable for children, [29].
• Bonheur, Rosa, pictures by, suitable for little children, [99].
• “Boy of Old Vienna, A,” story of, [89-93].
• Bradley, Will, “The Wonder Box” by, [28].
• Breton, Jules, introducing children to paintings by, [103-104].
• “Brier Rose,”
• story of, [25];
• retelling of, [209-212].
• Building the story, [52-57].
• Cabot, Ella Lyman, Ethics for Children by, [136].
• Chapin, Anna Alice, The Story of Parsifal by, [44].
• Charlemagne,
• stories of time of, suitable for heroic period, [37-38];
• stories of, suitable for romantic period, [45].
• Children,
• story interests of, in rhythmic period, [12 ff.];
• stages of mental growth of, determining story interests, [13];
• story interests in imaginative period, [20-30];
• story interests in heroic period, [32-41];
• story interests in romantic period, [42-50].
• Children’s Crusade, story of, [46].
• Chinese folk tale, “How They Came to Have Kite Day in China,” [330].
• Christmas stories, [203].
• Chubb, Festivals and Plays by, [114].
• Cid, story of the, suitable for heroic period, [38].
• “Cinderella,”
• common to many lands, [25];
• published by Perrault, [27].
• Classics,
• mistake of studying by dissecting process, [75-76];
• study of, by story method, [77-81].
• Claude Lorrain, works of, for children of intermediate period, [102].
• Climax,
• working up to a, [55-57];
• rapid closing of story after reaching, [57].
• “Coat of All Colors, The,” story of, retold from Grimm, [212].
• Coffee, story of discovery of, [195-197].
• “Coming of the Wonder Tree, The,” story of, [269].
• Composers, introducing children to, by story-telling, [86-89].
• Contentment, stories teaching, [204], [251].
• Contes du Temps Passé avec Moralités, publication of, [27].
• Coral polyp, story of the, [185-186], [188-190].
• Correggio, acquainting little children with, [101].
• Courtship of Miles Standish, study of, by story method, [79-80].
• Craig, The Dramatic Festival by, [114].
• Cruelty, an undesirable element in stories, [29].
• “Cupid and Psyche,” of little meaning to young children, [37].
• Darmancour, P., collection of fairy tales published by, [26-27].
• Date palm, story of origin of the, [269].
• “David and Jonathan,” Miss Phelps’s, appeal of, for children, [16].
• “Dervish of Mocha, The,” Arabian folk tale retold, [195-197].
• Dialogue,
• use of, in story-telling, [53];
• change of voice in, to add to clearness of pictures, [64].
• Dickens, Charles, experience of, in recommending fairy tales for children, [29].
• “Discontented Pig, The,” story of, [204-207].
• Dissection method of studying classics in schools, [75-76].
• “Dog of Flanders,” Ouida’s, [16].
• Dole, Nathan Haskell, quoted, [49].
• Domestic science, use of story-telling in, [192-197].
• Dramatization,
• story-telling and, [107-116];
• pictures, books, and stories for use in, [116].
• Drunkenness in parents, undesirable element in stories, [29-30].
• Dutch legend, “The Lady of Stavoren,” [289].
• “Duty That Wasn’t Paid, The,” story of, [278].
• “Easter Eggs, The,” story of, [229].
• Ebers, Georg,
• quoted on fairy tales, [22-24];
• novels by, suitable for romantic period, [49-50].
• Ekkehard, recommended for high school pupils, [49].
• “Emperor’s Vision, The,” legend of, [306].
• Entertainment, not the chief aim of story-telling, [9].
• Epic subjects,
• sources of story material in, [35-38];
• suitable for romantic period, [44-45];
• paintings that portray, [104-105].
• Esenwein, Berg, rules as to story-telling by, [54].
• Ethics,
• story-telling and the teaching of, [132-140];
• stories to use for teaching, [203], [204], [218], [222], [229], [251], [274], [278], [289], [299], [302], [306], [311], [317].
• Europe,
• general knowledge and love of music in, [83-84];
• knowledge of art possessed by average person in, as contrasted with average American, [95-97].
• Evangeline, study of, by story method, [78-79].
• Facial gymnastics in story-telling, use of, [63].
• “Fairy, The,” publication of, [26].
• Fairy stories,
• origin of, [20-21];
• care in use of, with children, [21-22];
• question of encouraging falsehood by, [22-24];
• theories as to beginnings of, [25-26];
• one of the oldest forms of literature, [26];
• early collections, [26-27];
• care necessary in selecting, for children, [28-29];
• elements in, to be especially guarded against, [29-30];
• bibliography of, [31].
• “Fall of London Bridge, The,” story of, [326].
