# A Study of Fairy Tales/Index

INDEX
* Accumulative or clock story, 205–11.
* Action, 20–21.
* Adaptation of fairy tales, 117–19.
* Adventure, 19–20.
* Adventures of Chanticleer and Partlet, 81–82.
* American fairy tales, 195–99.
* Andersen, Hans C.: tales by, tested as literary form, 69; Steadfast Tin Soldier, 46, 49, 135–38; Fir Tree, 151–53; list of tales by, 248; editions, 256–57.
* Animal tale: class, 211–17; evolution of, 211–13; types of, 213–17, 272–75, 287–90.
* Animals: an interest, 24; tale of strange, 33–34.
* Appendix, 265–90: Little Two-Eyes, 265–66; Snow White, 266–67; The Little Lamb and the Little Fish, 267–70; How the Birds came to Have Different Nests, 270–72; The Good-Natured Bear, 272–75; Puss-in-Boots and Lord Peter, 275–78; Tom Thumb and Little Thumb, 278–82; Snow White and Rose Red, 282–86; and The Elephant's Child, 287–90.
* Arabian Nights, Thousand and One Nights, 176–78, 190, 196.
* Art: of teaching, 119–20; in teaching, good, 120; in teaching, great, 120–21; in literature, good, 39–40; in literature, fine, 39–40; of story-telling, 90–91, 93–94; ancient, of story-telling, 91–93.
* Artistic expression, instinct of, 130–54.
* Aulnoy, Comtesse d', tales of, 181–82.
* Basile, 178–79.
* Beaumont, Madam de, 182.
* Beautiful, the, 18–19.
* Beauty and the Beast, dramatization of, 140–41; editions of, 189, 198.
* Bibliography of fairy tales, 253–54.
* Bird and the Trees, 148–51.
* Books, main standard fairy tale, a list, 256–58. See Sources of material.
* Breathing, exercises in, 104–05.
* Briar Rose, 77. See also Sleeping Beauty.
* Capture, tales of, 34–35.
* Celtic fairy tales, 183–84.
* Chap-books, 185–87, 188, 196, 198.
* Characters, 71–73.
* Child: his part in story-telling, 121–25; interests, 13–37; instincts, 125–54; growth: in observation, 6, 47–48; in reason, 6–7, 53–54; in language, 10; in emotion, 44–45; in imagination, 45–53; in experience, 54; in intellect, 53–54; in self-activity, 121–22; in consciousness, 122–23; in initiative, 122; in purpose, 123–25; in creative
* return possible to him, 123–54; in self-expression, 124–54; in organization of ideas, 153.
* Child's Own Book, The, 190.
* Cinderella, a chap-book, 187, 188, 198; a romantic type, 228–31.
* Classes of tales, 204–44: accumulative, 205–11; animal, 211–17; humorous, 217–23; realistic, 223–28; romantic, 228–34; old and modern, compared, 234–43; references, 243–44.
* Classic, fairy tale as a, 38–39.
* Cock, the Mouse, and the Little Red Hen, 238–39.
* Coherence, principle of, 58–59; illustrated, 62, 65.
* Complicated or insincere, the, 36.
* Composition: general qualities of, 57–58; precision, 57; energy, 57–58; delicacy, 58; personality, 58; principles of, 58–59; sincerity, 58–59; unity, 59; mass, 59; coherence, 59; style in, 59–60.
* Comte de Caylus, 182.
* Concrete situation, placing of story in, 94–95, 110–11.
* Connotation, 54–57.
* Consciousness, development of, 122–23.
* Construction, expression of instinct of, 129–30.
* Conversation, expression of instinct of, 125–27.
* Country Mouse and City Mouse, 144–45.
* Crayon-sketching, as expression, 132.
* Creative return, illustrated, 144–54. See Return.
* Criticism: of life, teaching, a, 120–21; of Oeyvind and Marit, 60–64; of Three Billy-Goats Gruff, 64–65; of How the Sun, Moon, and West Wind went out to Dinner, 84–86; of Straw Ox, 86–87; of Steadfast Tin Soldier, 135–38; of Musicians of Bremen, 219–20; of Drakesbill, 221–23; of Puss-in-Boots and Norse Lord Peter, 275–78; of Tom Thumb and Little Thumb, 278–82; of Snow White and Rose Red, 282–86; and of Elephant's Child, 287–90.
* Danish tales, 194.
* Dasent, Sir George W., tales by, as literary form, 68–69; Norse tales by, 194, 247, 257.
