Through fairy tales we have seen that the emotional power of the child is strengthened. This has been effected because, in the tale just as truly as in life, action is presented in real situations; and back of every action is the motive force of emotion. This cumulative power of emotion, secured by the child through the handling of tales, will serve daily a present need. It will be the dynamic force which he will require for anything he wishes to accomplish in life. It will give the child the ability to use it in any situation similar to that in which it was acquired. It will make a difference in his speech; he will not have to say so much, for what he does say will produce results. This growing power of emotion will carry over into feelings of relation and thus lead to judgment of values. This evaluation is the basis of reasoning and answers to the child's daily call to think from causes to consequences. This increasing power of emotion develops into the æsthetic sensibilities and so results in a cultivation of taste and an understanding of life. Emotion therefore leads to appreciation, which, when logically developed, becomes expression. Fairy tales, thus, in conducting emotional capacity through this varied growth and toward this high development, hold an educational value of no mean order. (2) The power to appeal to the imagination. Emotion can be aroused by showing the objects which excite emotion. Imagination is this power to see and show things in the concrete. Curry says, "Whenever the soul comes vividly in contact with any fact, truth, etc., whenever it takes them home to itself with more than common intensity, out of that meeting of the soul and its object there arises a thrill of joy, a glow of feeling. It is the faculty that can create ideal presence." When through imagination we select spontaneously from the elements of experience and combine into new wholes, we call it creative imagination.--The creative imagination will be viewed here as it appears in action in the creative return given by the child to his fairy tales.--When we emphasize a similarity seen in mere external or accidental relations or follow suggestions not of an essential nature in the object, we call it fancy. Ruskin, in his _Modern Painters_, vol. I, part III, _Of the Imaginative Faculty_, would distinguish three classes of the imagination:--