• Fallersleben, H. von, story of “The Forget-me-not” adapted from, [226].
• Falsehood, not encouraged by fairy tales, [22-24].
• “Forget-me-not, The,” story of, [226].
• Gainsborough, pictures by, suitable for little children, [99].
• Geneva, Lake,
• luck boat of, [5];
• story of, retold, [295].
• Geography,
• story-telling to intensify interest in, [168-177];
• stories to use in teaching, [222], [269], [274], [289], [295], [296], [299], [302], [317].
• Gest, Lady Charlotte, translator of the Mabinogion, [36].
• Gesture in story-telling, question of use of, [63].
• “Gift of the Gnomes, The,” story of, [274].
• Glinski, story of “Prince Unexpected” adapted from, [239].
• “God of the Thundering Water, The,” Iroquois legend, [174-176].
• “Goody-goody” stories, harm done by, [133-134].
• “Great Stone Face,” climax of, [56].
• “Greedy Cobbler, The,” story of, [251].
• Greek myths, as source material for stories for heroic period, [36-37].
• Grimm Brothers,
• appearance of, as collectors and preservers of Thuringian folklore, [27];
• beginnings of stories by, [54];
• stories retold from, [209], [212], [218].
• Guerber, Helène A., Legends of the Middle Ages by, [44].
• Halévy, Ludovic, fascination of stories by, [50].
• “Half-Chick,” source of, [25].
• Hall, G. Stanley, plea of, in behalf of Bible stories, [118-119].
• “Hansel and Gretel,” modification of, for children, [30].
• Heroic period,
• story interests in, [32-41];
• works of art suitable for, [104-105];
• Bible stories for, [123];
• Old Testament stories suitable for, [124].
• Hiawatha,
• as material for stories for heroic period, [38];
• material for dramatic work in, [114].
• History,
• stories from, suitable for children in heroic period, [38-40];
• plays and pageants to be used in connection with, [115];
• material found in stories from, for teaching of ethics, [140];
• story-telling to intensify interest in, [143-167];
• stories to use in teaching, [263], [326].
• Honesty, story to teach, [203].
• Hood, Margaret Graham, “The Search for the Seven Cities” by, [149-167].
• “Hop o’ My Thumb,” first appearance of, [27].
• “How They Came to Have Kite Day in China,” Chinese folk tale, [330].
• Iliad,
• stories from, suitable for children in heroic period, [35];
• material for romantic period in, [44].
• Imaginative period, story interests in, [20-30].
• Indian legends, stories based on, [174], [299].
• Jacques, introducing children to paintings by, [103-104].
• Japanese legend, “Why the Japanese Love the Stork,” [296].
• Jerusalem Delivered, material for romantic period in, [44].
• John of Hildesheim, works of, a help to the Bible story-teller, [123].
• Jordan, David Starr,
• science stories by, [182-183];
• “The Story of a Salmon” by, [255];
• “The Story of a Stone” by, [331].
• Joshua, book of, as an adventure story, [125].
• Judges, book of, viewed as a collection of narratives, [126].
• “Jussieu and the Heliotrope,” story of, [325].
• Key, Ellen, use of love stories in romantic period advocated by, [48].
• Kindness, story teaching, [218].
• Labor, artists and paintings that lead to respect for, [104].
• “Lady of Stavoren, The,” story of, [289].
• Lagerlöf, Selma,
• works of, a help to the Bible story-teller, [123];
• legend of “The Emperor’s Vision” adapted from, [306].
• Landseer, Sir Edwin, pictures by, suitable for little children, [98-99].
• Lang, Andrew, totemistic theory of, [3], [25].
• Langobardian myths, interesting in romantic period, [45].
• Lanier, Sidney,
• The Boy’s Mabinogion by, [36];
• The Boy’s King Arthur by, [44].
• “Last Lesson,” Daudet’s, climax of, [56].
• Libraries, story-telling in, [9].
• Literature, story-telling to lead to appreciation of, [69-82].
• “Little Stepmother, The,” story of, [227].
• “London Bridge, The Fall of,” story of, [326].
• Longfellow, H. W., study of poems of, by story method, [78-80].
• Love stories, use of, with children in romantic period, [48-49].
• “Luck Boat of Lake Geneva, The,”
• Swiss legend, [5];
• retold, [295].
• “Luck Boy of Toy Valley, The,” story of, [302].
• Lying, fairy tales and, [22-24].
• Mabinogion,
• stories from, suitable for heroic period, [35], [36];
• material for dramatic work in, [114].
• MacManus, Seumas, quoted, [7].
• Madonna pictures, use of, with little children, [100-101].
• “Man in the Moon, The Story of the,” [203-204].
