A Study of Fairy Tales/Index

INDEX

Accumulative or clock story, 205–11.

Action, 20–21.

Adaptation of fairy tales, 117–19.

Adventure, 19–20.

Adventures of Chanticleer and Partlet, 81–82.

American fairy tales, 195–99.

Andersen, Hans C.: tales by, tested as literary form, 69; Steadfast Tin Soldier, 46, 49, 135–38; Fir Tree, 151–53; list of tales by, 248; editions, 256–57.

Animal tale: class, 211–17; evolution of, 211–13; types of, 213–17, 272–75, 287–90.

Animals: an interest, 24; tale of strange, 33–34.

Appendix, 265–90: Little Two-Eyes, 265–66; Snow White, 266–67; The Little Lamb and the Little Fish, 267–70; How the Birds came to Have Different Nests, 270–72; The Good-Natured Bear, 272–75; Puss-in-Boots and Lord Peter, 275–78; Tom Thumb and Little Thumb, 278–82; Snow White and Rose Red, 282–86; and The Elephant's Child, 287–90.

Arabian Nights, Thousand and One Nights, 176–78, 190, 196.

Art: of teaching, 119–20; in teaching, good, 120; in teaching, great, 120–21; in literature, good, 39–40; in literature, fine, 39–40; of story-telling, 90–91, 93–94; ancient, of story-telling, 91–93.

Artistic expression, instinct of, 130–54.

Aulnoy, Comtesse d', tales of, 181–82.

Basile, 178–79.

Beaumont, Madam de, 182.

Beautiful, the, 18–19.

Beauty and the Beast, dramatization of, 140–41; editions of, 189, 198.

Bibliography of fairy tales, 253–54.

Bird and the Trees, 148–51.

Books, main standard fairy tale, a list, 256–58. See Sources of material.

Breathing, exercises in, 104–05.

Briar Rose, 77. See also Sleeping Beauty.

Capture, tales of, 34–35.

Celtic fairy tales, 183–84.

Chap-books, 185–87, 188, 196, 198.

Characters, 71–73.

Child: his part in story-telling, 121–25; interests, 13–37; instincts, 125–54; growth: in observation, 6, 47–48; in reason, 6–7, 53–54; in language, 10; in emotion, 44–45; in imagination, 45–53; in experience, 54; in intellect, 53–54; in self-activity, 121–22; in consciousness, 122–23; in initiative, 122; in purpose, 123–25; in creative return possible to him, 123–54; in self-expression, 124–54; in organization of ideas, 153.

Child's Own Book, The, 190.

Cinderella, a chap-book, 187, 188, 198; a romantic type, 228–31.

Classes of tales, 204–44: accumulative, 205–11; animal, 211–17; humorous, 217–23; realistic, 223–28; romantic, 228–34; old and modern, compared, 234–43; references, 243–44.

Classic, fairy tale as a, 38–39.

Cock, the Mouse, and the Little Red Hen, 238–39.

Coherence, principle of, 58–59; illustrated, 62, 65.

Complicated or insincere, the, 36.

Composition: general qualities of, 57–58; precision, 57; energy, 57–58; delicacy, 58; personality, 58; principles of, 58–59; sincerity, 58–59; unity, 59; mass, 59; coherence, 59; style in, 59–60.

Comte de Caylus, 182.

Concrete situation, placing of story in, 94–95, 110–11.

Connotation, 54–57.

Consciousness, development of, 122–23.

Construction, expression of instinct of, 129–30.

Conversation, expression of instinct of, 125–27.

Country Mouse and City Mouse, 144–45.

Crayon-sketching, as expression, 132.

Creative return, illustrated, 144–54. See Return.

Criticism: of life, teaching, a, 120–21; of Oeyvind and Marit, 60–64; of Three Billy-Goats Gruff, 64–65; of How the Sun, Moon, and West Wind went out to Dinner, 84–86; of Straw Ox, 86–87; of Steadfast Tin Soldier, 135–38; of Musicians of Bremen, 219–20; of Drakesbill, 221–23; of Puss-in-Boots and Norse Lord Peter, 275–78; of Tom Thumb and Little Thumb, 278–82; of Snow White and Rose Red, 282–86; and of Elephant's Child, 287–90.

Danish tales, 194.

Dasent, Sir George W., tales by, as literary form, 68–69; Norse tales by, 194, 247, 257.

