how to tell children stories(如何给孩子讲故事)-第15章
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absorbingly and vividly that you have no room to think of yourself。 Live it。
Sink yourself in that mood you have summoned up； and let it carry you。
If you do this； simplicity of matter will come easily。 Your choice of
words and images will naturally become simple。
It is； I think； a familiar precept to educators； that children should not
have their literature too much simplified for them。 We are told that they
like something beyond them； and that it is good for them to have a sense
of mystery and power beyond the sense they grasp。 That may be true； but
if so it does not apply to story… telling as it does to reading。 We have
constantly to remember that the movement of a story told is very swift。 A
concept not grasped in passing is irrevocably lost； there is no possibility of
turning back； or lingering over the page。 Also； since the art of story…telling
is primarily an art of entertainment； its very object is sacrificed if the ideas
and images do not slip into the child's consciousness smoothly enough to
avoid the sense of strain。 For this reason short； familiar； vivid words are
best。
Simplicity of manner and of matter are both essential to the right
appeal to children。
DIRECTNESS in telling is a most important quality。 The story；
listened to； is like the drama； beheld。 Its movement must be unimpeded；
increasingly swift； winding up 〃with a snap。〃 Long…windedness； or talking
round the story； utterly destroys this movement。 The incidents should be
told； one after another； without explanation or description beyond what is
absolutely necessary； and THEY SHOULD BE TOLD IN LOGICAL
SEQUENCE。 Nothing is more distressing than the cart…before…the…horse
method；nothing more quickly destroys interest than the failure to get a
clue in the right place。
Sometimes； to be sure； a side remark adds piquancy and a personal
savour。 But the general rule is； great discretion in this respect。
Every epithet or adjective beyond what is needed to give the image； is
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a five…barred gate in the path of the eager mind travelling to a climax。
Explanations and moralising are usually sheer clatter。 Some few
stories necessarily include a little explanation； and stories of the fable
order may quaintly end with an obvious moral。 But here again； the rule is
great discretion。
It is well to remember that you have one great advantage over the
writer of stories。 The writer must present a clear image and make a vivid
impression；all with words。 The teller has face； and voice； and body to do
it with。 The teller needs； consequently； but one swiftly incisive verb to the
writer's two； but one expressive adjective to his three。 Often； indeed； a
pause and an expressive gesture do the whole thing。
It may be said here that it is a good trick of description to repeat an
epithet or phrase once used； when referring again to the same thing。 The
recurrent adjectives of Homer were the device of one who entertained a
childlike audience。 His trick is unconscious and instinctive with people
who have a natural gift for children's stories。 Of course this matter also
demands common sense in the degree of its use； in moderation it is a most
successful device。
Brevity； close logical sequence； exclusion of foreign matter； unhesitant
speech；to use these is to tell a story directly。
After simplicity and directness； comes that quality which to advise； is
to become a rock of offence to many。 It is the suggestion； 〃Tell the story
DRAMATICALLY。〃 Yet when we quite understand each other as to the
meaning of 〃dramatically；〃 I think you will agree with me that a good
story…teller includes this in his qualities of manner。 It means； not in the
manner of the elocutionist； not excitably； not any of the things which are
incompatible with simplicity and sincerity； but with a whole… hearted
throwing of oneself into the game； which identifies one in a manner with
the character or situation of the moment。 It means responsively； vividly；
without interposing a blank wall of solid self between the drama of the tale
and the mind's eye of the audience。
It is such fun； pure and simple； so to throw oneself into it； and to see
the answering expressions mimic one's own； that it seems superfluous to
urge it。 Yet many persons do find it difficult。 The instant； slight but
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suggestive change of voice； the use of onomatopoetic words； the response
of eyes and hands； which are all immediate and spontaneous with some
temperaments； are to others a matter of shamefacedness and labour。 To
those； to all who are not by nature bodily expressive； I would reiterate the
