Article #473-2 | Gutenberg Articles

Excerpt

Excerpt from Stories to Tell to Children, by Sara Cone Bryant

SOME SUGGESTIONS FOR THE STORY-TELLER
STORIES FOR REPRODUCTION
STORY-TELLING IN TEACHING ENGLISH
TWO LITTLE RIDDLES IN RHYME
THE LITTLE PINK ROSE
THE COCK-A-DOO-DLE-DOO
THE CLOUD
THE LITTLE RED HEN
THE GINGERBREAD MAN
THE LITTLE JACKALS AND THE LION
THE COUNTRY MOUSE AND THE CITY MOUSE
LITTLE JACK ROLLAROUND
HOW BROTHER RABBIT FOOLED THE WHALE AND THE ELEPHANT
THE LITTLE HALF-CHICK
THE LAMBIKIN
THE BLACKBERRY-BUSH
THE FAIRIES
THE ADVENTURES OF THE LITTLE FIELD MOUSE
ANOTHER LITTLE RED HEN
THE STORY OF THE LITTLE RID HIN
THE STORY OF EPAMINONDAS AND HIS AUNTIE
THE BOY WHO CRIED "WOLF!"
THE FROG KING
THE SUN AND THE WIND
THE LITTLE JACKAL AND THE ALLIGATOR
THE LARKS IN THE CORNFIELD
A TRUE STORY ABOUT A GIRL
MY KINGDOM
PICCOLA
THE LITTLE FIR TREE
HOW MOSES WAS SAVED
THE TEN FAIRIES
THE ELVES AND THE SHOEMAKER
WHO KILLED THE OTTER'S BABIES?
EARLY
THE BRAHMIN, THE TIGER, AND THE JACKAL
THE LITTLE JACKAL AND THE CAMEL
THE GULLS OF SALT LAKE
THE NIGHTINGALE
MARGERY'S GARDEN
THE LITTLE COTYLEDONS
THE TALKATIVE TORTOISE
ROBERT OF SICILY
THE JEALOUS COURTIERS
PRINCE CHERRY
THE GOLD IN THE ORCHARD
MARGARET OF NEW ORLEANS
THE DAGDA'S HARP
THE TAILOR AND THE THREE BEASTS
THE CASTLE OF FORTUNE
DAVID AND GOLIATH
THE SHEPHERD'S SONG
THE HIDDEN SERVANTS

SOME SUGGESTIONS FOR THE STORY-TELLER

Concerning the fundamental points of method in telling a story, I have
little to add to the principles which I have already stated as
necessary, in my opinion, in the book of which this is, in a way, the
continuation. But in the two years which have passed since that book
was written, I have had the happiness of working on stories and the
telling of them, among teachers and students all over this country, and
in that experience certain secondary points of method have come to seem
more important, or at least more in need of emphasis, than they did
before. As so often happens, I had assumed that "those things are
taken for granted;" whereas, to the beginner or the teacher not
naturally a story-teller, the secondary or implied technique is often
of greater difficulty than the mastery of underlying principles. The
few suggestions which follow are of this practical, obvious kind.

Explanation

**Detailed Explanation of the Excerpt from Stories to Tell to Children by Sara Cone Bryant**

1. Context of the Source

Sara Cone Bryant (1873–1956) was an American educator, storyteller, and author who played a significant role in promoting storytelling as an educational tool in the early 20th century. Her works, including Stories to Tell to Children (1905) and How to Tell Stories to Children (1905), were influential in shaping how stories were used in classrooms and homes to engage young audiences.

This excerpt comes from a later edition or companion volume (likely a preface or introductory section) where Bryant reflects on her evolving thoughts about storytelling techniques. The passage suggests that she is building upon her earlier work, addressing practical concerns that have emerged from her interactions with teachers and students.

2. Summary of the Excerpt

In this passage, Bryant discusses secondary points of storytelling method—practical, often overlooked techniques that are crucial for effective storytelling, especially for beginners or those who do not naturally excel at it. She acknowledges that while she had previously outlined fundamental principles of storytelling, her subsequent experiences (over two years) revealed that many educators struggled more with the implied or "taken-for-granted" techniques than with the broader theories.

