It has been the practice to adapt such stories as Andersen's _Ugly Duckling_ and Ruskin's _King of the Golden River_. In the _King of the Golden River_ the description of Treasure Valley could be condensed into a few sentences and the character of South West Wind omitted; and in _The Ugly Duckling_, passages of description and bits of philosophy might be left out. But there is no reason why literature in the elementary school should be treated with mutilation. These stories are not suited to the kindergarten or first grade and may be reserved for the third and fourth grades where they may be used and enjoyed by the children as they are. Andersen's _Thumbelina_ might be adapted for kindergarten children because it is suitable for them yet it is very long. It could easily be analyzed into its leading episodes, each episode making a complete tale, and one or more episodes be told at one time. This would have the added attraction for the child of having one day's story follow naturally the preceding story. Adapted thus, the episodes would be:-- (1) Thumbelina in her Cradle. (2) Thumbelina and the Toad. (3) Thumbelina and the Fishes. (4) Thumbelina and the Cockchafer in the tree. (5) Thumbelina and the Field-Mouse. (6) Thumbelina and the Mole. (7) Thumbelina and the Swallow. (8) Thumbelina as Queen of the Flowers. Andersen's _Snow Man_ as adapted for the kindergarten would require the episode of the lover omitted. It is irrelevant, not essential to the story, and is an illustration of the sentimental, which must be omitted when we use Andersen. To omit this episode one would cut out from "'That is wonderfully beautiful,' said a young girl," to the end of "'Why, they belong to the Master,' retorted the Yard Dog." III. THE RETURN FROM THE CHILD[2] The telling of the fairy tale is one phase of the teacher's art. And it is maintained that fairy tales are one portion of subject-matter suited to accomplish the highest greatness of the teaching art. For teaching is an art, an art of giving suggestions, of bearing influences, of securing adjustments, an art of knowing the best and of making it known. The material the artist works upon is the living child. The medium the artist uses is subject-matter. In the process the artist must ask, "What new connections or associations am I establishing in the child?" "To what power of curiosity and of problem-solving do these connections and associations lead?" The ideal which guides the teacher is the child's best self as she can interpret him. This ideal will be higher and larger than the child himself can know. In the manipulation of subject-matter, through the practical application of principles, the artist aims to have the child awake, inquire, plan, and act, so that under her influences he grows by what he thinks, by what he feels, by what he chooses, and by what he achieves.