how to tell children stories(如何给孩子讲故事)-第17章
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the Little Half Chick with an abandon and bodily emphasis which left no
doubt of his sympathetic understanding of every word。 The depth of moral
reproach in his tone was quite beyond description when he said； 〃Little
Half Chick； little Half Chick； when I was in trubbul you wouldn't help
me！〃 He heartily relished that repetition； and became more dramatic each
time。
Through it all； in the tones of the tender little voice； the sidewise pose
of the neat dark head； and the occasional use of a chubby pointing finger；
one could trace a vague reflection of the teacher's manner。 It was not
strong enough to dominate at all over the child's personality； but it was
strong enough to suggest possibilities。
In different rooms； I was told The Half Chick； The Little Red Hen； The
Three Bears； The Red… Headed Woodpecker； The Fox and the Grapes； and
many other simple stories； and in every instance there was a noticeable
degree of spontaneity and command of expression。
When the reading classes were held； the influence of this work was
very visible。 It had crept into the teachers' method； as well as the children's
attitude。 The story interest was still paramount。 In the discussion； in the
teachers' remarks； and in the actual reading； there was a joyousness and an
interest in the subject… matter which totally precluded that preoccupation
with sounds and syllables so deadly to any real progress in reading。 There
was less of the mechanical in the reading than in any I had heard in my
visits to schools； but it was exceptionally accurate。
The second form of giving back which has proved a keen pleasure and
a stimulus to growth is a kind of 〃seat…work。〃 The children are allowed to
make original illustrations of the stories by cutting silhouette pictures。
It will be readily seen that no child can do this without visualising each
image very perfectly。 In the simplest and most unconscious way possible；
the small artists are developing the power of conceiving and holding the
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concrete image of an idea given； the power which is at the bottom of all
arts of expression。
Through the kindness of Miss Sweeney； I am able to insert several of
these illustrations。 They are entirely original； and were made without any
thought of such a use as this。
The pictures and the retelling are both popular with children； but
neither is as dear to them as the third form of reproduction of which I wish
to speak。 This third kind is taken entirely on the ground of play； and no
visibly didactic element enters into it。 It consists simply of PLAYING
THE STORY。
When a good story with a simple sequence has been told； and while
the children are still athrill with the delight of it； they are told they may
play it。
〃Who would like to be Red Riding Hood？〃 says the teacher； up go the
little girls' hands； and Mary or Hannah or Gertrude is chosen。
〃Who will be the wolf？〃 Johnny or Marcus becomes the wolf。 The
kind woodchopper and the mother are also happily distributed； for in these
little dramatic companies it is an all…star cast； and no one realises any
indignity in a subordinate role。
〃Now； where shall we have little Red Riding Hood's house？ ‘Over in
that corner；' Katie？ Very well； Riding Hood shall live over there。 And
where shall the grandmother's cottage be？〃
The children decide that it must be a long distance through the wood；
half…way round the schoolroom； in fact。 The wolf selects the spot where he
will meet Red Riding Hood； and the woodchopper chooses a position from
which he can rush in at the critical moment； to save Red Riding Hood's
life。
Then； with gusto good to see； they play the game。 The teacher makes
no suggestions； each actor creates his part。 Some children prove extremely
expressive and facile； while others are limited by nature。 But each is left to
his spontaneous action。
In the course of several days several sets of children have been
allowed to try； then if any of them are notably good in the several roles；
they are given an especial privilege in that story； as was done with the
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retelling。 When a child expresses a part badly； the teacher sometimes asks
if anyone thinks of another way to do it； from different examples offered；
the children then choose the one they prefer； this is adopted。 At no point is
the teacher apparently teaching。 She lets the audience teach itself and its
actors。
The children played a good many stories for me during my visit in
Providence。 Of them all； Red Riding Hood； The Fox and the Grapes； and
The Lion and the Mouse were most vividly done。
It will be long before the chief of the Little Red Riding Hoods fades
