Article #474-2 | Gutenberg Articles

Excerpt

Excerpt from How to Tell Stories to Children, and Some Stories to Tell, by Sara Cone Bryant

That was at first. But presently the room grew quieter; and yet quieter.
The faces relaxed into amused smiles, sobered in unconscious sympathy,
finally broke in ripples of mirth. The story-teller had come to her own.

The memory of the college girls listening to the mouse-story brought other
memories with it. Many a swift composite view of faces passed before my
mental vision, faces with the child's look on them, yet not the faces of
children. And of the occasions to which the faces belonged, those were
most vivid which were earliest in my experience. For it was those early
experiences which first made me realise the modern possibilities of the
old, old art of telling stories.

It had become a part of my work, some years ago, to give English lectures
on German literature. Many of the members of my class were unable to read
in the original the works with which I dealt, and as these were modern
works it was rarely possible to obtain translations. For this reason, I
gradually formed the habit of telling the story of the drama or novel in
question before passing to a detailed consideration of it. I enjoyed this
part of the lesson exceedingly, but it was some time before I realised how
much the larger part of the lesson it had become to the class. They
used--and they were mature women--to wait for the story as if it were a
sugarplum and they, children; and to grieve openly if it were omitted.
Substitution of reading from a translation was greeted with precisely the
same abatement of eagerness that a child shows when he has asked you to
tell a story, and you offer, instead, to "read one from the pretty book."
And so general and constant were the tokens of enjoyment that there could
ultimately be no doubt of the power which the mere story-telling exerted.

Explanation

**Detailed Explanation of the Excerpt from How to Tell Stories to Children, and Some Stories to Tell by Sara Cone Bryant**

Context of the Source

Sara Cone Bryant (1873–1956) was an American educator, storyteller, and author who played a key role in reviving the art of oral storytelling in early 20th-century education. Her book How to Tell Stories to Children, and Some Stories to Tell (1905) was a pioneering work that emphasized the importance of storytelling—not just as entertainment, but as a vital tool for moral, emotional, and intellectual development.

At the time, education was becoming increasingly formalized, with an emphasis on rote learning and written texts. Bryant argued that storytelling, an ancient and universal art, had unique power to engage listeners of all ages. This excerpt reflects her personal experiences discovering that storytelling could captivate even adults, reinforcing her belief in its broader educational and cultural value.

Breakdown of the Excerpt

1. The Opening Scene: The Power of Storytelling in Action

"That was at first. But presently the room grew quieter; and yet quieter. The faces relaxed into amused smiles, sobered in unconscious sympathy, finally broke in ripples of mirth. The story-teller had come to her own."

Initial Resistance vs. Gradual Engagement The phrase "That was at first" suggests that the audience (likely the college girls mentioned later) may have been skeptical, distracted, or unresponsive at the beginning. However, the storytelling gradually transforms the atmosphere:
- "The room grew quieter; and yet quieter" → The repetition of "quieter" emphasizes the spellbinding effect of the story. Silence here is not emptiness but deep attention.
- "Faces relaxed into amused smiles" → The audience shifts from passivity to enjoyment.
- "Sobered in unconscious sympathy" → The story evokes empathy, drawing listeners into its emotional world without their conscious effort.
- "Broke in ripples of mirth" → The climax of engagement—laughter signals a shared, joyful connection.
Literary Devices
- Imagery: The description of faces changing ("relaxed," "sobered," "broke in ripples") paints a vivid picture of emotional transformation.
- Personification: "The story-teller had come to her own" suggests that the teller has found her natural power, as if storytelling is a living force that claims its rightful place.
- Gradation (Climax): The progression from quiet → smiles → sympathy → laughter builds tension and release, mirroring the structure of a well-told story.
Significance Bryant is illustrating the universal, almost magical pull of storytelling. The audience’s shift from indifference to immersion demonstrates that storytelling is not just for children—it is a fundamental human experience that transcends age.

2. The Mouse-Story and the "Child’s Look" in Adults

"The memory of the college girls listening to the mouse-story brought other memories with it. Many a swift composite view of faces passed before my mental vision, faces with the child's look on them, yet not the faces of children."

The "Mouse-Story" Though not described here, the "mouse-story" likely refers to a simple, whimsical tale (perhaps a fable or fairy tale) that, despite its childlike subject, captivates adult listeners. This reinforces Bryant’s argument that good stories have a timeless, ageless appeal.
"The Child’s Look" in Adults
- The phrase "the child's look" suggests wonder, openness, and emotional vulnerability—qualities often suppressed in adulthood but rekindled by storytelling.
- "Yet not the faces of children" → The listeners are mature, but storytelling temporarily restores a childlike receptivity. This aligns with Bryant’s belief that stories awaken imagination and empathy in people of all ages.
Literary Device: Juxtaposition The contrast between "child’s look" and "not the faces of children" highlights the paradox that adults, when truly engaged, can experience the same pure delight as children.

3. Early Experiences and the "Modern Possibilities" of Storytelling

"And of the occasions to which the faces belonged, those were most vivid which were earliest in my experience. For it was those early experiences which first made me realise the modern possibilities of the old, old art of telling stories."

