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but now it is a matter of course； AND THE CHILDREN DO IT TOO；
WHEN THEY TELL THE STORY。〃 That was the pity！ I saw the
illustration myself a little later。 The child who played fox began with a
story： he said； 〃Once there was an old fox； and he saw some grapes；〃 then
the child walked to the other side of the room； and looked up at an
imaginary vine； and said； 〃He wanted some； he thought they would taste
good； so he jumped for them；〃 at this point the child did jump； like his role；
then he continued with his story； 〃but he couldn't get them。〃 And so he
proceeded； with a constant alternation of narrative and dramatization
which was enough to make one dizzy。
The trouble in such work is； plainly； a lack of discriminating analysis。
Telling a story necessarily implies non…identification of the teller with the
event； he relates what occurs or occurred； outside of his circle of
conciousness。 Acting a play necessarily implies identification of the actor
with the event； he presents to you a picture of the thing； in himself。 It is a
difference wide and clear； and the least failure to recognize it confuses the
audience and injures both arts。
In the preceding instances of secondary uses of story…telling I have
come some distance from the great point； the fundamental point； of the
power of imitation in breeding good habit。 This power is less noticeably
active in the dramatizing than in simple re…telling； in the listening and the
re… telling； it is dominant for good。 The child imitates what he hears you
say and sees you do； and the way you say and do it； far more closely in the
story…hour than in any lesson…period。 He is in a more absorbent state； as it
were； because there is no preoccupation of effort。 Here is the great
opportunity of the cultured teacher； here is the appalling opportunity of the
careless or ignorant teacher。 For the implications of the oral theory of
teaching English are evident； concerning the immense importance of the
teacher's habit。 This is what it all comes to ultimately； the teacher of
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young children must be a person who can speak English as it should be
spoken；purely； clearly； pleasantly； and with force。
It is a hard ideal to live up to； but it is a valuable ideal to try to live up
to。 And one of the best chances to work toward attainment is in telling
stories； for there you have definite material； which you can work into
shape and practice on in private。 That practice ought to include conscious
thought as to one's general manner in the schoolroom； and intelligent
effort to understand and improve one's own voice。 I hope I shall not seem
to assume the dignity of an authority which no personal taste can claim； if
I beg a hearing for the following elements of manner and voice； which
appeal to me as essential。 They will； probably； appear self…evident to my
readers； yet they are often found wanting in the public school…teacher； it is
so much easier to say 〃what were good to do〃 than to do it！
Three elements of manner seem to me an essential adjunct to the
personality of a teacher of little children： courtesy； repose vitality。 Repose
and vitality explain themselves； by courtesy I specifically do NOT mean
the habit of mind which contents itself with drilling children in 〃Good…
mornings〃 and in hat…liftings。 I mean the attitude of mind which
recognizes in the youngest； commonest child； the potential dignity；
majesty； and mystery of the developed human soul。 Genuine reverence for
the humanity of the 〃other fellow〃 marks a definite degree of courtesy in
the intercourse of adults； does it not？ And the same quality of respect；
tempered by the demands of a wise control； is exactly what is needed
among children。 Again and again； in dealing with young minds； the
teacher who respects personality as sacred； no matter how embryonic it be；
wins the victories which count for true education。 Yet； all too often； we
forget the claims of this reverence； in the presence of the annoyances and
the needed corrections。
As for voice： work in schoolrooms brings two opposing mistakes
constantly before me： one is the repressed voice； and the other； the forced。
The best way to avoid either extreme； is to keep in mind that the ideal is
development of one's own natural voice； along its own natural lines。 A
〃quiet； gentle voice〃 is conscientiously aimed at by many young teachers；
with so great zeal that the tone becomes painfully repressed； 〃breathy；〃
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and timid。 This is quite as unpleasant as a loud voice； which is； in turn； a
frequent result of early admonitions to 〃speak up。〃 Neither is natural。 It is
wise to determine the natural volume and pitch of one's speaking voice by
a number of tests； made when one is thoroughly rested； at ease； and alone。
Find out where your voice lies when it is left to itself； under favorable
conditions； by reading something aloud or by listening to yourself as you
talk to an intimate friend。 Then practise keeping it in that general range；
unless it prove to have a distinct fault； such as a nervous sharpness； or
hoarseness。 A quiet voice is good； a hushed voice is abnormal。 A clear
tone is restful； but a loud one is wearying。
Perhaps the common…sense way of setting a standard for one's own
voice is to remember that the； purpose of a speaking voice is to
communicate with others； their ears and minds are the receivers of our
tones。 For this purpose； evidently； a voice should be； first of all； easy to
hear； next； pleasant to hear； next； susceptible of sufficient variation to
express a wide range of meaning； and finally； indicative of personality。
Is it too quixotic to urge teachers who tell stories to little children to
bear these thoughts； and better ones of their own； in mind？ Not； I think； if
it be fully accepted that the story hour； as a pl