INTRODUCTION.

Story-telling is almost the oldest Art in the world—the first conscious form of literary communication. In the East it still survives, and it is not an uncommon¹ thing to see a crowd at a street-corner held by the simple narration² of a story. There are signs in the West of a growing interest in this ancient art, and we may yet live to see the renaissance³ of the troubadours and the minstrels whose appeal will then rival that of the mob orator⁴ or itinerant⁵ politician. One of the surest signs of a belief in the educational power of the story is its introduction into the curriculum of the Training-College and the classes of the Elementary and Secondary Schools. It is just at the time when the imagination is most keen—the mind being unhampered by accumulation of facts—that stories appeal most vividly⁶ and are retained for all time.
It is to be hoped that some day stories will only be told to school groups by experts who have devoted⁷ special time and preparation to the art of telling them. It is a great fallacy to suppose that the systematic⁸ study of story-telling destroys the spontaneity of narrative⁹. After a long experience, I find the exact converse¹⁰ to be true, namely, that it is only when one has overcome the mechanical difficulties that one can “let oneself go” in the dramatic interest of the story.
By the expert story-teller I do not mean the professional elocutionist. The name—wrongly enough—has become associated in the mind of the public with persons who beat their breast, tear their hair, and
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declaim blood-curdling episodes. A decade or more ago, the drawing-room reciter was of this type, and was rapidly becoming the bugbear of social gatherings¹¹. The difference between the stilted¹² reciter and the simple story-teller is perhaps best illustrated¹³ by an episode in Hans C. Andersen's immortal¹⁴ story of the Nightingale.[1] The real Nightingale and the artificial Nightingale have been bidden by the Emperor to unite their forces and to sing a duet at a Court function. The duet turns out most disastrously¹⁵, and whilst the artificial Nightingale is singing his one solo for the thirty-third time, the real Nightingale flies out of the window back to the green wood—a true artist, instinctively¹⁶ choosing his right atmosphere. But the bandmaster—symbol of the pompous¹⁷ pedagogue—in trying to soothe¹⁸ the outraged¹⁹ feelings of the courtiers, says, “Because, you see, Ladies and Gentlemen, and, above all, Your Imperial Majesty²⁰, with the real nightingale you never can tell what you will hear, but in the artificial nightingale everything is decided²¹ beforehand. So it is, and so it must remain. It cannot be otherwise.”
And as in the case of the two nightingales, so it is with the stilted reciter and the simple narrator: one is busy displaying the machinery²², showing “how the tunes²³ go”—the other is anxious to conceal²⁴ the art. Simplicity²⁵ should be the keynote of story-telling, but (and here the comparison with the Nightingale breaks down) it is a simplicity which comes after much training in self-control, and much hard work in overcoming the difficulties which beset²⁶ the presentation.
I do not mean that there are not born story-tellers who could hold an audience without preparation, but
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they are so rare in number that we can afford to neglect them in our general consideration; for this work is dedicated²⁷ to the average story-tellers anxious to make the best use of their dramatic ability, and it is to them that I present my plea for special study and preparation before telling a story to a group of children—that is, if they wish for the far-reaching effects I shall speak of later on. Only the preparation must be of a much less stereotyped²⁸ nature than that by which the ordinary reciters are trained for their career.
Some years ago, when I was in the States, I was asked to put into the form of lectures my views upon the educational value of telling stories. A sudden inspiration seized me. I began to cherish a dream of long hours to be spent in the British Museum, the Congressional Library in Washington and the Public Library at Boston—and this is the only portion of the dream which has been realized. I planned an elaborate scheme of research work which was to result in a magnificent (if musty) philological²⁹ treatise³⁰. I thought of trying to discover by long and patient researches what species of lullaby were crooned by Egyptian mothers to their babes, and what were the elementary dramatic poems in vogue³¹ among Assyrian nursemaids which were the prototypes of “Little Jack³² Horner,” “Dickory, Dickory Dock,” and other nursery classics. I intended to follow up the study of these ancient documents by making an appendix of modern variants³³, showing what progress we had made—if any—among modern nations.
But there came to me suddenly one day the remembrance of a scene from Racine's “Plaideurs” in which the counsel for the defence, eager to show how fundamental is his knowledge, begins his speech:—
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“Before the Creation of the World”—And the Judge (with a touch of weariness tempered by humour) suggests:—
“Let us pass on to the Deluge³⁴.”
And thus I, too, have “passed on to the Deluge.” I have abandoned an account of the origin and past of stories which at the best would only have displayed a little recently-acquired book-knowledge. When I thought of the number of scholars who could treat this part of the question so infinitely³⁵ better than myself, I realized how much wiser it would be—though the task is much more humdrum—to deal with the present possibilities of story-telling for our generation of parents and teachers, and, leaving out the folk-lore side, devote myself to the story itself.
My objects in urging the use of stories in the education of children are at least five-fold:
First, to give them dramatic joy, for which they have a natural craving³⁶. Secondly³⁷, to develop a sense of humour, which is really a sense of proportion. Thirdly, to correct certain tendencies by showing the consequences in the career of the hero in the story. (Of this motive³⁸ the children must be quite unconscious, and there must be no didactic emphasis.) Fourthly, by means of example, not precept³⁹, to present such ideals as will sooner or later (I care not which) be translated into action. Fifthly, to develop the imagination, which really takes in all the other points.
So much for the purely⁴⁰ educational side of the book. But the art of story-telling, quite apart from the subject, appeals not only to the educational world or to parents as parents, but also to a wider outside public, who may be interested in the purely human point of view.
In great contrast to the lofty scheme I had originally
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 proposed to myself, I now simply place before all those who are interested in the Art of Story-telling in any form the practical experience I have had in my travels across the United States and through England; and, because I am confining myself to personal experience which must of necessity be limited, I am very anxious not to appear dogmatic or to give the impression that I wish to lay down the law on the subject. But I hope my readers may profit by my errors, improve on my methods, and thus help to bring about the revival⁴¹ of an almost lost art—one which appeals more directly and more stirringly than any other method to the majority of listeners.
In Sir Philip Sidney's “Defence of Poesy” we find these words:
“Forsooth he cometh to you with a tale, which holdeth children from play, and old men from the chimney-corner, and pretending no more, doth intend the winning of the mind from wickedness to virtue⁴² even as the child is often brought to take most wholesome⁴³ things by hiding them in such other as have a pleasant taste.”

