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Rh and presents a multiplicity of images that is confusing. It lacks the great art qualities of the old tale, the central unity and harmony of character and plot. The idea must be the soul of the narrative, and the problem is to make happen to the characters things that are expressive of the idea. The story must hold by its interest, and must be sincere and inevitable to be convincing. It must understand that the method of expression must be the method of suggestion and not that of detail. The old tale set no boundaries to its suggestion. It used concrete artistry; but because the symbol expressed less it implied more. The modern tale is more definitely intentional and it often sets boundaries to its suggestion because the symbol expresses so much. Frequently it emphasizes the satiric and critical element, and its humor often is heavy and clumsy. To be literature, as has been pointed out, besides characters, plot, setting, and dialogue, a classic must present truth; it must have emotion and imagination molded with beauty into the form of language; and it must have the power of a classic to bestow upon the mind a permanent enrichment. Any examination of the modern fairy tale very frequently shows a failure to meet these requirements.

The modern tale is not so poor, however, when we mention such tales as Lewis Carroll's Alice in Wonderland, Oscar Wilde's Happy Prince, Alice Brown's Gradual Fairy, Frances Browne's Prince Fairyfoot, Miss Mulock's Little Lame Prince, Barrie's Peter Pan,