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 merry-tragic situation; in "The Wolf and the Seven Kids," the happy triumph of mother wit sharpened by love. For the children they, as well as the more modern tales, must be kept direct, simple stories. But the student need not miss a broader significance. He can hardly fail to appreciate the analogies to human conduct so often implied in Hans Andersen's tales, done, as in Dante's great tale, with conscious intent. He must not, however, ask the children to probe for hidden meanings, and he must not strain at suggesting them in his interpretation. The story is not to be turned into an abstraction; its concreteness is the secret of its power to please and to move.

After you have thus characterized the story to yourself, grasp its elements: its setting, or time and place; its action; its persons, or characters. And cultivate sensibility to their appropriateness.

The setting. The lovely fairy romances, old and new, like "The Frog Prince," "Cinderella," Andersen's "Princess on the Pea," occurred in the all-possible "once upon a time," or in that delectable bygone when "wishing was having," or in such right good kingly times as Arthur's or Charlemagne's. Sometimes the place was an enchanted castle shut away behind a hedge of thorns and trees, in the very heart of a forest, a hedge that