from my memory。 She had a dark； foreign little face； with a good deal of
darker hair tied back from it； and brown； expressive hands。 Her eyes were
so full of dancing lights that when they met mine unexpectedly it was as if
a chance reflection had dazzled me。 When she was told that she might play；
she came up for her riding hood like an embodied delight； almost dancing
as she moved。 （Her teacher used a few simple elements of stage…setting for
her stories； such as bowls for the Bears； a cape for Riding Hood； and so
on。）
The game began at once。 Riding Hood started from the rear corner of
the room； basket on arm； her mother gave her strict injunctions as to
lingering on the way； and she returned a respectful 〃Yes； mother。〃 Then
she trotted round the aisle； greeting the wood… chopper on the way； to the
deep wood which lay close by the teacher's desk。 There master wolf was
waiting； and there the two held converse；master wolf very crafty indeed；
Red Riding Hood extremely polite。 The wolf then darted on ahead and
crouched down in the corner which represented grandmother's bed。 Riding
Hood tripped sedately to the imaginary door； and knocked。 The familiar
dialogue followed； and with the words 〃the better to eat you with； my
dear！〃 the wolf clutched Red Riding Hood； to eat her up。 But we were not
forced to undergo the threatened scene of horrid carnage； as the
woodchopper opportunely arrived； and stated calmly； 〃I will not let you
kill Little Red Riding Hood。〃
All was now happily culminated； and with the chopper's grave
injunction as to future conduct in her ears； the rescued heroine tip… toed
out of the woods； to her seat。
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I wanted to applaud； but I realised in the nick of time that we were all
playing； and held my peace。
The Fox and the Grapes was more dramatically done； but was given by
a single child。 He was the chosen 〃fox〃 of another primary room； and had
the fair colouring and sturdy frame which matched his Swedish name。 He
was naturally dramatic。 It was easy to see that he instinctively visualised
everything； and this he did so strongly that he suggested to the onlooker
every detail of the scene。
He chose for his grape…trellis the rear wall of the room。
Standing there； he looked longingly up at the invisible bunch of grapes。
〃My gracious；〃 he said； 〃what fine grapes！ I will have some。〃
Then he jumped for them。
〃Didn't get them；〃 he muttered； 〃I'll try again；〃 and he jumped higher。
〃Didn't get them this time；〃 he said disgustedly； and hopped up once
more。 Then he stood still； looked up； shrugged his shoulders； and
remarked in an absurdly worldly…wise tone； 〃Those grapes are sour！〃 After
which he walked away。
Of course the whole thing was infantile； and without a touch of grace；
but it is no exaggeration to say that the child did what many grown…up
actors fail to do；he preserved the illusion。
It was in still another room that I saw the lion and mouse fable played。
The lion lay flat on the floor for his nap； but started up when he found
his paw laid on the little mouse； who crouched as small as she could
beside him。 （The mouse was by nature rather larger than the lion； but she
called what art she might to her assistance） The mouse persuaded the lion
to lift his paw； and ran away。
Presently a most horrific groaning emanated from the lion。 The mouse
ran up； looked him over； and soliloquised in precise language； evidently
remembered； 〃What is the matter with the lion？ Oh； I see； he is caught in a
trap。〃 And then she gnawed with her teeth at the imaginary rope which
bound him。
〃What makes you so kind to me； little Mouse？〃 said the rescued lion。
〃You let me go； when I asked you；〃 said the mouse demurely。
〃Thank you； little Mouse；〃 answered the lion； and therewith； finis。
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It is not impossible that all this play atmosphere may seem
incongruous and unnecessary to teachers used to more conventional
methods； but I feel sure that an actual experience of it would modify that
point of view conclusively。 The children of the schools where story…telling
and 〃dramatising〃 were practised were startlingly better in reading； in
attentiveness； and in general power of expression； than the pupils of like
social conditions in the same grades of other cities which I visited soon
after； and in which the more conventional methods were exclusively used。
The teachers； also； were stronger in power of expression。
But the most noticeable； though the least tangible； difference was in
the moral atmosphere of the schoolroom。 There had been a great gain in
vitality in all the rooms where stories were a part of the work。 It had acted
and reacted on pupils and teachers alike。 The telling of a story well so
depends on being thoroughly vitalised that； naturally；
