Part 13 (2/2)

I have always thought that the only way in which we could make either a history or literature lesson live, so as to take a real hold on the e, would be that, instead of offering lists of events, crowded into the fictitious area of one reign, one should take a single event, say in one lesson out of five, and give it in the e and in the most dra that one is talking to the class of Greece, either in connection with its history, its geography or its literature, could any ive a clearer idea of the life of the people than a dramatically told story from Homer, Aeschylus, Sophocles or Euripides?

What in the history of Iceland could give any raphic idea of the whole character of the life and custoas, such as ”The Burning of Njal” or ”The Death of Gunnar”?

In teaching the history of Spain, what could ht-errantry, its faults and its qualities, than a recital from ”Don Quixote” or from the tale of ”The Cid”?

In a word, the stories ht up the whole period of history which ish them to illustrate and keep it alive in the memory for all time

But quite apart froreat possibilities for the short story introduced into the portrait of sonificant in itself, but which throws a sudden sidelight on his character, showing thethe draiving an account of the life of Napoleon, after enlarging upon his cans, his European policy, his indoive an idea of hishow he actually found time to compile a catechism which was used for sohts ht be thrown in this way on such characters as Nero, Caesar, Henry VIII, Luther, Goethe!

To take one exa the whole career of Henry VIII center round the fact that he was a much-married man, could we not present his artistic side and speak of his char contributions to music?

So much for the history lessons But could not the draraphy lessons? Think of the romance of the Pana the history of Europe, the shape of Greece, England as an island, the position of Thibet, the interior of Africa--to onderful story-telling would these themes lend themselves!

QUESTION X: _Which should predominate in the story--the dramatic or the poetic element_?

This is a much debated point Froh both should be found in the whole range of stories, the dramatic element should prevail from the very nature of the presentation, and also because it reaches the larger number of children, at least of normal children Almost every child is dramatic, in the sense that it loves action (not necessarily an action in which it has to bear a part) It is the exceptional child who is reached by the poetic side, and just as on the stage the action must be quicker and more concentrated than in a poem--than even a dramatic poem--the poetical side, which must be painted in more delicate colors or presented in less obvious form, often escapes them Of course, the very reason e must include the poetical element is that it is an unexpressed need of most children Their need of the dramatic is more loudly proclaimed and more easily satisfied

QUESTION XI: _What is the educational value of humor in the stories told to our children_?

My answer to this is that humor means so much more than is usually understood by this term So many people seem to think that to have a sense of humor is merely to be tickled by a funny ele much more subtle than this It is Thackeray who says: ”If huhter, but the humorist profess to awaken and direct your love, your pity, your kindness, your scorn for untruth and pretension, your tenderness for the weak, the poor, the oppressed, the unhappy” So that, in our stories, the introduction of humor should not merely depend on the doubtful aruity It should inculcate a sense of proportion brought about by an effort of iination; it shows a child its real position in the universe and prevents hasty conclusions It shortens the period of joy in horse-play and practical jokes It brings about a clearer perception of all situations, enabling the child to get the point of view of another person It is the first instilling of philosophy into thelater on when the blows of life fall upon hie not to expect too much: and this philosophy can be developed with cynicis the _joie de vivre_

One cannot, however, sufficiently e results can be brought about only by humor quite distinct from the broader fun and hilarity which have also their use in an educational scheme

From my own experience, I have learned that development of humor is with most children extreht that at first pure fun, obvious situations and eleradually appeal to so more subtle, and if I were asked what story would educate our children hly in appreciation of humor, I should say that ”Alice in Wonderland” was the iven in hu soiven to _Alice_ by the _Mock Turtle_ in speaking of the _Whiting_--

”You knohat they're like?”

”I believe so,” said Alice ”They have their tails in theirabout the crumbs,” said the Mock Turtle ”Crumbs would all wash off in the sea”

Or when _Alice_ is speaking to the _Mouse_ of her cat, and says:

”She is such a dear quiet thing--and a capital one for catching mice---”

and then suddenly realizes the point of view of the _Mouse_, as ”tre down to the end of its tail”

Then, as an instance of how a lack of huical conclusions (a condition common to most children), we have the conversation between _Alice_ and the _Pigeon_:

ALICE: ”But little girls eat quite as much as serpents, you know”

PIGEON: ”I don't believe it But if they do, why then they're a kind of serpent, that's all I can say”

Then, as an instance of how a sense of humor would prevent too ht to think,” said Alice sharply