* Delicacy, or emotional harmony, quality of, 57–58; illustrated, 60, 61, 64.
* Denotation, 54.
* Description, 75.
* Dick Whittington, illustrating oral transmission of tales, 169; a chap-book, 185, 188, 196, 198.
* Diminutive, the, 25–26.
* Dragon tales, 31.
* Drakesbill, 221–23.
* Dramatic game: Elves and the Shoemaker, 145; Sleeping Beauty, 146–47.
* Dramatization, as expression, 138–54; virtues of, 138, 143; dangers of, 139–43; of Sleeping Beauty, 146–47; of Bird and the Trees, 149–51; of Fir Tree, 152–53; of Little Two Eyes, 265–66; of Snow White, 266–67; of How the Birds came to have Different Nests, 270–72; and of Puss-in-Boots, 276.
* Drawing, as expression, 132.
* Dwarf's Tailor, 237.
* Editions, main fairytale, 256–58; fairy tale, of all nations, 258–59; illustrated, 254–55; miscellaneous, of fairy tales, 259–62: school, of fairy tales, 262–64.
* Elements to be avoided, 30–36.
* Elephant's Child, illustrating: repetition, 27–28; suggestion, 56–57; form, 100–01; modern animal tale, 239, 287–90.
* Elves and the Shoemaker, illustrating: structure and ​short-story, 82–84; creative return, 145.
* Emelyan the Fool, 170.
* Emotion, appeal to, distinguishing literary trait, 40–41; qualities of literary, 41; literary, in fairy tales, 41–44; growth of, 44–45; comparison of, in fairy tales and Shakespeare's dramas, 7, 43–44.
* Energy or force, quality of, 57–58; illustrated, 61, 64.
* English fairy tales, 184–92; collections of, 184–88; illustrating development of illustration, 188–92; by Jacobs, list, 247–48; editions, 257.
* Expression in: language, 125–27; reading, 127; inquiry, 127–29; construction, 129–30; art, 130–54; paper-cutting, 130–31; drawing, 132; painting, 132; rhythm play, 133–34; song, 132–33; game, 134–35; representation, 135–38; dramatization, 138–54, 265–72.
* Fairy, derivation of, 159–60; history of the name, 160.
* Fairy tales: worth of, 1–12; principles of selection for, 13–89; telling of, 90–157; history of, 158–203; classes of, 204–44; sources of material for, 245–64; tributes to, 1–3; interests in, 13–37; as literature, 37–70; as classics, 38–39; possessing mind and soul, 39–40; distinguished by marks of literature, 40; as emotion, 41–45; as imagination, 45–53; philosophy in, 48–52; proverbs in, 50; as truth, 53–54; as form, 54–70; powers of words in, 54–57 general qualities of form in, 57–58; general principles controlling form in, 58–59; style in, defined, 59–60; tested as literary form, 60–70; as a form of short-story, 70–87; characters, 71–73; plot, 73–77: narration, 74–75; description, 75; structure, 76–77; setting, 77–82; three elements blended, 82–84; tested by complete standards, 84–87; teacher's preparation for telling, 94–102; presentation of, by teacher 102–19; return of child from, 119–54; rules for preparation of, 94–102; selection of, 95–96; motifs in, 96–98; re-telling of, 101–02; training of voice in telling, 103–04; breathing in telling, 104–05; gesture in telling, 105–06; power of personality, in telling, 106–07; suggestions for telling, 107–12; establishment of personal relation in telling, 107–10; placing of, in a concrete situation, 110–11; conception of child's aim in listening to, 112; re-creative method of telling, 112–17; adaptation of, 117–19; art of teaching, in telling, 119–25; as expression of conversation, 125–27; as expression of inquiry, 127–29; as expression of construction, 129–30; as expression of art, 130–54; origin of, 158–67; transmission of, 167–200; French, 179–83; Celtic, 183–84; English, 184–92; German, 192–93; tales of other nations, 193–95; American, 195–99; collections of folklore, 200; accumulative, 205–11; animal, 211–17; humorous, 217–23; realistic, 223–28; romantic, 228–34, 275–86; old and modern, 234–43; of Perrault, 246; of the Grimms, 246–47; Norse, 247; English, by Jacobs, 247–48; modern, by Andersen, 248; Uncle Remus, by Harris, 248–49; miscellaneous, 249–53; bibliography of, ​253–54; in picture-books, 254–55; in pictures, 255; in poems, 255–56; in standard books, 256–58; of all nations, 258–59; in miscellaneous editions, 259–62; in school editions, 262–64; in Appendix, 265–90.
