DRAMATIZING THE STORY

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and drill of the selected few, while the remainder of the class have sat passively by, is to be condemned from every point of view.

The dramatizing of stories need not be limited to the formal language period. Nothing will better serve for a few moments of relaxation, when that is needed. By introducing dramatizing in this way, every child may have frequent opportunity to take part, and every story is kept fresh in the children's minds. Care must be taken to improve the performance by repetition, to make it more spontaneous and natural, to give it new touches of interest; if this is not done, it will become mechanical and perfunctory.

III (26). Dramatizing the Story

Remember that the children are to carry out the dramatizations. With the preparation already made, they should be able to do this with little or no help from you. Encourage them to depend upon themselves, to show their own originality and inventiveness in solving any questions or difficulties that may arise. Encourage, guide, and suggest helpful, constructive criticism of pupils' efforts. Encourage each successive group taking the principal rôles to make their rendering better in definite particulars than any preceding.

At the conclusion of this exercise, tell the pupils that they are to reread the story in preparation for

reproducing it at the next exercise. Seek to impress upon them the idea that in reproducing the story one must assume the rôle and feel the part of each actor in turn as he speaks; that no verbal memory of the words of the story will suffice, but that each one is to tell the story vividly in his own words as he conceives it and feels it.

IV (26). Reproducing the Story Orally

The oral reproduction of a story may be easy, or it may be difficult; it may have much or little educational value. The mere verbal reproduction of a story, exactly or approximately as it was heard or read, is easy for any one with a good verbal memory; but it is an exercise of little value. The reproduction of a story in the reproducer's own words, or in words that he has made his own, after every thought and act and event of the original has been assimilated, is difficult and valuable. The children should now be well prepared for this difficult and profitable kind of reproduction. The expressive reading, the study, and the dramatizing of the story, if these exercises were effective in themselves, must have contributed strongly to this end. The teacher must see to it that the cumulative effect of all these exercises tells in every child's reproduction.

The reproduction should not be repeated by several children, just for the sake of testing them on it, or of giving them an opportunity; every repeti

WRITING ORIGINAL SENTENCES

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tion should be for a definite purpose which every one understands, such as a more appropriate rendering of the conversation of one of the actors, greater fluency, or the omission of unnecessary words.

To make this exercise as valuable as it should be, the teacher must have prepared herself to reproduce the story as the children are expected to reproduce it; that is, not through verbal memory, but on the basis of assimilation. She will then be more capable of appreciating the children's efforts and of giving them helpful, constructive criticism. At the opportune occasion, she should give her reproduction of the story, entire or in part, not as a form to copy, but as an inspiration.

V (26). Finding Different Kinds of Sentences

Test the pupils' study as suggested in their book. In the case of each exclamatory sentence given, ask what the strong feeling is that it expresses.

VI (27). Writing Original Sentences

Go about among pupils as they write. Try to anticipate errors; by a question or a suggestion regarding capitals or punctuation, help the pupil to write correctly the first time. Similarly, by question or hint, help the pupil to see errors that he has already made and to correct them. Always insist that the pupil give the reason for every correction.

CHAPTER FOUR

MEMORY GEMS

I (28). The Value of Memory Gems

THE value of acquiring choice memory gems can scarcely be overestimated. Think of the wealth of the man who can always find in his heart an apt quotation with which to characterize in choice language the beautiful scene on which he looks, or to express in fitting words the emotion which he feels. The acquisition of this wealth that can never be bought should begin in childhood.

The memorizing of words is but incidental, in itself of little or no value. It is the thought and the feeling which the words suggest that the child must experience, must make his own. Herein lies all the wealth of memory gems. That the words may perform their proper function, they must be suitably rendered. Especially is this true of poetry, which makes its primary appeal through the ear. Hence, a poem should always be read to the children, and they should read it appreciatively aloud, before consciously attempting to memorize it.

Read and discuss The Legend with the children. It carries its own lesson.

THE VALUE OF MEMORY GEMS

1. Pippa's Song.

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The children should get a clear, sympathetic picture from the poem.

It is early, seven o'clock, on a spring morning. The grass on the hillside is covered with dew. Later, when the sun rises higher, the dew will sparkle like diamonds; at present each drop looks like a pearl. The lark, one of the swiftest of all creatures, is flying towards the sky, singing his morning song; but the snail, the slowest of all creatures, is also out to enjoy this beautiful morning. The earth is beautiful for all, and why not? Since God is in heaven, caring for all His children, all must be right in the world.

Have the children associate the name of the author with each quotation. One should always wish to know the name of the giver of a real gem.

2. The Autumn Gem.

The pictures in this

poem Mother Nature's book being robbed by the little thieving breezes - is one that quickly appeals to the child's fancy.

3. The Smile.

This memory gem has not been properly assimilated if it does not help some pupil to overcome the tendency to pout or sulk.

4. The Flag.

Call the children's attention to the flag " rippling" in the breeze. The almost conscious pride of the inanimate bunting will develop pride in the observer.