stories to tell to children(儿童故事)-第5节
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to correlate different forms of expression； and to react on speech…
expression through sense…stimulus。 But playing the story is a closer
relative to English than this。 It helps； amazingly； in giving the 〃something
to say； the urgent desire to say it；〃 and the freedom in trying。 Never mind
the crudities；at least； at the time； work only for joyous freedom；
inventiveness； and natural forms of reproduction of the ideas given。 Look
for very gradual changes in speech； through the permeating power of
imitation； but do not forget that this is the stage of expression which
inevitably precedes art。
All this will mean that no corrections are made； except in flagrant
cases of slang or grammar； though all bad slips are mentally noted； for
introduction at a more favorable time。 It will mean that the teacher will
respect the continuity of thought and interest as completely as she would
wish an audience to respect her occasional prosy periods if she were
reading a report。 She will remember； of course that she is not training
actors for amateur theatricals； however tempting her show…material may
be； she is simply letting the children play with expression； just as a
gymnasium teacher introduces muscular play；for power through
relaxation。
When the time comes that the actors lose their unconsciousness it is
the end of the story…play。 Drilled work； the beginning of the art； is then the
necessity。
I have indicated that the children may be left undisturbed in their
crudities and occasional absurdities。 The teacher； on the other hand； must
avoid； with great judgment； certain absurdities which can easily be
initiated by her。 The first direful possibility is in the choice of material。 It
is very desirable that children should not be allowed to dramatize stories
of a kind so poetic； so delicate； or so potentially valuable that the material
is in danger of losing future beauty to the pupils through its present crude
handling。 Mother Goose is a hardy old lady； and will not suffer from the
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grasp of the seven…year…old； and the familiar fables and tales of the
〃Goldilocks〃 variety have a firmness of surface which does not let the
glamour rub off； but stories in which there is a hint of the beauty just
beyond the palpableor of a dignity suggestive of developed literature
are sorely hurt in their metamorphosis； and should be protected from it。
They are for telling only。
Another point on which it is necessary to exercise reserve is in the
degree to which any story can be acted。 In the justifiable desire to bring a
large number of children into the action one must not lose sight of the
sanity and propriety of the presentation。 For example； one must not make a
ridiculous caricature； where a picture； however crude； is the intention。
Personally represent only such things as are definitely and dramatically
personified in the story。 If a natural force； the wind； for example； is
represented as talking and acting like a human being in the story； it can be
imaged by a person in the play； but if it remains a part of the picture in the
story； performing only its natural motions； it is a caricature to enact it as a
role。 The most powerful instance of a mistake of this kind which I have
ever seen will doubtless make my meaning clear。 In playing a pretty story
about animals and children； some children in a primary school were made
by the teacher to take the part of the sea。 In the story； the sea was said to
〃beat upon the shore；〃 as a sea would； without doubt。 In the play； the
children were allowed to thump the floor lustily； as a presentation of their
watery functions！ It was unconscionably funny。 Fancy presenting even the
crudest image of the mighty sea； surging up on the shore； by a row of
infants squatted on the floor and pounding with their fists！ Such pitfalls
can be avoided by the simple rule of personifying only characters that
actually behave like human beings。
A caution which directly concerns the art of story telling itself； must
be added here。 There is a definite distinction between the arts of narration
and dramatization which must never be overlooked。 Do not； yourself； half
tell and half act the story； and do not let the children do it。 It is done in
very good schools； sometimes； because an enthusiasm for realistic and
lively presentation momentarily obscures the faculty of discrimination。 A
much loved and respected teacher whom I recently listened to； and who
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will laugh if she recognizes her blunder here； offers a good 〃bad example〃
in this particular。 She said to an attentive audience of students that she had
at last； with much difficulty； brought herself to the point where she could
forget herself in her story： where she could； for instance； hop； like the fox；
when she told the story of the 〃sour grapes。〃 She said； 〃It was hard at first；
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
