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CONVERSATION: QUESTIONS AND ANSWERS II

Have the children first read the directions about answering the questions, sentence by sentence, and make sure that they realize what every statement means. Then have them read and answer the questions one by one, as though they were studying from the book alone. See that they follow the directions in doing this. A few of the easier questions may be left for them to answer to themselves in the short study period that should immediately follow this exercise. In this study period, each child should answer to himself every question in order, both those that have already been gone over in this class study and those that were omitted. See that the children understand the directions about bringing a picture and thinking of questions that they would like to ask.

III (6). Conversation: Questions and Answers

The immediate dominant purpose of this conversation exercise on the fable, Grand Tusk and Nimble, is to prepare the pupils for the dramatization and the reproduction of the story which are to follow in succeeding lessons. To carry out this purpose, the characters and places in the story must be recalled and described vividly and clearly, the events must be reproduced and seen distinctly in the order of their occurrence. To effect this orderly recall and clear description, the teacher's questions must be systematic, progressive, and pointed. She must

herself avoid and discourage in her pupils all irrelevant questions and remarks. The whole exercise should give excellent training in orderly thinking and clear expression. It will test the success of the pupils' study period, and prepare them to study the next similar exercise more successfully.

Substantially the following questions should be asked, and asked in about the order given. These questions include the questions that the pupils studied in preparation for this exercise. Many other questions may suggest themselves; only such as are consistent with the continuity of thought should be asked. Do not forget to call for questions from pupils. If they have no opportunity if they are not required - at this exercise to ask any of the questions that they were directed to think of in their study period, they will prepare none next time. Suppress at once or hold in abeyance all questions that tend to divert the thought from the orderly essentials of the story. If this is skillfully done, the questioner will not be discouraged, but he and all the class will be given a lesson in discriminating between the relevant and the irrelevant, a power indispensable to effective thinking.

The teacher should prepare herself so thoroughly for this exercise that she will need no book.

With

the story held vividly in mind, the questions will come easily and in the right order. Of course, the pupils are without open books.

CONVERSATION: QUESTIONS AND ANSWERS 13

People in the story.

Why was the elephant called Grank Tusk? Have you ever seen an elephant? (Show pictures of elephants children have brought, and ask the children to point out tusks. Have a picture ready to show in case no child has remembered to bring one. Keep for use in Section VIII all pictures of elephants that you can collect.) Why was the monkey called Nimble? What does nimble mean? Have you ever seen a monkey? Where? What did he do that proved he was nimble? Where do monkeys and elephants live when they are wild? (The story does not tell this, but a few words of description of an Indian forest or jungle will make the story more real to the children.) Have you ever seen an owl? Where? If not an owl, have you ever seen a picture of one? What kind of eyes did he have? Did he look wise?

Places in the story.

Where do you think the elephant and the monkey were when they began to quarrel? To whose house did they go? Where did the owl live? After leaving the owl's house, where did they first stop? What was their next stop after crossing the river?

The talking in the story.

Who began the quarrel? What did he say? Say, "Behold me! See how big and strong I am!" just as you think Grand Tusk said it. Say, "Behold me! See how little and clever I am!" just as you think Nimble said it. When they asked the owl which was better, to be big and strong or to be little and clever, what did he tell them to do? Say these words just as Nimble said them that is, show how frightened he was: “Oh, I never can cross that wide river. Let us go back!" What did Grank Tusk answer? What did Grand Tusk say when he found he could gather no fruit? Give Nimble's answer just as you think he spoke. When Grank Tusk and Nimble returned to the home of Dark Sage, what questions did he ask them? What did each answer? What wise words did Dark Sage speak?

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Something to think about.

Do you think the owl knew just what would happen when he sent Grand Tusk and Nimble for the mangoes, or do you think he only wanted to get some fruit for himself? Was Dark Sage a good name for the old owl?

IV (9). Dramatizing the Fable, "Grand Tusk and

Nimble "

The initiative in dramatizing should always be taken by the children. They will have to learn how to plan and carry out a play; but even in this, which is possibly their first experience, they should be allowed and encouraged to think out all they can for themselves. Hence the questions and suggestions addressed directly to the children. The teacher must help them, in class exercise, to study this section, Playing the Story, “Grand Tusk and Nimble," taking up question by question, with their books open before them, much as in the study of Section II. Guide them as much as necessary, but let the plan worked out for the dramatizing be really the children's own. Where there is opportunity, as in the assignment of parts, the location and width of the river, the choice of something for a mango tree, encourage a variety of suggestions, and then let the children decide, so far as possible, on what is best.

The imagination should be depended upon to furnish nearly all the setting. Almost any place in the room will serve for the scene of the beginning

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of the quarrel, a dark corner, or closet, for the owl's home, a five or ten foot space between two cracks in the floor for the river; and a chair or bench will enable Nimble to climb the entirely imaginary mango tree. An imaginary basket is quite sufficient for the carrying of imaginary mangoes.

Have the play follow immediately upon the preparation for it. In the play, as well as in the preparation, encourage originality and initiative. There is no value whatever in a mechanical dramatization in which each actor remembers just what he is to do and the exact words which he is to speak. Each one must feel, live, be, the part he is taking; then he will act and speak spontaneously, naturally, and fittingly. No two children, playing in this way, act and speak just alike in the same part.

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To guard against mechanical uniformity a stiff and wooden production, which is quite likely to grow out of the teacher's desire to have the play go off smoothly, this very first play should be repeated several times, as convenient, but with different pupils taking the parts. Each little actor should always be encouraged to play his part as he conceives it, not as some one played it before. This originality may be encouraged by discussing the performances with the children, comparing, commending excellencies, and suggesting improvements.

In this first, as in subsequent plays, it will be best to have some of the more capable children give the

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