"Old, Old Art" vs. "Modern Possibilities" Bryant frames storytelling as an ancient tradition (dating back to oral cultures) that still has relevance in the modern world. Her work was part of a broader movement (including figures like Andrew Lang and the Brothers Grimm) that sought to preserve and adapt folklore for contemporary audiences.
Personal Revelation The "early experiences" likely refer to her time teaching German literature, where she discovered that adults craved stories just as children did. This realization became the foundation of her educational philosophy.
Theme: The Timelessness of Storytelling The passage suggests that while society changes, the human need for narrative remains constant. Bryant is positioning storytelling as a bridge between past and present.

4. Teaching German Literature: Storytelling as a Pedagogical Tool

"It had become a part of my work, some years ago, to give English lectures on German literature. Many of the members of my class were unable to read in the original the works with which I dealt, and as these were modern works it was rarely possible to obtain translations. For this reason, I gradually formed the habit of telling the story of the drama or novel in question before passing to a detailed consideration of it."

Practical Necessity → Unexpected Discovery Bryant initially used storytelling as a workaround for students who couldn’t read German. However, she soon realized that telling the story first made the subsequent analysis more meaningful.
Literary Device: Irony What began as a practical solution (compensating for lack of translations) became a revelation—storytelling was not just a substitute for reading but a superior method of engagement.
Theme: Oral vs. Written Tradition Bryant implicitly critiques the over-reliance on written texts in education. She suggests that hearing a story told aloud creates a deeper connection than reading a translation.

5. The Audience’s Reaction: Adults as "Children"

"They used—and they were mature women—to wait for the story as if it were a sugarplum and they, children; and to grieve openly if it were omitted. Substitution of reading from a translation was greeted with precisely the same abatement of eagerness that a child shows when he has asked you to tell a story, and you offer, instead, to 'read one from the pretty book.'"

"Sugarplum" Metaphor Comparing the story to a "sugarplum" (a sweet treat) emphasizes its delightful, rewarding nature. The adult women’s anticipation mirrors a child’s excitement, reinforcing the idea that storytelling satisfies a primal craving.
Grief at Omission The word "grieve" is striking—it suggests that the absence of storytelling was emotionally disappointing, not just intellectually lacking.
Rejection of Reading Aloud The comparison between adult listeners and children who prefer a told story over a read one is key. Bryant is arguing that:
- Oral storytelling is more intimate and engaging than passive reading.
- The teller’s voice, tone, and presence create a unique connection that printed words cannot replicate.
Literary Device: Analogy The parallel between mature women and children underscores Bryant’s central claim: storytelling transcends age, tapping into a universal human desire for narrative.

6. The "Power" of Storytelling

"And so general and constant were the tokens of enjoyment that there could ultimately be no doubt of the power which the mere story-telling exerted."

"Mere Story-Telling" The word "mere" is ironic—Bryant is downplaying the act to highlight its profound impact. Despite its simplicity, storytelling has a transformative effect on listeners.
Theme: The Authority of the Spoken Word Bryant is making a case for storytelling as a legitimate, powerful educational tool, not just a frivolous pastime. Her observations align with later research in psychology and neuroscience about how stories shape memory, empathy, and understanding.
Significance for Bryant’s Work This passage serves as evidence for her broader argument in How to Tell Stories to Children: that storytelling should be intentional, skillful, and central to learning, not an afterthought.

Key Themes in the Excerpt

The Universal Appeal of Storytelling
- Stories captivate all ages, not just children. Adults, when engaged, exhibit childlike wonder.
Oral vs. Written Tradition
- Telling a story aloud creates a deeper connection than reading a text. The teller’s presence and voice are irreplaceable.
Storytelling as a Pedagogical Tool
- Stories prepare the mind for deeper analysis, making complex ideas more accessible.
The Emotional Power of Narrative
- Stories evoke laughter, sympathy, and even grief when omitted, proving their emotional resonance.
The Timelessness of an Ancient Art
- Despite modern advancements, the human need for stories remains unchanged.

Literary Devices Used

Device	Example	Effect
Imagery	"Faces relaxed into amused smiles, sobered in unconscious sympathy"	Creates a vivid picture of emotional transformation.
Personification	"The story-teller had come to her own"	Gives storytelling an almost magical agency.
Juxtaposition	"Faces with the child's look on them, yet not the faces of children"	Highlights the paradox of adults experiencing childlike joy.
Metaphor	"Wait for the story as if it were a sugarplum"	Emphasizes the story’s delightful, rewarding nature.
Analogy	Comparing adult listeners to children	Reinforces the universal appeal of storytelling.
Irony	"Mere story-telling" (implying it’s simple, yet powerful)	Underscores the underestimated power of oral narrative.
Gradation	Quiet → smiles → sympathy → laughter	Mirrors the structure of a well-told story.

