Again, most of the stories best suited to the children must be used in translated and adapted versions, and all of them should be told in a way that varies more or less from telling to telling, in vocabulary, in figure, and occasionally in material detail. As a result, the stories, until we come down to the very last year of the period, make on the children no impression of the inevitableness of form, or of any of the smaller devices of style and finish. These may be brought to bear in verse. It should not be necessary to say again that the children will know nothing of "larger effects" and "smaller details;" but the teacher should know them, and should have some plan that will include both in his teaching. Neither is it necessary to say that these minor matters of style and finish that we will pause over with our elementary class will prove to be very simple matters from the point of view of the expert and adult critic. It is verse that gives the child most experience in the musical side of literature. The rhythm and cadence of prose have their own music--perhaps more delicate and pleasing to the trained adult ear than the rhythm of verse. But the elementary children need the simple striking rhythm of verse, of verse whose rhythm is quite unmistakable. Indeed, it is profitable in the first verses that children learn to have an emphatic meter, so that the musical intention may not be missed, and that it may be possible easily to accompany the recitation of the verses with movement, even concerted movement as of clapping or marching. One who is trying to write a sober treatise in a matter-of-fact way dares not, lest he be set down as the veriest mystic, say all the things that might be said about the function of rhythm, especially in its more pronounced form of meter, among a community of children, no matter what the size of the group--how rhythmic motion, or the flow of measured and beautiful sounds, harmonizes their differences, tunes them up to their tasks, disciplines their conduct, comforts their hurts, quiets their nerves; all this apart from the facts more or less important from the point of view of literature, that it cultivates their ear, improves their taste, and provides them a genuinely artistic pleasure. If it happens that the sounds they are chanting be a bit of real poetry, it further gives them perhaps more than one charming image, and many pleasant or useful words. Most children are pleased with the additional music of rhyme. This is true of all kinds of rhyme, but of course it is the regular terminal rhyme that most children notice and enjoy and remember. Sing a song of sixpence, A pocket full of rye, Four and twenty blackbirds Baked in a pie.