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قراءة كتاب Child Stories from the Masters Being a Few Modest Interpretations of Some Phases of the Master Works Done in a Child Way
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Child Stories from the Masters Being a Few Modest Interpretations of Some Phases of the Master Works Done in a Child Way
CHILD STORIES
FROM THE MASTERS
BY
MAUD MENEFEE
BEING A FEW MODEST INTERPRETATIONS
OF SOME PHASES OF THE MASTER
WORKS DONE IN A CHILD WAY
ILLUSTRATED
RAND, McNALLY & COMPANY
CHICAGO NEW YORK LONDON
By Jean François Millet
THE SPINNER
COPYRIGHT, 1899, 1901
By MAUD MENEFEE
TO
ANDREA HOFER
FOREWORD.
In writing these stories, no attempt has been made to follow the plot or problem of the poems, which in almost every case lies beyond the child's reach. The simple purpose as found in the whole, or the suggestion of only a stanza or scene, has been used as opportunity for picturing and reflecting something of the poetry and intention of the originals.
As story-teller to the same circle of children for several years, it became necessary to draw upon the great literary fount for suggestion, and it was found that "Pippa," the art child of industry, could add a poetic impulse toward the handwork of spinning, thread-winding, weaving, the making of spinning wheels, winders, and looms, without too great violence to the original poem itself.
"Mignon," as the creature of an art that exists for art's sake, was set to contrast with Pippa, who through service finds a song to heal and to inspire.
"Siegfried" and "Parsifal," as knight stories, were given with their musical motifs.
The writer hopes for "Child Stories" that it may serve to suggest to teachers how they may utilize the great store of poetry and art at hand. To do this they are themselves under the joyful necessity of keeping close to the great sources. On this last point Mr. Wm. T. Harris says: "A view of the world is a perpetual stimulant to thought, always prompting one to reflect on the immediate fact or event before him, and to discover its relation to the ultimate principle of the universe. It is the only antidote for the constant tendency of the teacher to sink into a dead formalism, the effect of too much iteration and of the practice of adjusting knowledge to the needs of the feeble-minded by perpetual explanation of what is already simple ad nauseam for the mature intelligence of the teacher. It produces a sort of pedagogical cramp in the soul, for which there is no remedy like a philosophical view of the world, unless, perhaps, it be the study of the greatest poets, Shakespere, Dante, and Homer."
Maud Menefee.
Chicago, August, 1901.
THE TABLE OF CONTENTS.
Page | ||
Pippa | Robert Browning | 9 |
From "Pippa Passes." | ||
Mignon | Johann Wolfgang von Goethe | 17 |
From "Wilhelm Meister." | ||
Siegfried | Richard Wagner | 27 |
From "Niebelungen Ring." | ||
A Fish and a Butterfly | Robert Browning | 39 |
From "Amphibian." | ||
How Margaret Led Faust through the Perfect World |
Johann Wolfgang von Goethe | 45 |
From "Faust." | ||
Beatrice | Dante Alighieri | 55 |
From "The Inferno." | ||
Parsifal | Richard Wagner | 61 |
From "Parsifal." | ||
The Angelus | 67 | |
"About the painting by Jean François Millet." | ||
Friedrich and His Child-Garden | 73 | |
The Holy Night | 79 | |
"About the painting by Antonio Allegri da Correggio." | ||
Saul and David | Robert Browning | 95 |
From "Saul." | ||
A Guide to |