• Manual training,
• use of story-telling in, [192-197];
• story of “The Luck Boy of Toy Valley” for use in, [302].
• Marlitt, Eugénie, works of, suitable for romantic period, [49].
• Memorizing of stories, a mistake, [63].
• Millet, introducing children to paintings by, [103-104].
• “Monarch, the Big Bear of Tallac,” Thompson Seton’s, [16-17].
• Moni the Goat Boy, suitable for the romantic period, [49].
• Moralizing, avoidance of, [67-68].
• Moral training, story-telling and, [132-140]. See [Ethics].
• Mother Goose, reason for love of children for, [13].
• Mozart, story of “The Duty That Wasn’t Paid” dealing with life of, [278].
• Mühlbach, Louisa, novels of, for romantic period, [49].
• Müller, Max, Aryan theory of, [3].
• Murillo, an ideal painter to introduce to little children, [100].
• Music,
• story-telling to awaken an appreciation of, [83-93];
• use of, by Bible story-tellers, [129];
• story to use in connection with, [278].
• Mythological subjects, paintings that portray, [104-105].
• Narrative style better than dialogue in story-telling, [53].
• National epics,
• as sources of story material in heroic period, [35-38];
• portions of, suitable for romantic period, [44-45];
• first issue of, in poetic form, to be made clear to children, [45];
• paintings portraying subjects of, [104-105].
• Nature study,
• story-telling to intensify interest in, [178-190];
• stories helpful in, [208], [226], [227], [255], [269], [325].
• Nibelungenlied,
• stories from, suitable for children in heroic period, [35];
• material for romantic period in, [44].
• Nightingale, Florence, story of, suitable for romantic period, [46-47].
• Odyssey,
• stories from, suitable for children in heroic period, [35];
• material for romantic period in, [44].
• Ogier the Dane, story of, suitable for heroic period, [37].
• Ohnet, Georges, novels of, for romantic period, [50].
• Olcott, Frances Jenkins, Bible Stories to Read and Tell by, [122].
• Old Testament, stories in, for children, [120-129].
• Ouida,
• “A Dog of Flanders” by, [16];
• “The Child of Urbino” by, [102].
• Pageants, use of, [115].
• Pantomime, acting stories in, [114].
• “Parsifal,” tale of, suitable for children in romantic period, [44].
• Partridge, G. E., quoted, [63].
• Pentamerone, Il, early collection of fairy tales, [26].
• Perrault, Charles,
• “La Belle au Bois Dormant” by, [26];
• Contes du Temps Passé avec Moralités credited to, [27].
• “Pet Raven, The,” legend of, [317].
• Physical education, story for use in connection with, [330].
• Pictures,
• story-telling for teaching love of, [95-106];
• scenes for dramatization suggested by, [116];
• to be used in Bible story-telling, [129-130].
• See [Art].
• “Pied Piper,” suitable for dramatization by little children, [112-113].
• “Pigeons of Venice, The,” story of, [263].
• “Poor Man and the Rich Man, The,” story of, retold from Grimm, [218].
• Primitive-why story, period when child enjoys, [20].
• “Prince Unexpected,” story of, [239].
• “Puss in Boots,” first appearance of, [26].
• “Pygmalion and Galatea,” of little meaning to young children, [37].
• “Rabbit and the Easter Eggs, The,” story of, [228].
• Racial tales,
• fascination of, in rhythmic period, [14];
• enjoyment of, by children in imaginative period, [20].
• Raphael,
• acquainting little children with, [100-101];
• paintings by, for children of intermediate period, [102].
• Realistic period in children’s story interests, [13-18].
• Recitations, shortening of, to give time for story-telling, [169].
• “Red Riding Hood,”
• first appearance of, [26];
• beginning of, [54];
• climax of, [56].
• Reference work necessary to story-telling, [11].
• Rembrandt, story of “Wilhelmina’s Wooden Shoes” dealing with life of, [283].
• Repetition in jingles, surprise element in, [57].
• Repetitive stories, fascination of, in rhythmic period, [13-14].
• Reynolds, Sir Joshua, pictures by, suitable for young children, [98].
• Rhine, legend of the, “The Pet Raven,” [317].
• Rhythmic period, story interests in, [12-18].
• Richards, Laura E., Life of Florence Nightingale by, [47].
• “Riquet o’ the Tuft,” published by Perrault, [27].
• Robin Hood,
• story of, a good adventure tale, [34-35];
• material for dramatic work in, [114].
• Roland and Oliver, dramatic qualities in tale of, [37].
• Romantic period, story interests of childhood in, [42-50].
• Rubens, pictures by, suitable for children of intermediate period, [103].