* Familiar, the, 14–15.
* Fancy, 46, 47.
* Fir Tree, 151–53.
* First-grade fairy tales, 231–34, 265–86.
* Folk-game, illustrated by Little Lamb and the Little Fish, 147–48, 267–70.
* Folk-tales, generally, as literary form, 65–67; tested as literary form, 60–70; characters of, compared with those of Shakespeare, 7, 43–44; recent collections of, 200.
* Foolish, Timid Rabbit, illustrating method in story-telling, 116–17; an animal type, 214.
* Form, a distinguishing literary trait, 40, 54; perfect, 57–60; general qualities of, 57–58; precision, a quality, 57; energy, a quality, 57–58; delicacy, a quality, 58; personality, a quality, 58; principles controlling, 58–60: sincerity, 58–59; unity, 59; mass, 59; coherence, 59; style in, 59–60, illustrated: by Oeyvind and Marit, 60–64; by Three Billy-Goats Gruff, 64–65; folk-tales as literary, 65–70; mastery of tale as, 100–02.
* French fairy tales, 179–83.
* Game, as expression, 134–35.
* Gardens of the Tuileries, 1.
* German fairy tales, 192–93.
* Gesta Romanorum, 174–75.
* Gesture, knowledge of, 105–06; library pamphlet relating to, 106.
* Giant tales, 31–32.
* Golden Egg and the Cock of Gold, 237–38.
* Good-Natured Bear, a modern animal type, 217, 272–75; a book, 190.
* Grimm, William and Jacob, 67–68; list of tales by, 246–47; editions by, 257; tales by, as literary form, 67.
* Harris, J. C., list of Uncle Remus tales by, 248–49; tales by, as literary form, 69; editions by, 257.
* Henny Penny, 214.
* History of fairy tales, 158–203; origin of fairy tales, 158–67; transmission of fairy tales, 167–200; oral transmission, 167–70; literary transmission, 170–200; references, 201–03.
* Hop-About-Man, 241–43.
* House that Jack Built, 206–07.
* How the Birds came to Have Different Nests, 151; 270–72.
* How the Sun, Moon, and West Wind went out to Dinner, 84–86.
* How Two Beetles Took Lodgings, 226.
* Humor in fairy tales: an interest, 21–22; 217–19.
* Humorous tales, 217–23; types of, 219–23.
* Imagination, a distinguishing literary mark of fairy tales, 40, 45–53; creative, 45; associative, 46; penetrative, 47; contemplative, 47–53; fancy, 46, 47; exhibited in child's return, 122, 125–54.
* Imaginative, the, 23.
* Initiative, development of, 122, 123–25.
* Instincts of child, expression of: conversation, 125–27; inquiry, 127–29; construction, 129–30; artistic expression, 130–54.
* Intellect, appeal of fairy tales to, 53–54.
* Interests of children, 13–37; sense of life, 14; the familiar, 14–15; surprise, 15–17; sense impression, 17–18; the beautiful, 18–19; wonder, mystery, magic, 19; adventure, 19–20; success, 20; action, 20–21; humor, 21–22; poetic justice, 22–23; the imaginative, 23; animals, 24; portrayal of human relations, 24–25; the diminutive, 25–26; rhythm and repetition, 26–28; the simple and the sincere, 28–29; unity of effect, 29–30; opposed to, 30–36; witch tales, 31; dragon tales, 31; giant tales, 31–32; some tales of transformation, 32–33; tales of strange creatures, 33–34; unhappy tales, 34; tales of capture, 34–35; very long tales, 35–36; complicated or insincere tales, 36.
* Introduction, i–iii.
* Inquiry, instinct of, 127–29.
* Jack the Giant-Killer, 185, 186, 188, 190.
* Jacobs, Joseph, list of tales by, 247–48; tales by, as literary form, 69; editions by, 257.
* Jatakas, 170.
* Key of the Kingdom, 207–08.
* Kindergarten: play in, 5–6; work in, unified by the fairy tale, 8–9; language-training in, 10–11; interests of child in, 13–37; standards for literature in, 37–87; standards for composition in, 54–60; story-telling in, 94–119; return to be expected from child in, 119–54; standards of teaching for teacher in, 119–25; instincts of child in, 125–54; history of fairy tales to be used in, 158–203; classes of tales used in, 204–44; sources of material for fairy tales to be used in, 245–64.
* King-book, Persian, The, 175–76.
