Stories to Tell Children Fifty-Four Stories With Some Suggestions For Telling — Key Ideas to Explore
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For Stories to Tell Children Fifty-Four Stories With Some Suggestions For Telling — Key Ideas to Explore, the stored edition analysis reports 57,584 words, 4 hr 11 min estimated reading time, and 7 detected text sections.
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her suddenly marvellously big and strong and powerful. Never had she dreamed that she could be so big. Like a mighty angel of blessing she stood above the earth, and lifted her head and spread her wings far over the fields and woods. She was so great, so majestic, that men and animals were awe-struck at the sight; the trees and the grasses bowed before her; yet all the earth-creatures felt that she meant them well.
"Yes, I will help you," cried the Cloud once more. "Take me to yourselves; I will give my life for you!"
As she said the words a wonderful light glowed from her heart, the sound of thunder rolled through the sky, and a love greater than words can tell filled the Cloud; down, down, close to the earth she swept, and gave up her life in a blessed, healing shower of rain.
That rain was the Cloud's great deed; it was her death, too; but it was also her glory. Over the whole country-side, as far as the rain fell, a lovely rainbow sprang its arch, and all the brightest rays of heaven made its colours; it was the last greeting of a love so great that it sacrificed itself.
Soon that, too, was gone, but long, long afterward the men and animals who were saved by the Cloud kept her blessing in their hearts.
[10] Adapted from the German of Robert Reinick's _Märchen-, Lieder-und Geschichtenbuch_ (Velhagen und Klasing, Bielefeld and Leipsic).
The little Red Hen was in the farmyard with her chickens, when she found a grain of wheat.
"Who will plant this wheat?" she said.
"Not I," said the Goose.
"Not I," said the Duck.
"I will, then," said the little Red Hen, and she planted the grain of wheat.
When the wheat was ripe she said, "Who will take this wheat to the mill?"
"Not I," said the Goose.
"Not I," said the Duck.
"I will, then," said the little Red Hen, and she took the wheat to the mill.
When she brought the flour home she said, "Who will make some bread with this flour?"
"Not I," said the Goose.
"Not I," said the Duck.
"I will, then," said the little Red Hen.
When the bread was baked, she said, "Who will eat this bread?"
"I will," said the Goose.
"I will," said the Duck.
"No, you won't," said the little Red Hen. "I shall eat it myself. Cluck! cluck!" And she called her chickens to help her.
THE GINGERBREAD MAN[11]
Once upon a time there was a little old woman and a little old man, and they lived all alone in a little old house. They hadn't any little girls or any little boys, at all. So one day, the little old woman made a boy out of gingerbread; she made him a chocolate jacket, and put raisins on it for buttons; his eyes were made of fine, fat currants; his mouth was made of rose-coloured sugar; and he had a gay little cap of orange sugar-candy. When the little old woman had rolled him out, and dressed him up, and pinched his gingerbread shoes into shape, she put him in a pan; then she put the pan in the oven and shut the door; and she thought, "Now I shall have a little boy of my own."
When it was time for the Gingerbread Boy to be done she opened the oven door and pulled out the pan. Out jumped the little Gingerbread Boy on to the floor, and away he ran, out of the door and down the street! The little old woman and the little old man ran after him as fast as they could, but he just laughed, and shouted,--
"Run! run! as fast as you can!
"You can't catch me, I'm the Gingerbread Man!"
And they couldn't catch him.
The little Gingerbread Boy ran on and on, until he came to a cow, by the roadside. "Stop, little Gingerbread Boy," said the cow; "I want to eat you." The little Gingerbread Boy laughed and said,--
"I have run away from a little old woman,
"And a little old man,
"And I can run away from you, I can!"
And, as the cow chased him, he looked over his shoulder and cried,--
"Run! run! as fast as you can!
"You can't catch me, I'm the Gingerbread Man!"
And the cow couldn't catch him.
The little Gingerbread Boy ran on, and on, and on, till he came to a horse, in the pasture. "Please stop, little Gingerbread Boy," said the horse, "you look very good to eat." But the little Gingerbread Boy laughed out loud. "Oho! oho!" he said,--
"I have run away from a little old woman,
Sara Cone Bryant's Stories to Tell Children opens with a preface that frames the book as a direct response to requests from teaching friends for more tales suitable for oral telling. The collection is not a random anthology but a curated set of narratives chosen for their effectiveness when spoken aloud, with an accompanying section of practical suggestions for the storyteller. Bryant's own voice emerges in the preface's warm, collegial tone—she thanks friends for 'the laughs we have had, the discussions we have warmed to'—and in the careful attribution of sources, from Mary Frere's Little Jackal stories to a friend's 'Mammy' who supplied the Epaminondas tale.
Tricksters and Their Tellers
The excerpts showcase a strong preference for trickster protagonists—the little Jackal, Brother Rabbit, Epaminondas—whose cleverness drives the plot. In 'The Little Jackal and the Camel,' the Jackal manipulates both the Camel and the villagers through a combination of flattery, feigned ignorance, and strategic noise-making. The dialogue is carefully patterned: the Jackal repeatedly apologizes for his 'slow mind' while leading the Tiger into a cage. Bryant's versions emphasize repetition and escalating action, making them easy to remember and retell. The Epaminondas story, noted as coming from oral tradition, relies on a cumulative misunderstanding structure. These tales reward a teller who can vary pitch and pacing to distinguish characters.
The Storyteller's Toolkit
Bryant includes a substantial 'Suggestions for the Story-teller' section, though the excerpts only hint at its content through the table of contents, which lists 'Two Valuable Types of Story' and 'A Graded List of Stories to dramatise and retell.' The preface indicates that the stories are presented 'in an easier form for telling than is usual,' suggesting Bryant has streamlined language and added cues for oral delivery. The inclusion of riddles in rhyme and cumulative tales like 'The Little Red Hen' points to a method that builds audience participation. Bryant's own experience as a teacher and lecturer on storytelling informs the practical bent: she advises on method, not just content.
Moral Lessons and Their Limits
Several stories carry explicit morals, but Bryant's treatment is nuanced. In 'The Little Jackal and the Camel,' the narrator steps in to say: 'no matter how clever you are, sooner or later you surely meet some one who is more clever. It is always so in life.' This direct address to the child listener frames the trickster's comeuppance as a life lesson. Yet the Jackal's earlier triumphs—outwitting the Tiger and the Brahmin—are presented with evident relish, and the moral is delivered without heavy-handedness. The collection balances instruction with entertainment, trusting the story itself to convey its point. Bryant's selection favors tales where consequences arise naturally from character, not from authorial lecture.
Bryant's collection rewards readers who approach it as a performance manual rather than a passive reading experience. The stories are short, rhythmic, and built for the voice. Pay attention to the repeated phrases and cumulative structures—they are deliberate aids to memory. The 'Suggestions for the Story-teller' section, though not fully excerpted here, likely contains the key to Bryant's method: how to use gesture, pause, and audience interaction. For anyone working with children, this book offers a practical, field-tested repertoire.
I found myself thinking of those listening children, how Bryant’s voice carried them along, and then my mind drifted to a different sort of audience—one wrestling not with a trickster’s cleverness but with the quiet labor of reading. There is a tenderness in that struggle, almost like We Philologists Complete Works of Friedrich Nietzsche, Volume 8 — Background and Themes, which feels, in its own way, like a story whispered to those who linger over words.
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