Key points:

She assumes that some techniques are "taken for granted" (i.e., obvious to experienced storytellers), but in reality, they pose challenges for novices.
The "secondary" aspects (e.g., pacing, voice modulation, gestures, audience engagement) are often harder to master than the underlying principles (e.g., knowing the story’s structure or moral).
The suggestions she is about to provide are practical and obvious—meaning they are actionable tips rather than abstract theories.

3. Themes

While this is a meta-discussion on storytelling rather than a story itself, several key themes emerge:

The Gap Between Theory and Practice
- Bryant highlights that knowing storytelling principles is not the same as applying them effectively.
- This reflects a broader educational theme: the difference between explicit knowledge (what is taught) and tacit knowledge (what is learned through experience).
The Importance of Adaptability in Teaching
- She acknowledges that her own understanding has evolved through real-world interaction with teachers and students.
- This suggests that pedagogy is dynamic—methods must adjust based on feedback and observation.
Empathy for the Beginner
- Bryant recognizes that what seems obvious to an expert (e.g., how to modulate voice for suspense) may be unclear to a novice.
- This aligns with modern educational psychology, which emphasizes scaffolding—breaking down complex skills into manageable steps.
Storytelling as a Craft, Not Just an Art
- While storytelling has artistic elements, Bryant treats it as a teachable skill with technical components (e.g., timing, tone, physical expression).
- This democratizes storytelling, making it accessible to those who may not consider themselves "natural" storytellers.

4. Literary Devices & Rhetorical Strategies

Though this is a non-fiction, instructional passage, Bryant employs several rhetorical techniques to convey her message effectively:

Direct Address & Conversational Tone
- Phrases like "I have little to add" and "As so often happens" create a personal, almost confessional style, making the advice feel intimate and relatable.
- This mirrors the oral tradition of storytelling itself—engaging the reader as if in a dialogue.
Contrast for Emphasis
- She contrasts "underlying principles" (big-picture ideas) with "secondary points" (practical details) to highlight where beginners struggle.
- Example: "the secondary or implied technique is often of greater difficulty than the mastery of underlying principles."
Self-Reflection & Humility
- By admitting that she assumed certain techniques were obvious ("I had assumed that 'those things are taken for granted'"), she humanizes herself and validates the reader’s potential struggles.
- This builds trust—readers are more likely to accept advice from someone who acknowledges their own learning process.
Foreshadowing
- The phrase "The few suggestions which follow are of this practical, obvious kind" prepares the reader for actionable tips, making the text feel structured and purposeful.

5. Significance of the Passage

This excerpt is significant for several reasons:

Historical Context in Education
- Bryant was part of a progressive education movement (early 1900s) that valued child-centered learning and experiential teaching.
- Her work helped shift storytelling from mere entertainment to a pedagogical tool for language development, moral instruction, and critical thinking.
Bridge Between Oral and Literary Traditions
- At a time when printed stories were becoming dominant, Bryant reclaimed the oral tradition, emphasizing live, interactive storytelling.
- This was especially important in early childhood education, where listening skills and imagination were (and still are) crucial.
Influence on Modern Storytelling Techniques
- Many of Bryant’s ideas prefigure modern storytelling guides, such as:
  - The importance of voice modulation (changing pitch/tone for effect).
  - Audience engagement (making eye contact, asking questions).
  - Physical expressiveness (using gestures and facial expressions).
- Contemporary educators and performers still use these techniques in classrooms, libraries, and theater.
Democratization of Storytelling
- By breaking down storytelling into learnable components, Bryant made it accessible to teachers, parents, and children—not just professional performers.
- This aligns with the idea that everyone can be a storyteller, not just those with "natural talent."

**6. Connection to the Broader Work (Stories to Tell to Children)**

The list of stories at the beginning (e.g., The Little Red Hen, The Gingerbread Man, The Boy Who Cried "Wolf!") reveals Bryant’s selection criteria:

Folktales & Fables: Simple, moral-driven stories easy for children to grasp.
Cultural Diversity: Includes tales from different traditions (e.g., The Brahmin, the Tiger, and the Jackal from Indian folklore).
Interactive & Repetitive Structures: Many stories use refrains (e.g., "Not I!" in The Little Red Hen), making them easy to remember and retell.

