按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
Beyond dispute。 To those of us who are
cursed with an over…abundant measure of self…
consciousness； nothing is harder than simple
naturalness。 The remedy is to lose oneself in
one's art。 Think of the story so absorbingly
and vividly that you have no room to think of
yourself。 Live it。 Sink yourself in that mood
you have summoned up； and let it carry you。
If you do this； simplicity of matter will come
easily。 Your choice of words and images will
naturally become simple。
It is； I think； a familiar precept to educators；
that children should not have their literature
too much simplified for them。 We are told that
they like something beyond them； and that it
is good for them to have a sense of mystery and
power beyond the sense they grasp。 That may
be true； but if so it does not apply to story…
telling as it does to reading。 We have
constantly to remember that the movement of a
story told is very swift。 A concept not grasped
in passing is irrevocably lost； there is no
possibility of turning back； or lingering over the
page。 Also； since the art of story…telling is
primarily an art of entertainment； its very object
is sacrificed if the ideas and images do not slip
into the child's consciousness smoothly enough
to avoid the sense of strain。 For this reason
short； familiar； vivid words are best。
Simplicity of manner and of matter are both
essential to the right appeal to children。
DIRECTNESS in telling is a most important
quality。 The story； listened to； is like the
drama； beheld。 Its movement must be unimpeded；
increasingly swift； winding up 〃with a
snap。〃 Long…windedness； or talking round the
story； utterly destroys this movement。 The
incidents should be told； one after another；
without explanation or description beyond what
is absolutely necessary； and THEY SHOULD BE TOLD
IN LOGICAL SEQUENCE。 Nothing is more distressing
than the cart…before…the…horse method；nothing
more quickly destroys interest than the failure
to get a clue in the right place。
Sometimes； to be sure； a side remark adds
piquancy and a personal savour。 But the
general rule is； great discretion in this respect。
Every epithet or adjective beyond what is
needed to give the image； is a five…barred gate
in the path of the eager mind travelling to a
climax。
Explanations and moralising are usually sheer
clatter。 Some few stories necessarily include
a little explanation； and stories of the fable
order may quaintly end with an obvious moral。
But here again； the rule isgreat discretion。
It is well to remember that you have one
great advantage over the writer of stories。 The
writer must present a clear image and make a
vivid impression；all with words。 The teller
has face； and voice； and body to do it with。
The teller needs； consequently； but one swiftly
incisive verb to the writer's two； but one
expressive adjective to his three。 Often； indeed；
a pause and an expressive gesture do the whole
thing。
It may be said here that it is a good trick of
description to repeat an epithet or phrase once
used； when referring again to the same thing。
The recurrent adjectives of Homer were the
device of one who entertained a childlike
audience。 His trick is unconscious and
instinctive with people who have a natural gift
for children's stories。 Of course this matter
also demands common sense in the degree of its
use； in moderation it is a most successful device。
Brevity； close logical sequence； exclusion of
foreign matter； unhesitant speech；to use these
is to tell a story directly。
After simplicity and directness； comes that
quality which to advise； is to become a rock of
offence to many。 It is the suggestion； 〃Tell
the story DRAMATICALLY。〃 Yet when we quite
understand each other as to the meaning of
〃dramatically；〃 I think you will agree with me
that a good story…teller includes this in his
qualities of manner。 It means； not in the
manner of the elocutionist； not excitably； not
any of the things which are incompatible with
simplicity and sincerity； but with a whole…
hearted throwing of oneself into the game；
which identifies one in a manner with the
character or situation of the moment。 It means
responsively； vividly； without interposing a blank
wall of solid self between the drama of the tale
and the mind's eye of the audience。
It is such fun； pure and simple； so to throw
oneself into it； and to see the answering
expressions mimic one's own； that it seems
superfluous to urge it。 Yet many persons do
find it difficult。 The instant； slight but
suggestive change of voice； the use of onomatopoetic
words； the response of eyes and hands；
which are all immediate and spontaneous with
some temperaments； are to others a matter of
shamefacedness and labour。 To those； to all
who are not by nature bodily expressive； I
would reiterate the injunction already given；
not to pretend。 Do nothing you cannot do
naturally and happily。 But lay your stress on
the inner and spiritual effort to appreciate； to
feel； to imagine out the tale； and let the
expressiveness of your body grow gradually with
the increasing freedom from crippling self…
consciousness。 The physique will become more
mobile as the emotion does。
The expression must； however； always REMAIN
SUGGESTIVE RATHER THAN ILLUSTRATIVE。 This
is the side of the case which those who are
over…dramatic must not forget。 The story…
teller is not playing the parts of his stories；
he is merely arousing the imagination of his
hearers to picture the scenes for themselves。
One element of the dual consciousness of the
tale…teller remains always the observer； the
reporter； the quiet outsider。
I like to think of the story…teller as a good
fellow standing at a great window overlooking
a busy street or a picturesque square； and
reporting with gusto to the comrade in the rear
of the room what of mirth or sadness he sees；
he hints at the policeman's strut； the organ…
grinder's shrug； the schoolgirl's gaiety； with a
gesture or two which is born of an irresistible
impulse to imitate； but he never leaves his
fascinating post to carry the imitation further
than a hint。
The verity of this figure lies in the fact that
the dramatic quality of story…telling depends
closely upon the CLEARNESS AND POWER WITH WHICH
THE STORY…TELLER VISUALISES THE EVENTS AND CHARACTERS
HE DESCRIBES。 You must hold the image before
the mind's eye； using your imagination to
embody to yourself every act； incident and
appearance。 You must； indeed； stand at the window
of your consciousness and watch what happens。
This is a point so vital that I am tempted
to put it in ornate type。 You must SEE what
you SAY！
It is not too much； even； to say； 〃You must
see more than you say。〃 True vividness is lent
by a background of picture realised by the
listener beyond wha