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 story-telling should cultivate sensibility to the feeling and æsthetic suggestions in language, and during the stage of apprenticeship be content to be conscious until more spontaneous appreciation shall relieve him of watchfulness.

To take another example, in the story of "The Hut in the Wood," beginners often fairly shout "night was coming on," "the owl hooted," "the trees rustled." The thing to be communicated here through the details is the emotional state of the girl. It is communicated by sympathetic interpretation: lowering of voice, with suggestion in it of the sounds heard, accompanied by shrinking in posture and dawning of fear in the face.

Leading is open to abuse. The more the language of the story tells on its face when interpreted so as to set free the associations bound up in it, the more the story-teller must trust it to carry its own effects.

The story-teller is governed most by the supreme canon of simplicity. His must be a peculiarly unelaborate, apparently artless art. In gesture and facial expression, in dramatic suggestion, in speech, his is that form or degree of the artistic manner that will carry to the listener the unaffected, frank, childlike kind of life with which the child story deals: not intense in manner; not intellectual nor