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 tales, affords a good study. The artistic principle is applied more naïvely in the old story of "The Hut in the Wood" at the transformation of the hut into a castle to be fit setting for the sovereign power and beauty of kindness; also in "Mother Holle," at the emergence of the child from the dark well and darker despair into the lovely meadow where the sun was shining, and thousands of flowers were blooming, and wonderful little ovens and red apple-trees called out to her, and golden shower fell on her and glorified her. In "Dummling," at the stage when enchantment is brought in, the scene changes completely to a stone castle in whose courtyard are stalls containing stone horses.

Note the narrative use made of setting. The appearance of the sea, in "The Fisherman and his Wife," as the fisherman carries each succeeding wish of his wife to the flounder, does as much to tell the story as the action itself.

Setting, then, is part of the whole. It is not to be overdone, nor is any part in the simple story, but its appropriateness is worth appreciation.

The action. The action is of course the chief part of the story. The motive of the action is easy to find. But again note that it is faithful to life and that it paves the way for appreciation of the motives of greater literature. In the simple tales,