* Lang, Andrew, tales by, as literary form, 69.
* Lambikin, 21.
* Language, expression in, 125–27.
* Lazy Jack, 224–25.
* Life, a sense of, 14; criticism of, 120–21; fairy tale a counterpart to, 8–9.
* Lists: of tales, 246–53; See Sources of material.
* Literature, mind and soul in, 39–40; qualities of, 40; fairy tale as, 37–87.
* Little Lamb and the Little Fish, 147–48, 267–70.
* Little Two-Eyes, 145, 265–66.
* Little Thumb, editions, 189; tale, 232, 281–82.
* Literary collections of tales, 170–200.
* Logical method of selecting tales, 95–96.
* Long tales, opposed to child's interests, 35–36.
* Lord Peter, 232, 277.
* Magpie's Nest, 151, 270–72.
* Märchen Brunnen or Fairy-tale Fountain, 2–3.
* Mass, principle of, 58–59; illustrated in: Oeyvind and Marit, 61–62; Three Billy-Goats Gruff, 65.
* Medio Pollito, 215–16.
* Memory, development of, 226.
* Message, of the tale, 100; of this book. See Summaries.
* Method of story-telling, the recreative, 113–17; criticism of, 114–16; illustration of, 116–17; direct moral, 143.
* Mind, in literature, 40.
* Miscellaneous, tales, a list, 249–53; editions, 259–62.
* Modern tale, compared with old tale, 234–43; types of, 235–43; what it is, 243; tales, by Andersen, 28–29, 234, 248, 256–57.
* Motifs in folk-tales, classified, 97–98.
* Mother Goose, tales of, 179–81; her Melodies, 187, 195, 197, 198.
* Musicians of Bremen, 130–31, 219–20.
* Narration, in fairy tales, 74–75; illustrated by Sleeping Beauty, 146–47.
* Norse tales, 194; a list of, 247; editions, 257.
* Objectification in fairy tales, 135–38.
* Oeyvind and Marit, 60–64.
* Old Woman and Her Pig, accumulative type, 207, 208; realistic type, 225–26; an exercise of memory, 226.
* Organization of ideas, accomplished through Fir Tree, 152–53; social, of tale, 153–54.
* Origin of fairy tales, 158–67.
* Outline, 291–303.
* Paper-cutting, 130–31.
* Painting, as expression, 132.
* Panchatantra, the Five Books, 171.
* Pause, in story-telling, 104–05.
* Pentamerone, The, 178–79.
* Perrault, Charles, statue of, 1; list of tales by, 180; tales by, tested as literary form, 68; editions by, 257–58.
* Personality, quality of, 57–58; in Oeyvind and Marit, 60; in Three Billy-Goats Gruff, 64; power of, 106–07.
* Personal relation, establishment of, 107–10.
* Peter Rabbit, 239.
* Philosophy, in fairy tales, 48–52; of Uncle Remus Tales, 51–52; of Laboulaye's Tales, 51; of Cat and Mouse in Partnership, 48; of Emperor's New Suit, 48–49; of Ugly Duckling, 49–50; of Elephant's Child, 49; child's, 50–51.
* Phonics in fairy tales, 79–81.
* Pictures, list, 255.
* Picture-Books, list, 254–55.
* Plot, element of fairy tale as short-story, 73–77; structure illustrated, 76–77.
* Poems, fairy, list, 255–56.
* Poetic justice, 22–23.
* Poetry, of teaching, 120.
* Portrayal of human relations, especially with children, 24–25.
* Position, of story-teller, 107.
* Precision, quality of, 57; illustrated in: Oeyvind and Marit, 60; Three Billy-Goats Gruff, 64.
* Preparation, teacher's, in story-telling, 94–102; rules for telling, 94–102.
* Presentation, teacher's, of tale, 102–19: training of voice, 103–04; exercises in breathing, 104–05; gesture, 105–06; power of personality, 106–07; suggestions for telling, 107–12; establishment of personal relation, 108–10; placing of story in concrete situation, 94–95, 110–11; conception of child's aim, 112; telling of tale, 112–19; re-creative method of story-telling, 113–17; adaptation of fairy tales, 117–19.
* Princess and Pea, 114–16.
* Principles, of selection for fairy tales, 13–89: interests of children, 13–37; fairy tale as literature, 37–70; fairy tale as short-story, 70–87; references, 87–89.
* Principles, of composition, 58–60; of story-telling, 94; of teaching, 119–25; concerning instincts of children, 124–25.