Delicacy, or emotional harmony, quality of, 57–58; illustrated, 60, 61, 64.

Denotation, 54.

Description, 75.

Dick Whittington, illustrating oral transmission of tales, 169; a chap-book, 185, 188, 196, 198.

Diminutive, the, 25–26.

Dragon tales, 31.

Drakesbill, 221–23.

Dramatic game: Elves and the Shoemaker, 145; Sleeping Beauty, 146–47.

Dramatization, as expression, 138–54; virtues of, 138, 143; dangers of, 139–43; of Sleeping Beauty, 146–47; of Bird and the Trees, 149–51; of Fir Tree, 152–53; of Little Two Eyes, 265–66; of Snow White, 266–67; of How the Birds came to have Different Nests, 270–72; and of Puss-in-Boots, 276.

Drawing, as expression, 132.

Dwarf's Tailor, 237.

Editions, main fairytale, 256–58; fairy tale, of all nations, 258–59; illustrated, 254–55; miscellaneous, of fairy tales, 259–62: school, of fairy tales, 262–64.

Elements to be avoided, 30–36.

Elephant's Child, illustrating: repetition, 27–28; suggestion, 56–57; form, 100–01; modern animal tale, 239, 287–90.

Elves and the Shoemaker, illustrating: structure and short-story, 82–84; creative return, 145.

Emelyan the Fool, 170.

Emotion, appeal to, distinguishing literary trait, 40–41; qualities of literary, 41; literary, in fairy tales, 41–44; growth of, 44–45; comparison of, in fairy tales and Shakespeare's dramas, 7, 43–44.

Energy or force, quality of, 57–58; illustrated, 61, 64.

English fairy tales, 184–92; collections of, 184–88; illustrating development of illustration, 188–92; by Jacobs, list, 247–48; editions, 257.

Expression in: language, 125–27; reading, 127; inquiry, 127–29; construction, 129–30; art, 130–54; paper-cutting, 130–31; drawing, 132; painting, 132; rhythm play, 133–34; song, 132–33; game, 134–35; representation, 135–38; dramatization, 138–54, 265–72.

Fairy, derivation of, 159–60; history of the name, 160.

Fairy tales: worth of, 1–12; principles of selection for, 13–89; telling of, 90–157; history of, 158–203; classes of, 204–44; sources of material for, 245–64; tributes to, 1–3; interests in, 13–37; as literature, 37–70; as classics, 38–39; possessing mind and soul, 39–40; distinguished by marks of literature, 40; as emotion, 41–45; as imagination, 45–53; philosophy in, 48–52; proverbs in, 50; as truth, 53–54; as form, 54–70; powers of words in, 54–57 general qualities of form in, 57–58; general principles controlling form in, 58–59; style in, defined, 59–60; tested as literary form, 60–70; as a form of short-story, 70–87; characters, 71–73; plot, 73–77: narration, 74–75; description, 75; structure, 76–77; setting, 77–82; three elements blended, 82–84; tested by complete standards, 84–87; teacher's preparation for telling, 94–102; presentation of, by teacher 102–19; return of child from, 119–54; rules for preparation of, 94–102; selection of, 95–96; motifs in, 96–98; re-telling of, 101–02; training of voice in telling, 103–04; breathing in telling, 104–05; gesture in telling, 105–06; power of personality, in telling, 106–07; suggestions for telling, 107–12; establishment of personal relation in telling, 107–10; placing of, in a concrete situation, 110–11; conception of child's aim in listening to, 112; re-creative method of telling, 112–17; adaptation of, 117–19; art of teaching, in telling, 119–25; as expression of conversation, 125–27; as expression of inquiry, 127–29; as expression of construction, 129–30; as expression of art, 130–54; origin of, 158–67; transmission of, 167–200; French, 179–83; Celtic, 183–84; English, 184–92; German, 192–93; tales of other nations, 193–95; American, 195–99; collections of folklore, 200; accumulative, 205–11; animal, 211–17; humorous, 217–23; realistic, 223–28; romantic, 228–34, 275–86; old and modern, 234–43; of Perrault, 246; of the Grimms, 246–47; Norse, 247; English, by Jacobs, 247–48; modern, by Andersen, 248; Uncle Remus, by Harris, 248–49; miscellaneous, 249–53; bibliography of, 253–54; in picture-books, 254–55; in pictures, 255; in poems, 255–56; in standard books, 256–58; of all nations, 258–59; in miscellaneous editions, 259–62; in school editions, 262–64; in Appendix, 265–90.

