its lighter form the spirit of devotion shows itself in numerous festivals so characteristic of the Japanese, the Festival of Cherry Flowers, the Boys' Festival, the Dolls' Festival, Memorial Festivals such as the one in preparation for the dog, Shiro, and Christening Festivals, as that held for Princess Moonlight.

Is there any quality considered a virtue in the tales which to-day would not be esteemed so very much?

P. They thought highly of strategy and cunning, as in "Yamato Take."

T. Yes, they admired fairness and keeping one's word, but strategy and craft were upheld at the same time that deceit was considered a fault. We have cunning in "The Monkey and the Jelly-Fish" and in "The White Hare and the Crocodile."

What faults are condemned in the tales?

P. Greed, discontent, disobedience, wickedness, cruelty, jealousy, hatred, stupidity, deceit and murder are the sins that receive punishment.

T. Did you notice any feature of the tales we have not mentioned?

The pleasant custom of giving gifts appears in several tales: Urashima receives a lacquer box; the Mother receives a mirror in "The Mirror of Matsuyama"; etc.

T. There are some fine animal tales among these tales. "The Jelly-Fish and the Monkey" is humorous and very well told; it has very evident structure so that you could easily mention its leading episodes. What are they? P. 1 The Dragon King wins a Bride.

2 The Bride becomes ill. The King consults the Doctor. He calls in the Steward. The Steward calls the Jelly-Fish, the Kurage, and commissions him.

3 The Jelly-Fish arrives at Monkey Island and finds the Monkey in a pine tree. He takes him across the sea, halfway towards the Dragon Realm and then back again to the pine tree. The Monkey derides the Jelly-Fish.

4 The reception of the Jelly-Fish on his return without the Monkey. The Punishment of the Jelly-Fish.

T. A fine animal tale of a dog, Shiro, is "The Man Who Made Withered Trees to Blossom." Another very good tale is "The Quarrel of the Monkey and the Crab." This tale has been illustrated in The Illustrated London News, Christmas, 1912, by Edward Detmold. The close of this story is a motif similar to "The Bremen Town Musicians": the Chestnut, the Bee, and the Mortar, friends, all help the young Crab to terrify the Monkey and to avenge the Father Crab's death. "Momotaro, the Son of a Peach," also reminds one of "The Bremen Town Musicians"; Momotaro collects the Dog, the Monkey and the Pheasant, who journey with him to conquer the Goblins of the castle.

The opening of "The Sagacious Monkey and the Boar" is very similar to "The Bremen Town Musicians": The Monkey overhears his master complain he is no longer of use to him and he must therefore be sold. This story is one of the simplest and shortest and might be used by the second grade. The other tales are suited for use in the third and fourth grades. A few tales might not be used; we have mentioned the best ones, I believe, with the exception of the last tale, "The Stones of Five Colors and the Empress Jokwa." This is an old Chinese tale used by the Japanese. It is interesting because it tells how the Empress mended a part of the broken heavens by using a paste made from stones of five colors and restored a pillar to the sky by using the legs of a large tortoise. This tale seems to be mythical, representing their Majesties of Light, the Sun-God and the Moon-God, and a conflict of the WaterKing and the Fire-King. It seems to say that both fire and water must occupy their accustomed places for the harmony of the universe. The color paste (showing the Chinese art of porcelain making) may typify the colors which make up light.

Would you consider any of the tales especially good for dramatization?

P. "Kintara, the Golden Boy," would make a very pleasing drama. It has humor, the pleasure of comradeship with the animals, and of wrestling, and the beauty of strength. "The Tongue-Cut Sparrow" has a theme similar to "Pandora's Box." It contains a Japanese dinner and a Suzume-odori, "sparrow-dance." It has two parallel plots, which is characteristic of a number of the tales.

T. "The Sagacious Monkey and the Boar," because of its simplicity and structure, would make a good drama. Suppose you give the scenes.

P. SCENE I The Monkey's soliloquy. He overhears the Monkey-Man telling his Wife to send for the Butcher next morning to sell the Monkey to him.

SCENE II The Monkey tells his troubles to the Wise Boar and gets his advice. A scheme is planned.

SCENE III The Baby is stolen from the porch the next morning by the Boar. The Monkey rescues the Baby; and the Butcher, when he comes, is sent back.

T. Let us now take up our particular work for to-day. "The Happy Hunter and the Lucky Fisherman," as you found it in The Storytellers' Magazine, February, 1914. This is a Japanese folk-tale of unusual interest. It is a national myth, for it appeals to patriotism and love of ancestry in accounting for the origin of the first emperor. It appeals to national pride in tracing the emperor's lineage to such ancestors as the worshipful Sun and the Beloved Sea.