* Problem, a means of developing consciousness, 122–25.
* Proverbs in fairy tales, 50.
* Purpose, growth in child's, 123–25.
* Puss-in-Boots, 232, 275–78.
* Psychological method of selecting tales, 95–96.
* Quick-Running Squash, 240.
* Realistic, tale, 223–28; types of, 224–28.
* Reading, as expression, 127; relation of, to literature, 10–11, 127.
* Reason, growth in, 6–7, 10; development of, 53–54.
* Re-creative method of story-telling, 113–17.
* Red Riding Hood, chap-book, 189; a romantic type, 232–34.
* References; chapter i, 12; chapter ii, 87–89; chapter iii, 154–57; chapter iv, 201–03; chapter, v, 243–44.
* Relation, of contemplative imagination to language-training, 47–48; of contemplative imagination to power of observation, 47–48; of contemplative imagination to science, 52–53; of literature to intellect, 53–54; of sound to sense or meaning, 55; of sound to action, 55–56; of phonics and emotional effect, 55; of gesture to story-telling, 105–06; personal, between the story-teller and listener, 107–10; of reading to story-telling, 127; of reading to
* literature, 10, 11, 38, 127; of rhyme to meaning, 56; of fairy tales to nature study, 6, 47–48; of fairy tales to industrial education, 71–73; of fairy tales to child, 3–11; of dramatization to story-telling, 138–54; of fairy tales to literature, 37–70; of fairy tales to composition, 54–70; of fairy tales to story-telling, 90–91.
* Repetition, 26–28, 205–11.
* Representation, 135–38.
* Re-telling of fairy tales, 101–02.
* Return, creative, from child, in telling of fairy tales, 119–54: in language, 125–27; in inquiry, 127–29; in construction, 129–30; in artistic expression, 130-54; in paper-cutting, 130–31; in drawing, 132; in painting, 132; in song, 132–33; in rhythm, 133–34; in game, 134–35; in dance, 137, 145, 147; in dramatization, 138–54; illustrated, 145–54, 265–72.
* Reynard the Fox, place in the animal tale, 212; history, 172–74; chap-book, 185, 186, 190, 196.
* Rhyme, 56.
* Rhythm, in fairy tales, 26–28; plays, 133–34.
* Robin's Christmas song, 78–79.
* Romantic tale, 228–34; types of, 228–34, 275–86.
* St. Nicholas, Stories retold from, 241.
* Sanskrit Tales, 171.
* School editions of fairy tales, 262–64.
* Science, relation of contemplative imagination to, 52–53.
* Sea Fairy and the Land Fairy, 236–37.
* Selection of fairy tales by teacher, psychological or logical, 95–96.
* Sense impression, 17–18.
* Setting, element of fairy tale as short-story, 77–82; sequence in, 78–79; story told by, 81–82; and phonics, 79–81.
* Sheep and Pig, 215.
* Short-story, fairy tale as, 70–87: elements of, 70–71; ways of writing, 71; characters, 71–73; plot, 73–77; narration in, 74–75; description in, 75; setting, 77–82; elements of, blended, 82–84. Tales tested as, 84–87; telling of, 90–154.
* Silhouette pictures, cutting of, 130–31.
* Simple and sincere, 28–29.
* Sincerity, principle of, 58–59; illustrated in: Oeyvind and Marit, 60, 61; Three Billy-Goats Gruff, 64–65.
* Sindibad, The Book of, 172.
* Sleeping Beauty, romantic type, 231–32; uniting partial narration, dramatization, and dramatic game, 146–47.
* Snow White, 145, 266–67.
* Snow White and Rose Red, 232, 282–86.
* Song, as expression, 132–33.
* Soul, in literature, 39–40.
* Sources of material for fairy tales, 245–64: list of fairy tales and folk-tales, 246–53; bibliography of fairy tales, 253–54; list of picture-books, 254–55; list of pictures, 255; list of fairy poems, 255–56; main standard fairy-tale books, 256–58; fairy tales of all nations, 258–59; miscellaneous editions of fairy tales, 259–62; school editions of fairy tales, 262–64.
* Sparrow and the Crow, as expression, 125–26.
* Spider and the Flea, 79–81.
* Standards, for testing fairy tales, 84; for selecting tales, 204–05; for making lists, 245–46. See Summaries.
* Standard fairy-tale books, a list, 256–58.
* Story, place of, in home, library, and school, 93–94; formation of original stories, 126–27.
