Finally came the North Wind, calling to the forest to prepare for its long sleep. The trees, one by one, cast off their brilliant raiment--the cedar, last of all--and stood gaunt and naked under the dark sky. Only the tiny tree in the shadow of the oak did not heed, and bravely defied the fierce jestings of the North Wind. "Oho' little tree," he roared, whirling the snowflakes through its tiny boughs, "doff your green garment and go to sleep! Or, perhaps, you are waiting for the angel?" Then the forest laughed long and loud. "Little tree," it jeered, "cling to the oak; the angel will step upon you!" But even as it jeered, a great light broke through the forest; the trees were afraid and bowed themselves as before a storm. And when they lifted up their heads, behold! the little tree stood straight and tall in its robes of green, and in its topmost branch there gleamed a star. --Ida F. Treat. CHAPTER V THE INSTRUCTIVE GROUP The Instructive Group is composed of those narratives whose chief purpose is to inform the reader of certain conditions and problems of which he ought to take intelligent account. The writer may offer a solution, as in the moral story; or a theory, as in the pedagogical narrative; or he may simply present the picture, as in a realistic sketch, and leave knowledge to bring reform by the sheer natural law by which daylight scatters the evils of darkness. I. The Moral Story [Distinguished from symbolic-didactic group] The moral story must not be confused with the fable, parable, or allegory. It is like them in that its chief purpose is to teach, but it differs from them in not being figurative or symbolic. It is always particular and professedly literal. Its boast is that it sticks close to facts--the facts of "life," people's needs, if not their history. In other words, though fictitious, it pretends to be entirely worth while because of the concrete lesson it teaches. It sets out to show you the evil consequences of some vice or folly or the good result of a pious act. The critics have never had a very cordial word for this type of narrative: the usual smugness of it is offensive. Many old legends are moral tales. The "Gesta Romanorum" was largely meant to instruct in pious ways. Boccaccio, even, cares for ethical effect, when he writes such stories as "Griselda." A modern reader is entirely out of patience with the complacent self-righteousness of Gualtieri. Chaucer's easy and captivating style and his true pathos and appreciation of dramatic moments can not altogether keep down our irritation at an egregious monster parading under the guise of a beneficent lord and a loving husband. Our irritation, of course, is really directed not toward Chaucer or Boccaccio, but toward the Middle Ages, that could take such a character as this and feel no umbrage--no shadowing of the brute over man. [Hawthorne]