What familiar Japanese pictures does it present? P. It gives a picture of the wild hunt among the mountains amid the beauty of flowers, and of the peaceful fishing from the rocks by the sea, with the low rice fields in the distance and many beautiful birds nearby.

T. What would you say was its theme and what sort of an appeal does it make?

P. Its theme is envy between two brothers and its message is peace between brethren and love at last. It has an atmosphere of courtesy and is an expression of the true Christmas spirit.

T. We might notice in this tale some motifs common to a number of fairy tales. You were asked to look up a discussion of motifs in fairy tales in the author's "A Study of Fairy Tales," (on page 97). Suppose you give some motifs here which are common to other tales and men tion the tales inwhich they occur.

P. Success of the youngest. In this case be wins the kingdom. Parallels are found in the Norse Boots, Grimm's Dummling, who wins the Golden Goose, or the English Jack the Giant-Killer.

P. A supernatural element. Here the Sword-Father can tell the Happy Hunter something which will prove of great help to him. He has a parallel in Hawthorne's Old Man of the Sea, who guides Hercules to the Garden of Hesperides in "The Three Golden Apples."

P. The marvelous element. This is the fairy ship common to many tales, especially Norse ones. Here the ship could glide down so wonderfully from the mountain into the sea. It sails without rudder or sail to reach the realm of the Sea-King. In Norse myths the fairy ship that Loki brought to Asgard and gave to Frey was called Skidbladner. It would go wherever its master wished, no matter how the sea was running or how the wind blew. It could be folded up and carried in one's pocket. In Norse popular tales Shortshanks obtained a tiny ship which would take him over fresh or salt water, over high hills and deep

vales.

P. The realm of the Sea-King. We find this in many tales: in Andersen's "Mermaid," Matthew Arnold's "Forsaken Merman," Tennyson's "Merman and Mermaid," the German "Lorelei," La Motte Fouque's "Undine," and in Grimm's "Nixie in the Mill-Pond." We have mentioned previously the Japanese tales containing this theme.

P. A hero who climbed up a tree, is discovered and then comes down, is found in other tales. In the Bible Zaccheus climbed into a sycamore tree when Christ passed through Jericho, was discovered and had to come down.

Sometimes the discovery is made by looking into a we' Bellerophon looked into the fountain Pirene and saw th reflection of the silvery Pegasus. In "The Bremen Town Musicians" the Rooster took refuge in a tree; and in English tales Mr. and Mrs. Vinegar sought safety in a tree. P. A Council. The Council of Mice discussed who should bell the cat. The Council of Frogs considered how they should get a king. The Council of Birds decided who should be king. The Council of Foxes proposed that foxes do away with tails. A beautiful Council of Trees is found in the Bible, Judges 9: 8-15, telling how the Trees met to choose a king. Here we have a Council of Fishes, with the Cuttle-Fish its hero, called by the Princess to find the lost hook.

P. The magic element. Here it is the jewels which the Princess Umi-Ume gave to the Happy Hunter, that have power to make the waters rise or fall. A similar effect of magic occurs in the Arabian Nights' Tale, "Aladdin and the Wonderful Lamp."

P. The friendly Beast. In this tale it is the Crocodile who carried the Happy Hunter back to Japan from the Dragon King's realm. The Jelly-Fish carried the Monkey in "The Jelly-Fish and the Monkey" and in "Urashima" the Tortoise carried Urashima. The friendly Beast is the Fish in the Scottish "The Stars in the Sky" and the Butterfly and the Swallow in Andersen's "Lizzie Thumb.” In "The Wild Swans" the eleven Swan Brothers carried Elizabeth; and in "The Bronze Pig" the Pig in the Square of Porta Rossa carried the Boy on his back through the streets of Florence. In "The Snow Queen" the Reindeer carried Gerda back to Kay. In "Tom Thumb" a Mouse rode about with Tom Thumb and in "Hansel and Gretel" a White Duck carried Gretel across the pond to her home. T. The plot of "The Happy Hunter and the Lucky Fisherman" varies somewhat from many tales because it contains a secondary tale. The Council of Fish is a neat little episode which would make a separate tale. The tale has also a double climax. What is the first climax? P. The finding of the hook.

T. Yes, and the search for the hook brings in a pleasing suspense. It forms the rise to the climax. The second and real climax is the episode of the magic jewels and the tides, and the conclusion is the reunion and friendship of the Two Brothers after the second jewel caused the tide to fall. You might give the outline of the plot:

P. 1 The introduction, describing the Two Brothers. The exchange of occupations.

2

3 The Happy Hunter's day by the Sea.

The Princess' call of the Council of Fish. d The hook found.