Significance of the Passage

Educational Reform Bryant’s observations challenged the textbook-centric approach of her time, advocating for storytelling as a core teaching method. Her ideas influenced progressive education movements.
Validation of Oral Tradition At a time when printed literature dominated, Bryant reclaimed the value of oral storytelling, linking it to both ancient traditions and modern needs.
Psychological Insight Long before studies on narrative psychology, Bryant recognized that stories foster empathy, engagement, and emotional connection—ideas now supported by research on mirror neurons and storytelling’s impact on the brain.
Democratization of Literature By telling stories aloud, Bryant made inaccessible literature (like German works) available to those who couldn’t read the originals, democratizing cultural knowledge.
Influence on Children’s Literature Her emphasis on how to tell stories (not just which stories to tell) shaped later approaches to read-aloud techniques, library story hours, and parental storytelling practices.

Conclusion: Why This Excerpt Matters

This passage is not just a nostalgic reflection—it is a manifestation of Bryant’s revolutionary idea that storytelling is a vital, transformative act with applications far beyond the nursery. By describing adult women reacting like children to a simple "mouse-story," she proves that the art of storytelling is fundamentally human, transcending age, culture, and time.

Her work remains relevant today, especially in discussions about:

Digital storytelling (How do oral traditions translate to screens?)
Education reform (Should schools prioritize narrative-based learning?)
Neuroscience of stories (Why do our brains respond so strongly to narratives?)

Ultimately, Bryant’s excerpt is a celebration of the storyteller’s craft—a reminder that in a world of information overload, a well-told tale still has the power to quiet a room, stir emotions, and unite listeners in shared wonder.

Questions

Question 1

The passage’s depiction of the audience’s transformation—from initial quietude to "ripples of mirth"—primarily serves to illustrate which of the following ideas about storytelling?

A. The effectiveness of a story is directly proportional to the sophistication of its plot and language.
B. Storytelling’s power lies in its ability to manipulate emotions through calculated rhetorical devices.
C. The act of oral storytelling can evoke a spontaneous, communal emotional experience that transcends the listeners’ initial dispositions.
D. Adult audiences, unlike children, require a gradual buildup of tension to become fully engaged in a narrative.
E. The physical environment in which a story is told is the most critical factor in determining its impact.

Question 2

The author’s comparison of mature women waiting for a story "as if it were a sugarplum" is most effectively interpreted as an example of:

A. patronizing condescension toward adult learners who regress to childish behavior.
B. a nostalgic longing for the simplicity of childhood in an increasingly complex world.
C. an argument for the superiority of oral traditions over written literature in educational settings.
D. a critique of the frivolity of storytelling as a pedagogical tool compared to rigorous textual analysis.
E. the universal, primal appeal of storytelling as a source of delight that transcends age and maturity.

Question 3

The phrase "the old, old art of telling stories" is employed in the passage to emphasize which of the following tensions?

A. The contrast between the ancient, instinctual nature of storytelling and its modern, deliberate applications in education.
B. The decline of oral traditions in favor of written literature, which the author laments as a cultural loss.
C. The generational gap between younger listeners, who prefer stories, and older audiences, who favor lectures.
D. The author’s belief that contemporary stories lack the depth and moral clarity of traditional folklore.
E. The inevitability that storytelling, like all arts, will eventually be replaced by more advanced forms of communication.

Question 4

The author’s observation that substituting a reading from a translation was "greeted with precisely the same abatement of eagerness" as a child deprived of a told story most strongly suggests that:

A. adults are inherently resistant to engaging with foreign literature unless it is heavily adapted.
B. the physical presence and vocal inflection of a storyteller are irreplaceable elements of the narrative experience.
C. the audience’s disappointment stems from a superficial preference for entertainment over intellectual rigor.
D. translations inherently fail to capture the nuance of original works, making them unsatisfying to mature readers.
E. the author’s storytelling skills were uniquely compelling, whereas most translations are poorly executed.

Question 5

Which of the following best describes the function of the phrase "the child's look on them, yet not the faces of children" in the passage?

A. It highlights the immaturity of the author’s adult students, who lack the critical faculties expected of educated listeners.
B. It suggests that the author’s stories were simplistic and better suited to children than to her intended audience.
C. It underscores the paradox that storytelling can evoke a childlike receptivity in adults without reducing their maturity.
D. It implies that the author’s teaching methods were ineffective for mature learners, who required more sophisticated material.
E. It serves as a metaphor for the decline of intellectual curiosity in adulthood, which storytelling temporarily reverses.

Solutions and Explanations

1) Correct answer: C

Why C is most correct: The passage explicitly traces the audience’s shift from initial quiet to laughter, emphasizing that this transformation occurs spontaneously and communally ("the room grew quieter; and yet quieter... finally broke in ripples of mirth"). The phrase "the story-teller had come to her own" suggests that the power lies in the act of oral storytelling itself, not in external factors like plot sophistication (A), rhetorical manipulation (B), or environment (E). The transformation is depicted as organic and shared, transcending the listeners’ initial state (e.g., skepticism or distraction). Option D misfires by implying adults require a gradual buildup, whereas the passage suggests the change is natural and unforced.