Familiar, the, 14–15.

Fancy, 46, 47.

Fir Tree, 151–53.

First-grade fairy tales, 231–34, 265–86.

Folk-game, illustrated by Little Lamb and the Little Fish, 147–48, 267–70.

Folk-tales, generally, as literary form, 65–67; tested as literary form, 60–70; characters of, compared with those of Shakespeare, 7, 43–44; recent collections of, 200.

Foolish, Timid Rabbit, illustrating method in story-telling, 116–17; an animal type, 214.

Form, a distinguishing literary trait, 40, 54; perfect, 57–60; general qualities of, 57–58; precision, a quality, 57; energy, a quality, 57–58; delicacy, a quality, 58; personality, a quality, 58; principles controlling, 58–60: sincerity, 58–59; unity, 59; mass, 59; coherence, 59; style in, 59–60, illustrated: by Oeyvind and Marit, 60–64; by Three Billy-Goats Gruff, 64–65; folk-tales as literary, 65–70; mastery of tale as, 100–02.

French fairy tales, 179–83.

Game, as expression, 134–35.

Gardens of the Tuileries, 1.

German fairy tales, 192–93.

Gesta Romanorum, 174–75.

Gesture, knowledge of, 105–06; library pamphlet relating to, 106.

Giant tales, 31–32.

Golden Egg and the Cock of Gold, 237–38.

Good-Natured Bear, a modern animal type, 217, 272–75; a book, 190.

Grimm, William and Jacob, 67–68; list of tales by, 246–47; editions by, 257; tales by, as literary form, 67.

Harris, J. C., list of Uncle Remus tales by, 248–49; tales by, as literary form, 69; editions by, 257.

Henny Penny, 214.

History of fairy tales, 158–203; origin of fairy tales, 158–67; transmission of fairy tales, 167–200; oral transmission, 167–70; literary transmission, 170–200; references, 201–03.

Hop-About-Man, 241–43.

House that Jack Built, 206–07.

How the Birds came to Have Different Nests, 151; 270–72.

How the Sun, Moon, and West Wind went out to Dinner, 84–86.

How Two Beetles Took Lodgings, 226.

Humor in fairy tales: an interest, 21–22; 217–19.

Humorous tales, 217–23; types of, 219–23.

Imagination, a distinguishing literary mark of fairy tales, 40, 45–53; creative, 45; associative, 46; penetrative, 47; contemplative, 47–53; fancy, 46, 47; exhibited in child's return, 122, 125–54.

Imaginative, the, 23.

Initiative, development of, 122, 123–25.

Instincts of child, expression of: conversation, 125–27; inquiry, 127–29; construction, 129–30; artistic expression, 130–54.

Intellect, appeal of fairy tales to, 53–54.

Interests of children, 13–37; sense of life, 14; the familiar, 14–15; surprise, 15–17; sense impression, 17–18; the beautiful, 18–19; wonder, mystery, magic, 19; adventure, 19–20; success, 20; action, 20–21; humor, 21–22; poetic justice, 22–23; the imaginative, 23; animals, 24; portrayal of human relations, 24–25; the diminutive, 25–26; rhythm and repetition, 26–28; the simple and the sincere, 28–29; unity of effect, 29–30; opposed to, 30–36; witch tales, 31; dragon tales, 31; giant tales, 31–32; some tales of transformation, 32–33; tales of strange creatures, 33–34; unhappy tales, 34; tales of capture, 34–35; very long tales, 35–36; complicated or insincere tales, 36.

Introduction, i–iii.

Inquiry, instinct of, 127–29.

Jack the Giant-Killer, 185, 186, 188, 190.

Jacobs, Joseph, list of tales by, 247–48; tales by, as literary form, 69; editions by, 257.

Jatakas, 170.

Key of the Kingdom, 207–08.

Kindergarten: play in, 5–6; work in, unified by the fairy tale, 8–9; language-training in, 10–11; interests of child in, 13–37; standards for literature in, 37–87; standards for composition in, 54–60; story-telling in, 94–119; return to be expected from child in, 119–54; standards of teaching for teacher in, 119–25; instincts of child in, 125–54; history of fairy tales to be used in, 158–203; classes of tales used in, 204–44; sources of material for fairy tales to be used in, 245–64.