• Ruskin, John, on use of Bible stories, [119].
• “St. George and the Dragon,” a favorite story in heroic period, [38].
• Scheffel, J. V. von, Ekkehard by, [49].
• Schmidt, Canon, story of “The Easter Eggs” adapted from, [229].
• Schools,
• place given story-telling in, [8-9];
• time for telling stories in, [67];
• mistake of study of literature in, by dissecting process, [75-76];
• value of story-telling in, [199-200].
• Schubert, Franz, story concerning boyhood of, [89-93].
• Science teaching,
• story-telling and, [178-190];
• stories to use in, [255], [325], [331].
• Scottish Highlands, story-telling in, [5].
• “Search for the Seven Cities, The,” by Margaret Graham Hood, [149-167].
• Sentimentalism in stories, lack of response by children to, [184].
• Shasta legend, “Why Grizzly Bear Goes on All Fours,” [299].
• Shedlock, Marie L., five minutes of silence after each story advocated by, [57].
• “Shepherd Who Turned Back, The,” Syrian legend retold, [311].
• Sicily, knowledge of classics possessed by peasants of, [18].
• “Silver Cones, The,” story of, [222].
• Slavic wonder tale, “Prince Unexpected,” [239].
• “Sleeping Beauty,”
• “Brier Rose” a modification of same story, [25];
• published by Perrault, [26].
• Social instincts, development of, by use of stories with geographical or historical background, [170-171].
• Southey, Robert, “The Three Bears” by, [28].
• Spyri, Johanna,
• Moni the Goat Boy by, [49];
• story of “The Silver Cones” adapted from, [222].
• Stevenson, R. L., interesting children in works of, by telling stories about, [71-73].
• Story interests of childhood,
• in rhythmic period, [12-18];
• in imaginative period, [20-30];
• in heroic period, [32-41];
• in romantic period, [42-50].
• “Story of a Salmon, The,” by David Starr Jordan, [255].
• “Story of a Stone, The,” by David Starr Jordan, [331].
• Story-telling,
• purpose and aim of, [1-11];
• interests in rhythmic period, [12-18];
• interests in imaginative period, [20-30];
• interests in heroic period, [32-41];
• interests in romantic period, [42-50];
• building the story, [52-57];
• telling the story, [58-68];
• and appreciation of literature, [69-82];
• to awaken an appreciation of music, [83-93];
• and appreciation of art, [95-106];
• and dramatization, [107-117];
• Bible stories, [118-131];
• teaching of ethics, [132-140];
• to intensify interest in history, [143-167];
• to intensify interest in geography, [168-177];
• and nature study, [178-190];
• in teaching domestic science and manual training, [192-197];
• general statement as to value of, [198-201].
• Story-writing, course in, recommended for the professional story-teller, [52].
• Straparola, publisher of first collection of fairy tales, [26].
• Supernatural beliefs,
• primitive man’s, as revealed in fairy tales, [25-27];
• effect of physical features of different regions upon, and so upon fairy tales, [27].
• Surprise element in stories, [55-57].
• Suspense,
• element of, [6], [55];
• increase in, by use of pauses, [64-65].
• Swedish legend, “The Emperor’s Vision,” [306].
• “Sweet and Low,” suggested method of interesting children in, [73-74].
• Swiss legends retold, [274], [311].
• Syrian legend, “The Shepherd Who Turned Back,” [311].
• Talking machines, use of, for introducing children to music, [86], [89].
• Tell, William, stories of, suitable for children in heroic period, [39].
• Thuringian folk tales,
• gathered and preserved by the Grimms, [27];
• retold, [204], [209], [212], [218], [226], [227].
• Totemistic theory, Lang’s, [3], [25].
• “Ugly Duckling,”
• unsuitable for children who have never been in country, [15];
• surprise element in climax of, [56].
• Van Dyck, Anthony, familiarizing little children with paintings by, [101].
• Van Dyke, Henry,
• on avoidance of moralizing in story-telling, [67];
• works of, a help to the Bible story-teller, [123].
• Vedas, theory of origin of fairy stories in the, [25].
• “Venice, The Pigeons of,” story of, [263].
• Vincent, Jacques, fascination of stories by, [50].
• Vocational training, use of story-telling in, [192-197].
• Welsh folk tale, “The Greedy Cobbler,” [251].
• “Why Grizzly Bear Goes on All Fours,” Shasta legend, [299].
• “Why the Japanese Love the Stork,” Japanese legend, [296].
• “Wilhelmina’s Wooden Shoes,” story of, [283].
• “Wonderful Builders, The,” story of, [188-190].
• Wonder tales, period when child enjoys, [20].

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