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absolutely unimportant the mere accuracy is； compared with the effect of
smoothness and the enjoyment of the hearers。 They will not remember the
detail； for good or evil； half so long as they will remember the fact that
you did not know it。 So； for their sakes； as well as for the success of your
story； cover your slips of memory； and let them be as if they were not。
And now I come to two points in method which have to do especially
with humorous stories。 The first is the power of initiating the appreciation
of the joke。 Every natural humorist does this by instinct and the value of
the power to story…teller can hardly be overestimated。 To initiate
appreciation does not mean that one necessarily gives way to mirth；
though even that is sometimes natural and effective； one merely feels the
approach of the humorous climax； and subtly suggests to the hearers that it
will soon be 〃time to laugh。〃 The suggestion usually comes in the form of
facial expression； and in the tone。 And children are so much simpler； and
so much more accustomed to following another's lead than their elders；
that the expression can be much more outright and unguarded than would
be permissible with a mature audience。
Children like to feel the joke coming； in this way； they love the
anticipation of a laugh； and they will begin to dimple； often； at your first
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unconscious suggestion of humor。 If it is lacking； they are sometimes
afraid to follow their own instincts。 Especially when you are facing an
audience of grown people and children together； you will find that the
latter are very hesitant about initiating their own expression of humor。 It is
more difficult to make them forget their surroundings then； and more
desirable to give them a happy lead。 Often at the funniest point you will
see some small listener in an agony of endeavor to cloak the mirth which
hepoor mite fears to be indecorous。 Let him see that it is 〃the thing〃 to
laugh； and that everybody is going to。
Having so stimulated the appreciation of the humorous climax； it is
important to give your hearers time for the full savor of the jest to
permeate their consciousness。 It is really robbing an audience of its rights；
to pass so quickly from one point to another that the mind must lose a new
one if it lingers to take in the old。 Every vital point in a tale must be given
a certain amount of time： by an anticipatory pause； by some form of vocal
or repetitive emphasis； and by actual time。 But even more than other tales
does the funny story demand this。 It cannot be funny without it。
Every one who is familiar with the theatre must have noticed how
careful all comedians are to give this pause for appreciation and laughter。
Often the opportunity is crudely given； or too liberally offered； and that
offends。 But in a reasonable degree the practice is undoubtedly necessary
to any form of humorous expression。
A remarkably good example of the type of humorous story to which
these principles of method apply； is the story of 〃Epaminondas。〃 It will be
plain to any reader that all the several funny crises are of the perfectly
unmistakable sort children like； and that； moreover； these funny spots are
not only easy to see； they are easy to foresee。 The teller can hardly help
sharing the joke in advance； and the tale is an excellent one with which to
practice for power in the points mentioned。
Epaminondas is a valuable little rascal from other points of view； and I
mean to return to him； to point a moral。 But just here I want space for a
word or two about the matter of variety of subject and style in school
stories。
There are two wholly different kinds of story which are equally
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Stories To Tell Children
necessary for children； I believe； and which ought to be given in about the
proportion of one to three； in favor of the second kind； I make the ratio
uneven because the first kind is more dominating in its effect。
The first kind is represented by such stories as the 〃Pig Brother；〃
which has now grown so familiar to teachers that it will serve for
illustration without repetition here。 It is the type of story which
specifically teaches a certain ethical or conduct lesson； in the form of a
fable or an allegory；it passes on to the child the conclusions as to
conduct and character； to which the race has； in general； attained through
centuries of experience and moralizing。 The story becomes a part of the
outfit of received ideas on manners and morals which is an inescapable
and necessary possession of the heir of civilization。
Children do not object to these stories in the least； if the stories are
good ones。 They accept them with the relish which nature seems to
maintain for all truly nourishing material。 And the little tales are one of the
media through which we elders may transmit some very slight share of the
benefit received by us； in turn； from actual or transmitted experience。
The second kind has no preconceived moral to offer； makes no attempt
to affect judgment or to pass on a standard。 It simply presents a picture of
life； usually in fable or poetic image； and says to the hearer； 〃These things
are。〃 The hearer； then； consciously or otherwise； passes judgment on the
facts。 His mind says； 〃These things are good；〃 or； 〃This was good； and that；
bad；〃 or； 〃This thing is desirable；〃 or the contrary。
The story of 〃The Little Jackal and the Alligator〃 is a good illustration
of this type。 It is a character…story。 In the naive form of a folk tale； it
doubtless embodies the observations of a seeing eye； in a country and time
when the little jackal and the great alligator were even more vivid images
of certain human characters than they now are。 Again and again； surely；
the author or authors of the tales must have seen the weak； small； clever
being triumph over the bulky； well…accoutred； stupid adversary。 Again and
again they had laughed at the discomfiture of the latter； perhaps rejoicing
in it the more because it removed fear from their own houses。 And
probably never h