King-book, Persian, The, 175–76.

Lang, Andrew, tales by, as literary form, 69.

Lambikin, 21.

Language, expression in, 125–27.

Lazy Jack, 224–25.

Life, a sense of, 14; criticism of, 120–21; fairy tale a counterpart to, 8–9.

Lists: of tales, 246–53; See Sources of material.

Literature, mind and soul in, 39–40; qualities of, 40; fairy tale as, 37–87.

Little Lamb and the Little Fish, 147–48, 267–70.

Little Two-Eyes, 145, 265–66.

Little Thumb, editions, 189; tale, 232, 281–82.

Literary collections of tales, 170–200.

Logical method of selecting tales, 95–96.

Long tales, opposed to child's interests, 35–36.

Lord Peter, 232, 277.

Magpie's Nest, 151, 270–72.

Märchen Brunnen or Fairy-tale Fountain, 2–3.

Mass, principle of, 58–59; illustrated in: Oeyvind and Marit, 61–62; Three Billy-Goats Gruff, 65.

Medio Pollito, 215–16.

Memory, development of, 226.

Message, of the tale, 100; of this book. See Summaries.

Method of story-telling, the recreative, 113–17; criticism of, 114–16; illustration of, 116–17; direct moral, 143.

Mind, in literature, 40.

Miscellaneous, tales, a list, 249–53; editions, 259–62.

Modern tale, compared with old tale, 234–43; types of, 235–43; what it is, 243; tales, by Andersen, 28–29, 234, 248, 256–57.

Motifs in folk-tales, classified, 97–98.

Mother Goose, tales of, 179–81; her Melodies, 187, 195, 197, 198.

Musicians of Bremen, 130–31, 219–20.

Narration, in fairy tales, 74–75; illustrated by Sleeping Beauty, 146–47.

Norse tales, 194; a list of, 247; editions, 257.

Objectification in fairy tales, 135–38.

Oeyvind and Marit, 60–64.

Old Woman and Her Pig, accumulative type, 207, 208; realistic type, 225–26; an exercise of memory, 226.

Organization of ideas, accomplished through Fir Tree, 152–53; social, of tale, 153–54.

Origin of fairy tales, 158–67.

Outline, 291–303.

Paper-cutting, 130–31.

Painting, as expression, 132.

Panchatantra, the Five Books, 171.

Pause, in story-telling, 104–05.

Pentamerone, The, 178–79.

Perrault, Charles, statue of, 1; list of tales by, 180; tales by, tested as literary form, 68; editions by, 257–58.

Personality, quality of, 57–58; in Oeyvind and Marit, 60; in Three Billy-Goats Gruff, 64; power of, 106–07.

Personal relation, establishment of, 107–10.

Peter Rabbit, 239.

Philosophy, in fairy tales, 48–52; of Uncle Remus Tales, 51–52; of Laboulaye's Tales, 51; of Cat and Mouse in Partnership, 48; of Emperor's New Suit, 48–49; of Ugly Duckling, 49–50; of Elephant's Child, 49; child's, 50–51.

Phonics in fairy tales, 79–81.

Pictures, list, 255.

Picture-Books, list, 254–55.

Plot, element of fairy tale as short-story, 73–77; structure illustrated, 76–77.

Poems, fairy, list, 255–56.

Poetic justice, 22–23.

Poetry, of teaching, 120.

Portrayal of human relations, especially with children, 24–25.

Position, of story-teller, 107.

Precision, quality of, 57; illustrated in: Oeyvind and Marit, 60; Three Billy-Goats Gruff, 64.

Preparation, teacher's, in story-telling, 94–102; rules for telling, 94–102.

Presentation, teacher's, of tale, 102–19: training of voice, 103–04; exercises in breathing, 104–05; gesture, 105–06; power of personality, 106–07; suggestions for telling, 107–12; establishment of personal relation, 108–10; placing of story in concrete situation, 94–95, 110–11; conception of child's aim, 112; telling of tale, 112–19; re-creative method of story-telling, 113–17; adaptation of fairy tales, 117–19.

Princess and Pea, 114–16.

Principles, of selection for fairy tales, 13–89: interests of children, 13–37; fairy tale as literature, 37–70; fairy tale as short-story, 70–87; references, 87–89.

Principles, of composition, 58–60; of story-telling, 94; of teaching, 119–25; concerning instincts of children, 124–25.