Her methodological advice in the excerpt is directly applicable to these stories. For example:

Pacing: Knowing when to pause for suspense (e.g., in The Gingerbread Man as he runs away).
Voice Modulation: Using a high-pitched voice for the little half-chick or a deep voice for the lion.
Gestures: Mimicking the rolling motion in Little Jack Rollaround.

7. Why This Matters Today

Bryant’s insights remain relevant because:

Storytelling is still a vital skill—in education, business, and digital media (e.g., podcasts, YouTube).
Her focus on "secondary" techniques mirrors modern micro-teaching methods, where small details (e.g., body language) are analyzed for effectiveness.
Child development research continues to support oral storytelling as a way to boost language skills, empathy, and creativity.

Final Thoughts

This excerpt is not just about how to tell stories—it’s about how to teach, how to learn, and how to communicate effectively. Bryant’s humble, practical approach makes her work timeless, offering lessons that apply far beyond children’s tales. Whether in a classroom, a boardroom, or around a campfire, the art of storytelling—with all its "obvious" yet challenging details—remains a powerful tool for connection and understanding.

Would you like a deeper analysis of any specific storytelling technique she might be alluding to?

Questions

Question 1

The passage suggests that Bryant’s evolving perspective on storytelling is primarily shaped by an awareness of the:

A. inherent tension between theoretical knowledge and practical application in pedagogical contexts.
B. necessity of standardizing storytelling techniques to ensure consistency across educational settings.
C. superiority of oral storytelling traditions over written narratives in early childhood education.
D. psychological barriers that prevent teachers from adopting innovative teaching methods.
E. unrecognized complexity of seemingly mundane techniques for those lacking innate storytelling aptitude.

Question 2

The phrase "I had assumed that 'those things are taken for granted'" functions rhetorically to:

A. critique the overconfidence of educators who rely on outdated storytelling methods.
B. establish Bryant’s authority by demonstrating her extensive experience in the field.
C. introduce a paradox between the simplicity of storytelling principles and their difficulty in execution.
D. signal a shift from abstract theory to concrete, prescriptive advice for novice storytellers.
E. reveal a blind spot in her earlier work, thereby fostering credibility through self-deprecating honesty.

Question 3

Which of the following best describes the relationship between the "underlying principles" and the "secondary points of method" as presented in the passage?

A. The former are static and foundational, while the latter are adaptive and context-dependent.
B. The former are explicitly taught, while the latter are implicitly learned through experiential practice.
C. The former prioritize narrative structure, while the latter emphasize performative delivery.
D. The former are universal across cultures, while the latter vary according to audience demographics.
E. The former are theoretical constructs, while the latter are empirical observations derived from fieldwork.

Question 4

The passage implies that the "few suggestions which follow" are likely to focus on:

A. the psychological motivations behind why certain stories resonate more effectively with children.
B. the mechanical aspects of delivery that are often overlooked in favor of broader narrative strategies.
C. the historical evolution of storytelling techniques from oral traditions to modern educational practices.
D. the ethical responsibilities of storytellers to adapt content for diverse cultural and socioeconomic backgrounds.
E. the cognitive developmental stages that influence a child’s ability to comprehend complex narratives.

Question 5

The author’s tone in the passage can best be characterized as:

A. didactic yet introspective, blending instructional clarity with reflective humility.
B. authoritative yet dismissive, prioritizing expertise over the challenges faced by novices.
C. nostalgic yet critical, lamenting the decline of traditional storytelling in modern education.
D. analytical yet detached, presenting observations without emotional investment in the subject.
E. persuasive yet speculative, advocating for untested methods based on anecdotal evidence.

Solutions and Explanations

1) Correct answer: E

Why E is most correct: The passage explicitly states that Bryant initially assumed certain "secondary" techniques were obvious ("taken for granted"), only to realize that they posed significant challenges for beginners or those without natural storytelling talent. This aligns with E, which highlights the unrecognized complexity of "mundane" techniques for those lacking innate aptitude. The phrase "the secondary or implied technique is often of greater difficulty than the mastery of underlying principles" directly supports this interpretation.