2. _Märchen_, or what we call "nursery tales"--those told for artistic pleasure, pure imaginative play, the creative exercise of the art-instinct. They may or may not exhibit the supernatural or preternatural elements; in some of them animals are among the actors. These constitute the large mass of popular and nursery tales; _Cinderella_, _Beauty and the Beast_, _Puss in Boots_, _Briar-Rose_, _The Musicians of Bremen_ will do for examples. 3. Drolls--comic or domestic tales which may or may not make use of the impossible, the marvelous, or the preternatural. Generally they are tales of funny misadventures, cunning horse-play, tricks, the misfortunes or undeserved good luck of "noodles." Such, chosen from many examples, are _Kluge Else_, _Lazy Jack_, _Mr. Vinegar_, _Hans in Luck_. 4. Cumulative tales--those in which incident is inter-linked with incident by some more or less artificial principle of association, constituting in some cases a mere string of associated happenings, in others a fairly rounded out story. Such, in its simplest form, are _The House That Jack Built_ and _Titty-mouse and Tatty-mouse_, _Henny-penny_ and the old swapping ballads. The modern stories corresponding to these are of three kinds: those written in imitation of the folk-sagas and _Märchen_; those which introduce preter-human elements as symbols; those which personify the phenomena and forces of nature. It is not mere convention that leads one to choose for the children in class the traditionary or folk-tales in preference to the modern fairy-story. Many new so-called fairy-tales are doubtless harmless and amusing enough, and may serve a purpose in hours of mere recreation. But they lack those abiding qualities one seeks in a story he gives as discipline and to a class. Failing to possess the very fundamental characteristics of the folk-tale, they fail to perform the typical and desirable service of the folk-tale. First of all, modern fairy-tales are neither convinced nor convincing; they are imitations, which cannot fail to miss the soul of the original. There can be no new fairy-tales written, because there is no longer a possibility of belief in fairies, and no longer among adults a possibility of looking at the world as the folk and the child look at it. The substitution of the pert fairies and dapper elves of literature and the theater for the serious preterhuman agents of the folk-tale creates at once in the new stories an atmosphere of dilettantism, of insincerity. Titania and Oberon, flower-fairies, dew-fairies, gauzy wings and spangled skirts, were not in the mind of the people who told these tales of the sometimes grim and _schauderhaft_ and always serious beings--fairies, elves, goblins, or what not. Wicked little brown men disappearing into a green hillock with the human child, in exchange for whom they have left in the cottage cradle a brown imp of their own; the godmother with the fairy-gift who brings justice and joy