1 uncommon   

adj.罕见的，非凡的，不平常的

参考例句：

• Such attitudes were not at all uncommon thirty years ago.这些看法在30年前很常见。
• Phil has uncommon intelligence.菲尔智力超群。

2 narration   

n.讲述，叙述；故事；记叙体

参考例句：

• The richness of his novel comes from his narration of it.他小说的丰富多采得益于他的叙述。
• Narration should become a basic approach to preschool education.叙事应是幼儿教育的基本途径。

3 renaissance   

n.复活，复兴，文艺复兴

参考例句：

• The Renaissance was an epoch of unparalleled cultural achievement.文艺复兴是一个文化上取得空前成就的时代。
• The theme of the conference is renaissance Europe.大会的主题是文艺复兴时期的欧洲。

4 orator   

n.演说者，演讲者，雄辩家

参考例句：

• He was so eloquent that he cut down the finest orator.他能言善辩，胜过最好的演说家。
• The orator gestured vigorously while speaking.这位演讲者讲话时用力地做手势。

5 itinerant   

adj.巡回的；流动的

参考例句：

• He is starting itinerant performance all over the world.他正在世界各地巡回演出。
• There is a general debate nowadays about the problem of itinerant workers.目前，针对流动工人的问题展开了普遍的争论。

6 vividly   

adv.清楚地，鲜明地，生动地

参考例句：

• The speaker pictured the suffering of the poor vividly.演讲者很生动地描述了穷人的生活。
• The characters in the book are vividly presented.这本书里的人物写得栩栩如生。

7 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

• He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
• We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。

8 systematic   

adj.有系统的，有计划的，有方法的

参考例句：

• The way he works isn't very systematic.他的工作不是很有条理。
• The teacher made a systematic work of teaching.这个教师进行系统的教学工作。

9 narrative   

n.叙述，故事；adj.叙事的，故事体的

参考例句：

• He was a writer of great narrative power.他是一位颇有记述能力的作家。
• Neither author was very strong on narrative.两个作者都不是很善于讲故事。

10 converse   

vi.谈话，谈天，闲聊；adv.相反的，相反

参考例句：

• He can converse in three languages.他可以用3种语言谈话。
• I wanted to appear friendly and approachable but I think I gave the converse impression.我想显得友好、平易近人些,却发觉给人的印象恰恰相反。

