Journeys Through Bookland Volume X Part 15

On the nature of the ideas presented will depend the character of the imagination.

A vivid imagination fed with bad ideas is most destructive to human character. Good stories with high ideals can do no harm: but evil stories, particularly if attractive and entertaining, will undo the careful teaching of years.

As evil must appear in life, it may appear in stories, but it must be brought in in such a way that it is known as evil, and children must be taught to recognize it as evil.

The motives which govern the words and actions of the persons who appear in a well-written story are more easily discerned than the motives which actuate the human beings around us. Thus a child who reads intelligently is helped to discover in the words and deeds of the people whom he meets the elements of real character. A study of the heroes of fiction is a study in human life.

Improbable stories and those presenting impossible or unreal things are not necessarily bad; in fact they are often good and distinctly serviceable. No matter how true they appear to a child, the time comes when he rejects them as impossible, although he may always be indebted to them for keen pleasure and the awakening of his imagination. Belief in the myth of Santa Claus never destroyed a child's love and respect for his parents; faith in the unlimited power of good fairies never made a child less able to recognize the laws of nature. It is the halfway truths that are troublesome; it is the little misrepresentations not liable to be detected that may permanently deceive.

To understand the good and the true, to discriminate between the bad and the false, to find pleasure that shall awaken, enliven and inspire, to arouse curiosity and interest in wider, more thoughtful and helpful study, are some of the important aims of story-reading.

Purposeful reading on the part of children may be brought about by direct instruction from parent or teacher or it may be acquired by the child through his own efforts. Manifestly the former is the really efficient way and its efficiency may be increased if it is carried on systematically. The following outline will a.s.sist those who have children in charge to do their part easily and in the best manner.

In reading any story there are several things to be considered if one is to get the most out of it. These things are mentioned in natural order in the outline, each item of which will be treated at length in the pages immediately following.

In reading stories consider:

Primarily, A. The Plot.

B. The Persons.

C. The Scenes.

Secondarily, D. The Lesson.

E. The Author's Purpose.

F. The Method and Style of the Author.

G. Emotional Power.

In the volumes of _Journeys Through Bookland_, intended as they are for reading by children, it was not thought wise to make the studies extensive nor to attach much comment to the selections, lest the young readers weary of the task or neglect it entirely. In this volume a different case confronts us and we put the discussions on a higher plane. If these suggestions are used in the instruction of children, some care in adaptation will be necessary. The age and s.e.x of the children, their advancement in their studies, their surroundings at home and in school, will all need to be taken into account in determining what selections to use and how far to carry the method. A good general principle to follow is to present to the children only so much as will hold their interest; present it in the manner that will best retain their interest, and change the subject or the method when interest flags.

Speaking in general terms, children are most interested in that of which they already know something, and prefer to study intensively something which is "easy to read." The familiar selections of old readers often are found to be alive with interest, if studied by a new method. A method is understood most easily when it is applied to a simple subject; in this case, to a story in which the youngest children will be interested. A word of caution may be worth while: Especially with young children,--"Do not let the method be seen; it is the _story_ that is to be brought out."

It is evident that the Plot, the Persons and the Scenes of the story will interest children of all ages; that all will be benefited by the Lesson if it is judiciously presented; but that only the older children can be interested to any great extent in the Author's Purpose, Method or Style or in the study of the Emotional Power of the selection, however much it may be felt.

[Ill.u.s.tration: BENJAMIN FRANKLIN HENRY DAVID Th.o.r.eAU JULIA WARD HOWE PATRICK HENRY WILLIAM PRESCOTT FRANCIS PARKMAN JAMES FENIMORE COOPER]

A. The Plot

The main line of events leading up to the climax of interest in the story may be called the plot.

It is the plot that furnishes excitement, and for perhaps the majority of readers const.i.tutes the chief interest. In some stories the plot lies upon the surface all the time, and everything is made subservient to the purpose of holding interest, keeping up excitement and mystifying the reader until the climax is reached. Thrilling detective stories of the poorer cla.s.s, exciting love stories and the cheap juvenile tales of Indian fighting, with heroines in dire distress and heroes struggling to rescue them, are ill.u.s.trations of this type. No effort is made by the author to make real human beings of his characters, and little or no profit comes to the reader, while infinite harm may be done to minds craving excitement and finding in it nothing to stimulate an interest in better things.