Problem, a means of developing consciousness, 122–25.

Proverbs in fairy tales, 50.

Purpose, growth in child's, 123–25.

Puss-in-Boots, 232, 275–78.

Psychological method of selecting tales, 95–96.

Quick-Running Squash, 240.

Realistic, tale, 223–28; types of, 224–28.

Reading, as expression, 127; relation of, to literature, 10–11, 127.

Reason, growth in, 6–7, 10; development of, 53–54.

Re-creative method of story-telling, 113–17.

Red Riding Hood, chap-book, 189; a romantic type, 232–34.

References; chapter i, 12; chapter ii, 87–89; chapter iii, 154–57; chapter iv, 201–03; chapter, v, 243–44.

Relation, of contemplative imagination to language-training, 47–48; of contemplative imagination to power of observation, 47–48; of contemplative imagination to science, 52–53; of literature to intellect, 53–54; of sound to sense or meaning, 55; of sound to action, 55–56; of phonics and emotional effect, 55; of gesture to story-telling, 105–06; personal, between the story-teller and listener, 107–10; of reading to story-telling, 127; of reading to literature, 10, 11, 38, 127; of rhyme to meaning, 56; of fairy tales to nature study, 6, 47–48; of fairy tales to industrial education, 71–73; of fairy tales to child, 3–11; of dramatization to story-telling, 138–54; of fairy tales to literature, 37–70; of fairy tales to composition, 54–70; of fairy tales to story-telling, 90–91.

Repetition, 26–28, 205–11.

Representation, 135–38.

Re-telling of fairy tales, 101–02.

Return, creative, from child, in telling of fairy tales, 119–54: in language, 125–27; in inquiry, 127–29; in construction, 129–30; in artistic expression, 130-54; in paper-cutting, 130–31; in drawing, 132; in painting, 132; in song, 132–33; in rhythm, 133–34; in game, 134–35; in dance, 137, 145, 147; in dramatization, 138–54; illustrated, 145–54, 265–72.

Reynard the Fox, place in the animal tale, 212; history, 172–74; chap-book, 185, 186, 190, 196.

Rhyme, 56.

Rhythm, in fairy tales, 26–28; plays, 133–34.

Robin's Christmas song, 78–79.

Romantic tale, 228–34; types of, 228–34, 275–86.

St. Nicholas, Stories retold from, 241.

Sanskrit Tales, 171.

School editions of fairy tales, 262–64.

Science, relation of contemplative imagination to, 52–53.

Sea Fairy and the Land Fairy, 236–37.

Selection of fairy tales by teacher, psychological or logical, 95–96.

Sense impression, 17–18.

Setting, element of fairy tale as short-story, 77–82; sequence in, 78–79; story told by, 81–82; and phonics, 79–81.

Sheep and Pig, 215.

Short-story, fairy tale as, 70–87: elements of, 70–71; ways of writing, 71; characters, 71–73; plot, 73–77; narration in, 74–75; description in, 75; setting, 77–82; elements of, blended, 82–84. Tales tested as, 84–87; telling of, 90–154.

Silhouette pictures, cutting of, 130–31.

Simple and sincere, 28–29.

Sincerity, principle of, 58–59; illustrated in: Oeyvind and Marit, 60, 61; Three Billy-Goats Gruff, 64–65.

Sindibad, The Book of, 172.

Sleeping Beauty, romantic type, 231–32; uniting partial narration, dramatization, and dramatic game, 146–47.

Snow White, 145, 266–67.

Snow White and Rose Red, 232, 282–86.

Song, as expression, 132–33.

Soul, in literature, 39–40.

Sources of material for fairy tales, 245–64: list of fairy tales and folk-tales, 246–53; bibliography of fairy tales, 253–54; list of picture-books, 254–55; list of pictures, 255; list of fairy poems, 255–56; main standard fairy-tale books, 256–58; fairy tales of all nations, 258–59; miscellaneous editions of fairy tales, 259–62; school editions of fairy tales, 262–64.

Sparrow and the Crow, as expression, 125–26.

Spider and the Flea, 79–81.

Standards, for testing fairy tales, 84; for selecting tales, 204–05; for making lists, 245–46. See Summaries.

Standard fairy-tale books, a list, 256–58.

Story, place of, in home, library, and school, 93–94; formation of original stories, 126–27.

