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100 is the most fundamental work of the story-teller. The teacher must analyze the structure of her tale into its leading episodes, as has been illustrated in the handling of structure, under the subject, "Plot," in the chapter on the "Short-Story."

4. The next step is: Secure the message of the tale. The message is what we wish to transmit, it is the explicit reason for telling the tale. And one evidently must possess a message before one can give it. As the message is the chief worth of the tale, the message should dominate the telling and pervade its life. A complete realization of the message of the tale will affect the minutest details giving color and tone to the telling, and resulting so that what the child does with the story will deepen the impression of the message he receives.

5. The next step is: Master the tale as form. This means that if the tale is in classic form, not only the message and the structure must be transmitted, but the actual words. Words are the artist's medium, Stevenson includes them in his pattern of style, and how can we exclude them if we wish to express what they have expressed? A tale like Kipling's The Elephant's Child would be ruined without those clinging epithets, such as "the wait-a-bit thorn-bush," "mere-smear nose," "slushy squshy mud-cap," "Bi-Colored-Python-Rock-Snake," and "'satiable curtiosity." No one could substitute other words in this tale; for contrasts of feeling and humor are so tied up with the