* Story-telling, an ancient art, 91–93; principles governing, 94; teacher's preparation for, 94–102; rules for, 94–102; presentation in, 102–119; voice in, 103–04; breathing in, 104–05; gesture in, 105–06; re-creative method of, 113–17; return from child, in, 119–54; child's part in, 121–25.
* Straparola, 178.
* Straparola's Nights, 178.
* Straw Ox, 86–87.
* Structure, illustrated, 76–77; study of, in story-telling, 99–100.
* Study of tale as folk-lore and as literature, 96–99.
* Style, defined, 59–60; illustrated, 60–65; qualities of, 59–60; principles controlling, 59–60.
* Success, 20.
* Suggestion, illustrated by Pope, 55; by Andersen, 136; by Kipling, 56–57; through gesture and sound, 55; through arrangement of words and speech-tunes of voice, 56–57.
* Summaries: giving message of book. 13, 37–38, 40, 70–71, 84, 158, 204–05, 235.
* Surprise, 15–17.
* Swedish tales, 193.
* Tales: of Mother Goose, 179–81; of Perrault, 246; of the Grimms, 246–47; Norse, 247; English, by Jacobs, 247–48; modern fairy, by Andersen, 248; Uncle Remus, 248–49; miscellaneous, 249–53; fairy, of all nations, 258–59; literary collections of, 170–200. See Fairy tales.
* Teaching, story-telling, a part of the art of, 119–25; poetry of, 120; good art in, 120; great art in, 120–21; a criticism of life, 120–21.
* Telling, of fairy tales, 90–154; ​art of story-telling, 90–94; principles controlling, 94; preparation by teacher for, 94–102; presentation by teacher, in, 102–19; suggestions for, 107–12; return by child, from, 119–54; re-creative method of, 113–17; adaptation of tales for, 117–19; references, 154–57.
* Theories of origin of fairy tales: detritus of myth, 161–63; sun-myth theory, 163–64; common Indian heritage, 165–67; identity of early fancy, 167.
* Three Bears, illustrating surprise, 16–17; a chap-book, 190; accumulative, 209–11.
* Three Billy-Goats Gruff, 64–65.
* Three Pigs, illustrating structure, 76; animal type, 216.
* Thumbelina, illustrating adaptation, 118; illustrating rhythm play, 134.
* Tin Soldier, Steadfast, as emotion, 42; tale of imagination, 46; as representation, 135–38; as a game, 135, 138.
* Titty Mouse and Tatty Mouse, 81, 208–09, 227–28.
* Tom Hickathrift, 185, 186, 187, 196.
* Tom Thumb, chap-book tale, 185, 188, 190, 196; romantic type, 278–81.
* Tone-color, in story-telling, 105.
* Training of voice, 103–04.
* Transformation, tales of, 32–33; kinds of, 276.
* Transmission, of tales: oral, 167–170; literary, 170; illustrated by: Dog Gellert, 166; Dick Whittington, 169; Peruonto, 169–70.
* Tributes, two public, 1–3.
* Truth, basis of, in fairy tales, a distinguishing literary mark, 40, 53–54.
* Tuileries, gardens of. See Gardens.
* Uncle Remus Tales, by Harris, 248–49; editions, 257.
* Unhappy tales, 34.
* Unity, of effect, 29–30; principle of composition, 58–59; illustrated in: Oeyvind and Marit, 61; Three Billy-Goats Gruff, 65.
* Value, of fairy tales in education, 3–12, 119–25; to give joy, 3–4; to satisfy the play-spirit, 4–6; to develop observation, 6; to give habits of mind, 6–7; to strengthen emotion, 6–7, 44–45; to extend social relations, 7–8; in home, library, and school, 8–9; to give language-training, 10–11; to develop imagination, 45–53; to develop reason, 53–54; to develop power of creative return, 119–54; to develop self-activity, 121–22; to develop consciousness, through problems, 122–23; to develop initiative, 122; to develop purpose, 123–25; to develop self-expression, 124–54; to strengthen originality, 127–29; to develop organization of ideas, 153; and to exercise memory, 226.
* Version, of tale, 101–02.
* Villeneuve, Madam, 182.
* Voice, training of, 103–04.
* Witch tales, 31.
* Wolf and the Seven Kids, expression in painting, 132; in song, 132–33.
* Words, powers of, 54–55; denotation, 54; connotation, 54–55; suggestion, 54–57.
* Wonder, mystery, magic, an interest, 19.
* Worth of fairy tales, 1–12: two public tributes, 1–3; value of fairy tales in education, 3–12; references, 12.