TELL ME
ANOTHER STORY

THE BOOK OF STORY PROGRAMS

BY

Carolyn Sherwin Bailey

1918

MILTON BRADLEY COMPANY

SPRINGFIELD, MASS.

New York      Boston      Philadelphia      Atlanta      San Francisco

Copyright, 1918,
By MILTON BRADLEY COMPANY,
Springfield, Mass.

Preface

The reward of the story-teller who has successfully met the child's story interest is the plea embodied in the title of this book: "Tell me another story." The book meets this child longing on a psychologic basis. It consists of groups of stories arranged so that their telling will result in definite mental growth for children, as well as satisfied story hunger.

There has been a tendency in the past to group stories in a haphazard way; there has been no organized plan of selecting stories to precede and follow one another for the purpose of definite functioning of mind processes. The effect of one story of distinctly differentiated theme from one which has just been told is to break continuity of thought. On the other hand, stories of similar theme, but contrasting form told in the story-hour have a mental effect of concentration and will training. This mental growth through stories is the aim of the book.

The instinctive and universal interests of all children form the themes of the story programs; and these interests are presented in their natural order for a year, beginning with home life, taking the child out into the world, and carrying him through his school, industrial, seasonable, and holiday activities. Three stories have been grouped in each program as the number upon which children can most easily fix their attention.

The plan of grouping the stories in each program is very definite and psychologic. The first story in a group is an apperceptive one; it secures the child's spontaneous attention because, through its plot, it touches his own life in some way. It brings him into close and intimate touch with the interest theme of the program because it speaks of things that he knows, and other things that he can do. The second story in each group makes an appeal to the child's reasoning powers; having secured his attention through the apperceptive story, the story-teller now takes the child a-field, mentally, and secures his voluntary attention. It calls for constructive thought; it presents the theme of the program in a broader way, with wider application. It is, usually, the longest story of the program. The third story is, invariably, the dessert of this story meal. Through its brevity, humor, tenderness, or sharply contrasting treatment of the program theme, it supplies the necessary relaxation, the fitting climax for the program.

An analysis of the Trade Life program will illustrate the psychologic appeal upon which the book is built. The story, The Holiday, opens the program with its apperceptive appeal, showing the dependence of the home upon the industrial life of the community and the possibility of a child's coöperation in it. The second story in the trade program, Selma Lagerloöf's Nils and the Bear, gives this wonderful Swedish writer's presentation of the iron industry as a factor in our growth from savagery to civilization. The third story, The Giant Energy and Fairy Skill, by Maud Lindsay, gives the program its climax in fantasy and contrast.

A similar analysis may be made of each program in the book.

It is not intended that the stories shall never be told to children separately; on the contrary, each story is one of the best examples to be found of the child interest which forms its theme. The book has been prepared, however, to meet in an educational way the need expressed in its title. It should be of value for the home, school, library, and settlement.

Carolyn Sherwin Bailey.

New York, 1918.

EDITORIAL NOTE

I am indebted for editorial courtesies in connection with copyrighted material appearing in Tell Me Another Story to the following publishers:

Frederick A. Stokes and the Butterick Company for The Country Cat by Grace McGowan Cooke, and appearing in Sonny Bunny Rabbit and His Friends. Lucy Wheelock for The Little Acorn. Julia Darrow Cowles for The Plowman Who Found Content from The Art of Story Telling. The D. C. Heath Company for The Story of the Laurel by Grace H. Kupfer. Ginn and Company for The Story of the First Thanksgiving, and Doll-in-the-Grass. Doubleday, Page and Company for The Animals' New Year's Eve and Nils and the Bear from the Further Adventures of Nils by Selma Lagerloöf. The Youth's Companion for Chip's Thanksgiving, The Rescue of Old Glory, The Tinker's Willow, The Three Brothers, and Molly's Easter Hen. The Thomas Y. Crowell Company for The Bird, and The Gray Hare from The Long Exile by Count Lyof N. Tolstoi. The American Book Company for The Three Little Butterfly Brothers. Little, Brown and Company for How Peter Rabbit Got His White Patch. The Pilgrim Press for How the Flowers Came by Jay T. Stocking, appearing as Queeny Queen and The Flowers, in The City That Never Was Reached. The Giant's Plaything is used by special permission of the publishers of the Book of Knowledge. The selections by Nathaniel Hawthorne and Alice Brown are used by permission of and by special arrangement with the Houghton Mifflin Company. The Milton Bradley Company controls the copyrights of The Giant Energy and Fairy Skill, and The Birthday by Maud Lindsay, and my story, The Log Cabin Boy.

Carolyn Sherwin Bailey.

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