11 gatherings   

聚集( gathering的名词复数 )； 收集； 采集； 搜集

参考例句：

• His conduct at social gatherings created a lot of comment. 他在社交聚会上的表现引起许多闲话。
• During one of these gatherings a pupil caught stealing. 有一次，其中一名弟子偷窃被抓住。

12 stilted   

adj.虚饰的；夸张的

参考例句：

• All too soon the stilted conversation ran out.很快这种做作的交谈就结束了。
• His delivery was stilted and occasionally stumbling.他的发言很生硬，有时还打结巴。

13 illustrated   

adj. 有插图的，列举的 动词illustrate的过去式和过去分词

参考例句：

• His lecture was illustrated with slides taken during the expedition. 他在讲演中使用了探险时拍摄到的幻灯片。
• The manufacturing Methods: Will be illustrated in the next chapter. 制作方法将在下一章说明。

14 immortal   

adj.不朽的；永生的，不死的；神的

参考例句：

• The wild cocoa tree is effectively immortal.野生可可树实际上是不会死的。
• The heroes of the people are immortal!人民英雄永垂不朽！

15 disastrously   

ad.灾难性地

参考例句：

• Their profits began to spiral down disastrously. 他们的利润开始螺旋形地急剧下降。
• The fit between the country's information needs and its information media has become disastrously disjointed. 全国的信息需求与信息传播媒介之间的配置，出现了严重的不协调。

16 instinctively   

adv.本能地

参考例句：

• As he leaned towards her she instinctively recoiled. 他向她靠近，她本能地往后缩。 来自《简明英汉词典》
• He knew instinctively where he would find her. 他本能地知道在哪儿能找到她。 来自《简明英汉词典》

17 pompous   

adj.傲慢的，自大的；夸大的；豪华的

参考例句：

• He was somewhat pompous and had a high opinion of his own capabilities.他有点自大，自视甚高。
• He is a good man underneath his pompous appearance. 他的外表虽傲慢，其实是个好人。

18 soothe   

v.安慰；使平静；使减轻；缓和；奉承

参考例句：

• I've managed to soothe him down a bit.我想方设法使他平静了一点。
• This medicine should soothe your sore throat.这种药会减轻你的喉痛。

19 outraged   

a.震惊的，义愤填膺的

参考例句：

• Members of Parliament were outraged by the news of the assassination. 议会议员们被这暗杀的消息激怒了。
• He was outraged by their behavior. 他们的行为使他感到愤慨。

20 majesty   

n.雄伟，壮丽，庄严，威严；最高权威，王权

参考例句：

• The king had unspeakable majesty.国王有无法形容的威严。
• Your Majesty must make up your mind quickly!尊贵的陛下，您必须赶快做出决定！

21 decided   

adj.决定了的，坚决的；明显的，明确的

参考例句：

• This gave them a decided advantage over their opponents.这使他们比对手具有明显的优势。
• There is a decided difference between British and Chinese way of greeting.英国人和中国人打招呼的方式有很明显的区别。

22 machinery   

n.(总称)机械，机器；机构

参考例句：

• Has the machinery been put up ready for the broadcast?广播器材安装完毕了吗？
• Machinery ought to be well maintained all the time.机器应该随时注意维护。

23 tunes   

n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调

参考例句：

• a potpourri of tunes 乐曲集锦
• When things get a bit too much, she simply tunes out temporarily. 碰到事情太棘手时，她干脆暂时撒手不管。 来自《简明英汉词典》

24 conceal   

v.隐藏，隐瞒，隐蔽

参考例句：

• He had to conceal his identity to escape the police.为了躲避警方，他只好隐瞒身份。
• He could hardly conceal his joy at his departure.他几乎掩饰不住临行时的喜悦。

25 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

• She dressed with elegant simplicity.她穿着朴素高雅。
• The beauty of this plan is its simplicity.简明扼要是这个计划的一大特点。

26 beset   

v.镶嵌；困扰，包围

参考例句：

• She wanted to enjoy her retirement without being beset by financial worries.她想享受退休生活而不必为金钱担忧。
• The plan was beset with difficulties from the beginning.这项计划自开始就困难重重。

27 dedicated   

adj.一心一意的；献身的；热诚的

参考例句：

• He dedicated his life to the cause of education.他献身于教育事业。
• His whole energies are dedicated to improve the design.他的全部精力都放在改进这项设计上了。