Story-telling, an ancient art, 91–93; principles governing, 94; teacher's preparation for, 94–102; rules for, 94–102; presentation in, 102–119; voice in, 103–04; breathing in, 104–05; gesture in, 105–06; re-creative method of, 113–17; return from child, in, 119–54; child's part in, 121–25.

Straparola, 178.

Straparola's Nights, 178.

Straw Ox, 86–87.

Structure, illustrated, 76–77; study of, in story-telling, 99–100.

Study of tale as folk-lore and as literature, 96–99.

Style, defined, 59–60; illustrated, 60–65; qualities of, 59–60; principles controlling, 59–60.

Success, 20.

Suggestion, illustrated by Pope, 55; by Andersen, 136; by Kipling, 56–57; through gesture and sound, 55; through arrangement of words and speech-tunes of voice, 56–57.

Summaries: giving message of book. 13, 37–38, 40, 70–71, 84, 158, 204–05, 235.

Surprise, 15–17.

Swedish tales, 193.

Tales: of Mother Goose, 179–81; of Perrault, 246; of the Grimms, 246–47; Norse, 247; English, by Jacobs, 247–48; modern fairy, by Andersen, 248; Uncle Remus, 248–49; miscellaneous, 249–53; fairy, of all nations, 258–59; literary collections of, 170–200. See Fairy tales.

Teaching, story-telling, a part of the art of, 119–25; poetry of, 120; good art in, 120; great art in, 120–21; a criticism of life, 120–21.

Telling, of fairy tales, 90–154; art of story-telling, 90–94; principles controlling, 94; preparation by teacher for, 94–102; presentation by teacher, in, 102–19; suggestions for, 107–12; return by child, from, 119–54; re-creative method of, 113–17; adaptation of tales for, 117–19; references, 154–57.

Theories of origin of fairy tales: detritus of myth, 161–63; sun-myth theory, 163–64; common Indian heritage, 165–67; identity of early fancy, 167.

Three Bears, illustrating surprise, 16–17; a chap-book, 190; accumulative, 209–11.

Three Billy-Goats Gruff, 64–65.

Three Pigs, illustrating structure, 76; animal type, 216.

Thumbelina, illustrating adaptation, 118; illustrating rhythm play, 134.

Tin Soldier, Steadfast, as emotion, 42; tale of imagination, 46; as representation, 135–38; as a game, 135, 138.

Titty Mouse and Tatty Mouse, 81, 208–09, 227–28.

Tom Hickathrift, 185, 186, 187, 196.

Tom Thumb, chap-book tale, 185, 188, 190, 196; romantic type, 278–81.

Tone-color, in story-telling, 105.

Training of voice, 103–04.

Transformation, tales of, 32–33; kinds of, 276.

Transmission, of tales: oral, 167–170; literary, 170; illustrated by: Dog Gellert, 166; Dick Whittington, 169; Peruonto, 169–70.

Tributes, two public, 1–3.

Truth, basis of, in fairy tales, a distinguishing literary mark, 40, 53–54.

Tuileries, gardens of. See Gardens.

Uncle Remus Tales, by Harris, 248–49; editions, 257.

Unhappy tales, 34.

Unity, of effect, 29–30; principle of composition, 58–59; illustrated in: Oeyvind and Marit, 61; Three Billy-Goats Gruff, 65.

Value, of fairy tales in education, 3–12, 119–25; to give joy, 3–4; to satisfy the play-spirit, 4–6; to develop observation, 6; to give habits of mind, 6–7; to strengthen emotion, 6–7, 44–45; to extend social relations, 7–8; in home, library, and school, 8–9; to give language-training, 10–11; to develop imagination, 45–53; to develop reason, 53–54; to develop power of creative return, 119–54; to develop self-activity, 121–22; to develop consciousness, through problems, 122–23; to develop initiative, 122; to develop purpose, 123–25; to develop self-expression, 124–54; to strengthen originality, 127–29; to develop organization of ideas, 153; and to exercise memory, 226.

Version, of tale, 101–02.

Villeneuve, Madam, 182.

Voice, training of, 103–04.

Witch tales, 31.

Wolf and the Seven Kids, expression in painting, 132; in song, 132–33.

Words, powers of, 54–55; denotation, 54; connotation, 54–55; suggestion, 54–57.

Wonder, mystery, magic, an interest, 19.

Worth of fairy tales, 1–12: two public tributes, 1–3; value of fairy tales in education, 3–12; references, 12.

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