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they see most clearly what you see most largely。 Draw； then； from a full
well； not from a supply so low that the pumps wheeze at every pull。
Dramatic power of the reasonably quiet and suggestive type demanded
for telling a story will come pretty surely in the train of effort along these
lines； it follows the clear concept and sincerity in imparting it； and is a
natural consequence of the visualising imagination。
It is inextricably bound up； also； with the causes and results of the
quality which finds place in my final injunction； to tell your story WITH
ZEST。 It might almost be assumed that the final suggestion renders the
preceding one superfluous； so direct is the effect of a lively interest on the
dramatic quality of a narration； but it would not of itself be adequate； the
necessity of visualising imagination is paramount。 Zest is； however； a
close second to this clearness of mental vision。 It is entirely necessary to
be interested in your own story； to enjoy it as you tell it。 If you are bored
and tired； the children will soon be bored and tired； too。 If you are not
interested your manner cannot get that vitalised spontaneity which makes
dramatic power possible。 Nothing else will give that relish on the lips； that
gusto； which communicates its joy to the audience and makes it receptive
to every impression。 I used to say to teachers； 〃Tell your story with all
your might；〃 but I found that this by a natural misconception was often
interpreted to mean 〃laboriously。〃 And of course nothing is more injurious
to the enjoyment of an audience than obvious effort on the part of the
entertainer。 True zest can beoften isextremely quiet； but it gives a
savour nothing else can impart。
〃But how； at the end of a hard morning's work； can I be interested in a
story I have told twenty times before？〃 asks the kindergarten or primary
teacher； not without reason。
There are two things to be said。 The first is a reminder of the wisdom
of choosing stories in which you originally have interest； and of having a
store large enough to permit variety。 The second applies to those inevitable
times of weariness which attack the most interested and well… stocked
story…teller。 You are； perhaps； tired out physically。 You have told a certain
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story till it seems as if a repetition of it must produce bodily effects dire to
contemplate； yet that happens to be the very story you must tell。 What can
you do？ I answer； 〃Make believe。〃 The device seems incongruous with the
repeated warnings against pretence； but it is necessary； and it is wise。
Pretend as hard as ever you can to be interested。 And the result will be
before you know itthat you will BE interested。 That is the chief cause of
the recommendation； it brings about the result it simulates。 Make believe；
as well as you know how； and the probability is that you will not even
know when the transition from pretended to real interest comes。
And fortunately； the children never know the difference。 They have not
that psychological infallibility which is often attributed to them。 They
might； indeed； detect a pretence which continued through a whole tale； but
that is so seldom necessary that it needs little consideration。
So then： enjoy your story； be interested in it；if you possibly can； and
if you cannot； pretend to be； till the very pretence brings about the virtue
you have assumed。
There is much else which might be said and urged regarding the
method of story…telling； even without encroaching on the domain of
personal variations。 A whole chapter might； for example； be devoted to
voice and enunciation； and then leave the subject fertile。 But voice and
enunciation are after all merely single manifestations of degree and quality
of culture； of taste； and of natural gift。 No set rules can bring charm of
voice and speech to a person whose feeling and habitual point of view are
fundamentally wrong； the person whose habitual feeling and mental
attitude are fundamentally right needs few or no rules。 As the whole matter
of story…telling is in the first instance an expression of the complex
personal product； so will this feature of it vary in perfection according to
the beauty and culture of the human mechanism manifesting it。
A few generally applicable suggestions may； however； be useful；
always assuming the story… teller to have the fundamental qualifications of
fine and wholesome habit。 These are not rules for the art of speaking； they
are merely some practical considerations regarding speaking to an
audience。
First； I would reiterate my earlier advice； be simple。 Affectation is the
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HOW TO TELL STORIES TO CHILDREN AND SOME STORIES TO TELL
worst enemy of voice and enunciation alike。 Slovenly enunciation is
certainly very dreadful； but the unregenerate may be pardoned if they
prefer it to the affected mouthing which some over…nice people without
due sense of values expend on every syllable which is so unlucky as to fall
between their teeth。
Next I would urge avoidance of a fault very common with those who
speak much in large rooms；the mistaken effort at loudness。 This results
in tightening and straining the throat； finally producing nasal head…tones or
a voice of metallic harshness。 And it is entirely unnecessary。 There is no
need to speak loudly。 The ordinary schoolroom needs no vocal effort。 A
hall seating three or four hundred persons demands no effort whatever
beyond a certain clearness and definiteness of speech。 A hall seating from
five to eight hundred needs more skill in aiming the voice； but still
demands no shouting。
It is indeed largely the psychological quality of a tone that makes it
reach in through the ear to the comprehension。 The quiet； clear； restful；
persuasive tone of a speaker who knows his power goes straight home； but
loud speech confuses。 Never speak loudly。 In a small room； speak as
gently and easily as in conversation； in a large room； think of the people
farthest away； and speak clearly； with a slight separation between words；
and with definite phrasing； aiming your MIND toward the distant
listeners。
If one is conscious of nasality or throatiness of voice； it certainly pays
to study the subject seriously with an intelligent teacher。 But a good；
natural speaking…voice； free from extraordinary vices； will fill all the
requirements of story…telling to small audiences； without other attention
than comes indirectly from following the general principles of the art。
To sum it all up； then； let us say of the method likely to bring success
in telling stories； that it includes sympathy； grasp； spontaneity： one must
appreciate the story； and know it； and then； using the realising imagination
as a constant vivifying force； and dominated by the mood of the story； one
must tell it with all one's might；simply； vitally； joyously。
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CHAPTER V
SOME SPECIFIC SCHOOLROOM USES OF STORY…TELLING
In Chapter II。； I have tried to give my conception of the general aim of
story…telling in school。 From that conception； it is not difficult to deduce
certain specific uses。 The one most plainly intimated is that of a brief
recreation period； a feature which has proved valuable in many classes。
Less definitely implied； but not to be ignored； was the use of the story
during； or accessory to； the lesson in science or history。
But more distinctive and valuable than these； I think； is a specific use
which I have recently had the pleasure of seeing exemplified in great
completeness in the schools of Providenc