28 stereotyped   

adj.(指形象、思想、人物等)模式化的

参考例句：

• There is a sameness about all these tales. They're so stereotyped -- all about talented scholars and lovely ladies. 这些书就是一套子，左不过是些才子佳人，最没趣儿。
• He is the stereotyped monster of the horror films and the adventure books, and an obvious (though not perhaps strictly scientific) link with our ancestral past. 它们是恐怖电影和惊险小说中的老一套的怪物，并且与我们的祖先有着明显的（虽然可能没有科学的）联系。

29 philological   

adj.语言学的，文献学的

参考例句：

• Kanwa dictionary is a main kind of Japanese philological dictionary. 汉和辞典是日本语文词典的一个主要门类。 来自互联网
• Emotional education is the ultimate goal of philological teaching, while humanism the core of the former. 情感教育是语文教育的终极目标，而人文精神是情感教育的核心内容。 来自互联网

30 treatise   

n.专著；(专题)论文

参考例句：

• The doctor wrote a treatise on alcoholism.那位医生写了一篇关于酗酒问题的论文。
• This is not a treatise on statistical theory.这不是一篇有关统计理论的论文。

31 Vogue   

n.时髦，时尚；adj.流行的

参考例句：

• Flowery carpets became the vogue.花卉地毯变成了时髦货。
• Short hair came back into vogue about ten years ago.大约十年前短发又开始流行起来了。

32 jack   

n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克

参考例句：

• I am looking for the headphone jack.我正在找寻头戴式耳机插孔。
• He lifted the car with a jack to change the flat tyre.他用千斤顶把车顶起来换下瘪轮胎。

33 variants   

n.变体( variant的名词复数 )；变种；变型；（词等的）变体

参考例句：

• Those variants will be preserved in the'struggle for existence". 这些变异将在“生存竞争”中被保留下来。 来自辞典例句
• Like organisms, viruses have variants, generally called strains. 与其他生物一样，病毒也有变种，一般称之为株系。 来自辞典例句

34 deluge   

n./vt.洪水，暴雨，使泛滥

参考例句：

• This little stream can become a deluge when it rains heavily.雨大的时候，这条小溪能变作洪流。
• I got caught in the deluge on the way home.我在回家的路上遇到倾盆大雨。

35 infinitely   

adv.无限地，无穷地

参考例句：

• There is an infinitely bright future ahead of us.我们有无限光明的前途。
• The universe is infinitely large.宇宙是无限大的。

36 craving   

n.渴望,热望

参考例句：

• a craving for chocolate 非常想吃巧克力
• She skipped normal meals to satisfy her craving for chocolate and crisps. 她不吃正餐，以便满足自己吃巧克力和炸薯片的渴望。

37 secondly   

adv.第二，其次

参考例句：

• Secondly,use your own head and present your point of view.第二，动脑筋提出自己的见解。
• Secondly it is necessary to define the applied load.其次，需要确定所作用的载荷。

38 motive   

n.动机，目的；adv.发动的，运动的

参考例句：

• The police could not find a motive for the murder.警察不能找到谋杀的动机。
• He had some motive in telling this fable.他讲这寓言故事是有用意的。

39 precept   

n.戒律；格言

参考例句：

• It occurs to me that example is always more efficacious than precept.我想到身教重于言教。
• The son had well profited by the precept and example of the father.老太爷的言传身教早已使他儿子获益无穷。

40 purely   

adv.纯粹地，完全地

参考例句：

• I helped him purely and simply out of friendship.我帮他纯粹是出于友情。
• This disproves the theory that children are purely imitative.这证明认为儿童只会单纯地模仿的理论是站不住脚的。

41 revival   

n.复兴，复苏，（精力、活力等的）重振

参考例句：

• The period saw a great revival in the wine trade.这一时期葡萄酒业出现了很大的复苏。
• He claimed the housing market was showing signs of a revival.他指出房地产市场正出现复苏的迹象。

42 virtue   

n.德行，美德；贞操；优点；功效，效力

参考例句：

• He was considered to be a paragon of virtue.他被认为是品德尽善尽美的典范。
• You need to decorate your mind with virtue.你应该用德行美化心灵。

43 wholesome   

adj.适合；卫生的；有益健康的；显示身心健康的

参考例句：

• In actual fact the things I like doing are mostly wholesome.实际上我喜欢做的事大都是有助于增进身体健康的。
• It is not wholesome to eat without washing your hands.不洗手吃饭是不卫生的。