2. Know the tale historically as folk-lore, as literature, and as a short-story 96 a. The various motives contained in the fairy tales listed 97 3. Master the structure of the tale 99 4. Dwell upon the life of the story 99 5. Secure the message 100 6. Master the form 100 II. The presentation of the tale 102 1. Training of the voice 103 a. Study of phonetics 103 2. Exercises in breathing 104 3. A knowledge of gesture 105 a. Gesture precedes speech 106 b. Gesture begins in the face 106 c. Hands and arms lie close to the body in controlled emotion 106 4. A power of personality 106 5. Suggestions for telling 107 a. The establishment of the personal relation between the teacher and the listener 108 b. The placing of the story in a concrete situation for the child 110 c. The consideration of the child's aim in listening, by the teacher in her preparation 112 6. The telling of the tale 112 a. The re-creative method of story-telling. Illustrated by a criticism of the telling of _The Princess and the Pea_ 114 b. The re-creative method illustrated by _The Foolish, Timid Rabbit_ 116 7. Adaptation of the fairy tale. Illustrated by _Thumbelina_ and by _The Snow Man_ 118 III. The return from the child 119 Story-telling as one phase of the art of teaching. Introductory 119 1. Teaching as good art and as great art; and fairy tales as subject-matter suited to accomplish high purposes in teaching 120 2. The part the child has to play in story-telling 121 3. The child's return, the expression of his natural instincts or general interests 125 1. The instinct of conversation 125 a. Language expression, oral re-telling 125 b. The formation of original little stories 126