In the better stories of greater writers the plot still plays an important part, but while it sustains interest unflaggingly, it carries with it other things which are of vastly greater importance. In such stories the persons are living, breathing realities, and the reader feels that he has added permanently to his list of tried and true friends. Tom Brown and Tiny Tim, who live only in stories, are as much our friends as Henry Thompson and Rudolph De Peyster who live in the next block. The great writer, moreover, takes us with him into new places, among new scenes, so that Rugby becomes for a time our own school, and from Tim's poor hearth there enters a warm Christmas glow into our doubting hearts. Although the plot is important, yet all stories that enthral the mind with exciting incidents must be regarded with suspicion until they prove their right to be considered real literature by furnishing higher interests or greater inspiration.

To a.n.a.lyze the plot of a story, however, is always helpful; to arrange the incidents in order, to determine which are necessary to the development of the story, and which are merely contributory to the general interest, is an interesting and stimulating thing. The plot of short stories may quite often be told in few words, and unless very complicated, the plot of a novel may be given in a few sentences. In some stories, however, the plot is so loosely constructed and of so little real importance that it is hardly more than a train of apparently equally important incidents. Again, the plot is oftentimes so complicated by secondary plots and incidents that even a careful reader becomes confused and loses his interest.

Let us consider the plot in such a story as _Cinderella_ (Volume I, page 224). The main incidents of the plot arrange themselves as follows:

1. Cinderella's mother dies.

2. Her father marries a widow, who has two daughters.

3. The stepmother sends Cinderella to the kitchen to work and to the garret to sleep.

4. The king's son gives a great ball to which he invites Cinderella's stepsisters.

5. The stepsisters require Cinderella to a.s.sist them to dress, and abuse her shamefully.

6. The sisters go to the ball, and Cinderella sits by the kitchen fire wishing she might accompany them.

7. Her fairy G.o.dmother appears and sends her to the ball in fine style.

8. Cinderella, beautiful as a picture, dances with the prince, who falls in love with her.

9. The clock strikes twelve, and Cinderella goes back to the kitchen.

10. The stepsisters again mistreat Cinderella.

11. She goes to the ball the second day.

12. She forgets her G.o.dmother's warning, and after midnight rushes back home, leaving a single slipper behind her.

13. The prince finds the slipper and searches for its owner.

14. The sisters fail in trying on the slipper, which is then fitted to Cinderella's foot.

15. The fairy G.o.dmother restores to Cinderella the appearance of a princess.

16. The prince marries Cinderella, and she forgives her stepsisters.

A summary of these main incidents may be given in a few words, which will contain the skeleton of the plot. To say that a certain little girl who is shamefully treated by her stepsisters is aided by her fairy G.o.dmother to attend a ball given by a prince, who finally marries the little drudge, is to give the plot and really to tell all that the lax and superficial reader gets from the story he peruses.

There are in this little story, however, a large number of minor incidents which contribute to the interest, and if sought and placed in their relation to the main events will be found to have added materially to the charm of the narrative.

For instance, when the fairy G.o.dmother sends Cinderella to the ball for the first time, children are led to a vivid interest in the event by a series of fascinating incidents, as follows:

1. The fairy sends her into the garden for a pumpkin.

2. The G.o.dmother, scooping out the inside of the pumpkin, leaves the rind, which she taps three times, and immediately it becomes a golden coach.

3. The fairy spies six mice alive in a trap.

4. Cinderella lets the mice out gently, and as the fairy touches them with her wand, each becomes a fine, dapple-gray horse.

5. Cinderella brings the rats, the largest of which the fairy converts into a handsome postilion with a fine pair of whiskers.

6. Cinderella finds the six lizards behind the watering pot, which become the six sedate and dignified footmen clothed in livery.

7. Cinderella's rags are changed to wonderful clothing bedecked with costly jewels.