injunction already given； not to pretend。 Do nothing you cannot do
naturally and happily。 But lay your stress on the inner and spiritual effort
to appreciate； to feel； to imagine out the tale； and let the expressiveness of
your body grow gradually with the increasing freedom from crippling self…
consciousness。 The physique will become more mobile as the emotion
does。
The expression must； however； always REMAIN SUGGESTIVE
RATHER THAN ILLUSTRATIVE。 This is the side of the case which
those who are over…dramatic must not forget。 The story… teller is not
playing the parts of his stories； he is merely arousing the imagination of
his hearers to picture the scenes for themselves。 One element of the dual
consciousness of the tale…teller remains always the observer； the reporter；
the quiet outsider。
I like to think of the story…teller as a good fellow standing at a great
window overlooking a busy street or a picturesque square； and reporting
with gusto to the comrade in the rear of the room what of mirth or sadness
he sees； he hints at the policeman's strut； the organ… grinder's shrug； the
schoolgirl's gaiety； with a gesture or two which is born of an irresistible
impulse to imitate； but he never leaves his fascinating post to carry the
imitation further than a hint。
The verity of this figure lies in the fact that the dramatic quality of
story…telling depends closely upon the CLEARNESS AND POWER
WITH WHICH THE STORY…TELLER VISUALISES THE EVENTS
AND CHARACTERS HE DESCRIBES。 You must hold the image before
the mind's eye； using your imagination to embody to yourself every act；
incident and appearance。 You must； indeed； stand at the window of your
consciousness and watch what happens。
This is a point so vital that I am tempted to put it in ornate type。 You
must SEE what you SAY！
It is not too much； even； to say； 〃You must see more than you say。〃
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True vividness is lent by a background of picture realised by the listener
beyond what you tell him。 Children see； as a rule； no image you do not see；
they see most clearly what you see most largely。 Draw； then； from a full
well； not from a supply so low that the pumps wheeze at every pull。
Dramatic power of the reasonably quiet and suggestive type demanded
for telling a story will come pretty surely in the train of effort along these
lines； it follows the clear concept and sincerity in imparting it； and is a
natural consequence of the visualising imagination。
It is inextricably bound up； also； with the causes and results of the
quality which finds place in my final injunction； to tell your story WITH
ZEST。 It might almost be assumed that the final suggestion renders the
preceding one superfluous； so direct is the effect of a lively interest on the
dramatic quality of a narration； but it would not of itself be adequate； the
necessity of visualising imagination is paramount。 Zest is； however； a
close second to this clearness of mental vision。 It is entirely necessary to
be interested in your own story； to enjoy it as you tell it。 If you are bored
and tired； the children will soon be bored and tired； too。 If you are not
interested your manner cannot get that vitalised spontaneity which makes
dramatic power possible。 Nothing else will give that relish on the lips； that
gusto； which communicates its joy to the audience and makes it receptive
to every impression。 I used to say to teachers； 〃Tell your story with all
your might；〃 but I found that this by a natural misconception was often
interpreted to mean 〃laboriously。〃 And of course nothing is more injurious
to the enjoyment of an audience than obvious effort on the part of the
entertainer。 True zest can beoften isextremely quiet； but it gives a
savour nothing else can impart。
〃But how； at the end of a hard morning's work； can I be interested in a
story I have told twenty times before？〃 asks the kindergarten or primary
teacher； not without reason。
There are two things to be said。 The first is a reminder of the wisdom
of choosing stories in which you originally have interest； and of having a
store large enough to permit variety。 The second applies to those inevitable
times of weariness which attack the most interested and well… stocked
story…teller。 You are； perhaps； tired out physically。 You have told a certain
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story till it seems as if a repetition of it must produce bodily effects dire to
contemplate； yet that happens to be the very story you must tell。 What can
you do？ I answer； 〃Make believe。〃 The device seems incongruous with the
repeated warnings against pretence； but it is necessary； and it is wi