7 The return of the Happy Hunter to the Land. 9 The Happy Hunter as Lord of the Land. 10 The first Emperor.

T. Why is this a good story to give to children?

P. It has a child-spirit of simplicity even though a long tale. Its main characters are few and well-defined. It appeals to the child's love of adventure, of hunting and of fishing. It gives a good picture of Japanese nature, the country, its birds and its fishes. It appeals to the child's heart and his sense of justice. It satisfies a universal desire for peace and good-will among men and for the triumph of the right.

T. What return could you expect from children of the fourth grade who might use this tale?

P. They might make a water color sketch, selecting one episode, "The Hunt on the Mountain," "The Fishing by the Sea," "The Council of Fish," "The Return," etc. Children might be shown some Japanese prints and encouraged to make a collection. "The Council of Fish" might be selected for a dramatic humorous scene, a number of children naming themselves for Japanese fish and circling about the Princess to watch the Cuttle-Fish extract the hook. "The Boat-Trip to the Sea-King's Realm" might be the subject of a written composition. A complete drama might be secured from the children if they care for the story. In that case what names Japanese children have, what varieties of fish, birds, fruit, flowers and landscapes are preented, all would be subjects to be considered. You will notice this version of the tale differs from the Ozaki one in a number of particulars: The Elder Brother suggests the change of occupations; the Brothers meet after the change, at their own home, not at the sea-shore; not the Sword-Father, but the Happy Hunter, makes the boat and makes it according to the Sword-Father's directions; instead of the Dragon-King the Princess calls the Council of Fish and returns the hook to the Happy Hunter; and the title of the tale is slightly different. Now let us turn the tale into a drama.

The Happy Hunter and the Lucky FishermanA Drama*

ACT I

Exchange of Occupations

SCENE I-The Exchange Proposed

The Country, in Japan, near Fujiyama, along the sea-coast

Elder Brother and Younger Brother

of always carrying my rod. Do you go to the sea and let me try my luck on the mountains!

Younger Brother But how can we do it? You know not how to hunt and I know as little how to fish!

Elder Brother Brother, I should like to try my luck on the mountains. Here is my hook.

Younger Brother Since you insist upon it, I consent. I take your hook. And here is my bow, which I do not like to part with, for I love it well. May it bring you good luck!

The Happy Hunter I am tired waiting. Here I have been sitting on these rocks watching that spot in the water to see the line bob. And even when it does and I pull it up there is no fish. If I were in my old hunting ground in Fujiyama's forests how happy I should be! I seem to smell the sweet odor of the magnolias and daphne as I started up the path in the early mornings. I see the swiftfooted stag bounding over the crags and the cunning fox, the kitsune, and the badger and frisky hares leading him. in wild pursuit. I see my arrow as it flew swift and straight to pierce the hurrying falcon. How still it seems here! I miss the sound of my wild free cataract of the hills. Now evening is coming on. evening is coming on. Then how glad I was to carry home the reward of my day's labor through the feathery bamboo woods and to hear the nightingale and the cuckoo sing among the blossoming plum trees.

-Oh! But now I must return home, without a single fish! the line is pulling! It pulls so hard! There, the string broke and the fish has flopped off! And the hook, my Brother's precious hook, is gone! What shall I do?

SCENE III The Return Home

The Country Home of the Two Princes The Happy Hunter and the Lucky Fisherman The Lucky Fisherman I am glad I'm home at last! Hunting is not to my taste. I've never spent so dull a day. And to come home without having killed the smallest bird! My Brother's bow brought me no good luck. Had I kept my book I should be laden with fish. How pleasant and peaceful, how easy and restful it would have been to sit on the rocks and watch the ducks and teal fly by! I could have watched the sand-piper strutting on the beach and the beautiful silver heron stalking in the rice-fields. And I should have had but to cast in my line and pull out my luck. What a mistake it has been for us to try unfamiliar tasks! But here comes my Brother. (Enter Brother) Brother, I shall hunt no more; I have not killed a single bird!

The Happy Hunter And I have not only caught not a

your

hook!

The Lucky Fisherman Lost my hook! My precious (Continued on page 670)

I

Candle Making

N connection with the story of Robinson Crusoe, which was used as the basis for literature in second grade, Copernicus School, Chicago, the following lessons were developed.

Experiments in primitive lighting proved to be excellent material for oral language work, and the lessons that resulted were the foundation for a booklet which was printed in the school print shop by the boys of the Seventh grade under the direction of the instructor of printing.

If cover designs appropriate to the subject matter are desired, the work may be undertaken by pupils of the upper grades and effective results obtained. The covers of the book, "King Corn," illustrated in the November issue of th PRIMARY EDUCATION, are an example of what may be accomplished. One method of applying designs which is found to be satisfactory, is the use of block prints made of linoleum.

