recognizing things, certainly long before the period of articulate questions. We all retain vestiges of this childlike pleasure in our joyful greeting of a foreign word that is understood or in any new application of an old thought or design. As a child acquires a few words he adds the pleasure of naming,—an extension of the pleasure of recognition. This again develops into the joy of enumerating objects which are grouped together in some close association, usually physical juxtaposition. For instance a two-or three-year-old likes to have every article he ate for breakfast rehearsed or to have every member of the family named at each episode in a story which concerns the group! Earlier he likes to have his five little toes checked off as pigs or merely numbered. This is closely tied up with the child’s pattern sense which we shall discuss at length under “Form.” Now the pleasure of enumeration, like that of a refrain, is in part at least a pleasure in muscle pattern. My two-year-old daughter composed a song which well illustrates the fascination of enumeration. The refrain “Tick-tock” was borrowed from a song which had been sung to her.

This she sang day after day, enumerating such groups as her clothes, the objects on the mantel and her toys. Walt Whitman has given us glorified enumerations of the most astounding vitality. If some one would only pile up equally vigorous ones for children! But it is not easy for an adult to gather mere sense or motor associations without a plot thread to string them on. The children’s response to the two I have attempted in this collection, “Old Dan” and “My Kitty,” make me eager to see it tried more commonly.

All this means that the small child’s attention and energy are absorbed in developing a technique of observation and control of his immediate surroundings. The functioning of his senses and his muscles engrosses him. Ideally his stories should happen currently along with the experience they relate or the object they reproduce, merely deepening the experience by giving it some pleasurable expression. At first the stories will have to be of this running and partly spontaneous type. But soon a child will like to have the story to recall an experience recently enjoyed. The living over of a walk, a ride, the sight of a horse or a cow, will give him a renewed sense of participation in a pleasurable activity. This is his first venture in vicarious experiences. And he must be helped to it through strong sense and muscular recalls. I have felt that these fairly literal recalls of every day details did deepen his sense of relationships since by himself he cannot recapture these familiar details even in a simple chronological sequence.

But if stories for a two or a three-year-old need to be of himself they must be written especially for him. Those written for another two-year-old may not fit. Consequently the first three stories in this collection are given as types rather than as independent narratives. “Marni Takes a Ride” is so elementary in its substance and its form as to be hardly recognizable as a “story” at all. And yet the appeal is the same as in the more developed narratives. It falls between the embryonic story stage of “Peek-a-boo!” and Marni’s second story. It was first told during the actual ride. Repeated later it seemed to give the child a sense of adventure,—an inclusion of and still an extension of herself beyond the “here” and “now” which is the essence of a story. Both of Marni’s stories are given as types for a mother to write for her two-year-old; the “Room with the Window in It” (written for the Play School group) is given as a type for a teacher to write for her three-year-old group.

I cannot leave the subject of the “familiar” for children without looking forward a few years. This process of investigating and trying to control his immediate surroundings, this appreciation of the world through his senses and his muscles, does not end when the child has gained some sense of his own self as distinguished from the world,—of the “me” and the “not me,”—or achieved some ability to expand temporarily the “here” and the “now” into the “there” and the “then.” The process is a precious one and should not be interrupted and confused by the interjection of remote or impersonal material. He still thinks and feels primarily through his own immediate experiences. If this is interfered with he is left without his natural material for experimentation for he cannot yet experiment easily in the world of the intangible. Moreover to the child the familiar is the interesting. And it remains so I believe through that transition period,—somewhere about seven years,—when the child becomes poignantly aware of the world outside his own immediate experience,—of an order, physical or social, which he does not determine, and so gradually develops a sense of standards of what is to be expected in the world of nature or of his fellows along with a sense of workmanship. It is only the blind eye of the adult that finds the familiar uninteresting. The attempt to amuse children by presenting them with the strange, the bizarre, the unreal, is the unhappy result of this adult blindness. Children do not find the unusual piquant until they are firmly acquainted with the usual; they do not find the preposterous humorous until they have intimate knowledge of ordinary behavior; they do not get the point of alien environments until they are securely oriented in their own. Too often we mistake excitement for genuine interest and give the children stimulus instead of food. The fairy story, the circus, novelty hunting, delight the sophisticated adult; they excite and confuse the child. Red Riding-Hood and circus Indians excite the little child; Cinderella confuses him. Not one clarifies any relationship which will further his efforts to order the world. Nonsense when recognized and enjoyed as such is more than legitimate; it is a part of every one’s heritage. But nonsense which is confused with reality is vicious,—the more so because its insinuations are subtle. So far as their content is concerned, it is chiefly as a protest against this confusing presentation of unreality, this substitution of excitement for legitimate interest, that these stories have been written. It is not that a child outgrows the familiar. It is rather that as he matures, he sees new relationships in the old. If our stories would follow his lead, they should not seek for unfamiliar and strange stuff in intrigue him; they should seek to deepen and enrich the relationships by which he is dimly groping to comprehend and to order his familiar world.

But to return to the younger children. Children of four are not nearly so completely ego-centric as those of three. There has seemed to me to be a distinct transition at this age to a more objective way of thinking. A four-year-old does not to the same extent have to be a part of every situation he conceives of. Ordinarily, too, he moves out from his own narrowly personal environment into a slightly wider range of experiences. Now, what in this wider