A chart to show successive steps in candle making and as a means of exhibiting specimens of the children's work was found valuable. Large letters cut out of bright red paper to form the word "Candle Making" were pasted on the dark green background of the chart. The exhibit consisted of pieces of tallow and paraffin, dipped and mold candles made at school, candles and molds which were the result of the children's experimental work at home, a primitive shell lamp, a clay candlestick and the booklet, "Candle Making."

Posters of "Nimble Jack," of Mother Goose fame, in his well-known jumping feat, were part of the candle work that proved very popular.

The crude but practical mold for making small paraffin candles is easily made and the tiny Christmas candles so dear to the heart of a child will be found delightful December work.

The popular bayberry candles may be made from bay berry wax by following the directions for making dipped candles. These may be fastened to decorated cards by tiny bows of ribbon and prove acceptable Christmas gifts.

A delightful little tale by Hans Christian Andersen, called "The Candles," may be enjoyed during the fascinating story hour. It is the sweet and simple story of an aristocratic wax taper and a lowly tallow candle and would make a charming dramatization.

Pages from the Booklet

HOW HOMES WERE LIGHTED LONG AGO Long, long ago people had only the sun, moon, and stars for light. Their homes were in trees or caves. These people wanted some better way to light their dark caves. They learned the use of fire, but found that fires filled their caves with smoke and were dangerous. So they made bonfire holders, which were large bowls of clay. Sometimes hollow stones were used for bonfire holders.

As people used fire more and more they noticed that fat and oil burned with a clear bright flame. This led them to make torches of wood, of rushes, and of pieces fastened to the wall. They filled the rooms with smoke of bark. These torches were dipped in oil or fat and and so were not satisfactory.

The first lamps were dishes of clay containing fat or oil and wicks of dried moss.

How WE GOT OUR TALLOW READY

We wanted to make a lamp like that of Robinson Crusoe. Some of the children brought tallow to school. We cut it into small pieces and poured a little water over it. We took it down to the cooking-room and put it over the fire. When the tallow was hot we strained it. When it became cool it was hard and white.

SHELL LAMPS

Long ago people sometimes used shell lamps. Joseph thought that Robinson Crusoe might have used one. We filled the hollow part of a shell with melted tallow and placed a wick in the tallow against the edge of the shell.

HOW WE MADE OUR LAMPS

We did not know what shape to make our lamps, so we looked at some pieces of pottery. We made our dishes with mouths for the wicks to rest on. The dishes were made with handles so they could be easily carried. We made our dishes of clay. When they were hard we filled them with melted tallow. We lighted one of the lamps and it burned well.

HOW WE DIPPED CANDLES

After a while people began to make candles. The first candles were made by dipping. One of the children said

How OUR HOMES ARE LIGHTED

In the olden times mothers used to make candles for lighting their houses. It is not necessary to make candles in these days, as our homes are lighted in other ways. So our mothers have more time for other things.

There are three ways of lighting to-day, by oil, by gas, and by electricity. The children of our room were asked how their homes were lighted. Two came from homes lighted by oil lamps, seven from homes lighted by oil lamps and gas, nineteen from homes lighted by gas only, and fifteen from homes lighted by electricity.

Oil lamps are still much used in the country. A lamp has a bowl for the oil, a burner, a wick, and a chimney. The burner has an opening for holding the wick in place. The wick is flat and thin. Small holes in the burner allow the air to pass through and move freely around the wick. Air keeps the wick from smoking. The chimney is made of glass and protects the flame from drafts of air that might put the flame out.

Three Kings in Great Glory

Three kings in great glory of horses and men,
Of horses and men,

In haste come a-riding o'er mountain and fen,
O'er mountain and fen;

For their King is a-waiting, and lo, they would bring,
And lo they would bring,

The best of their treasure to give to their King,
To give to their King.

Poor shepherds lie huddled to-night on the plain,
To-night on the plain,

Their silly sheep guarding from danger and pain,
From danger and pain;

For the wolves howl around them, and bitter the air,
And bitter the air,

That blows o'er the snow-field all frozen and bare.

Come, monarchs, and enter, your Monarch is here, Your Monarch is here,

Doff crowns, on the bare sod fall down and revere, Fall down and revere;

For the best you can offer is little, I trow,

Is little, I trow,

To the Lord God of Heaven you're a-kneeling to now, A-kneeling to now.

Come shepherds and fear not, He will not despise,

He will not despise

The gifts that you bring Him though rude in men's eyes,
Though rude in men's eyes.

See, He's not arrayed here in purple and gold,
In purple and gold,

God's lamb lies as helpless as lamb of your fold,
As lamb of your fold.