oy-box, or in the street after a frightful fall from
the window, or spinning in a paper boat that bobbed, or sailing under
the crossing, or lying at full length within the fish that swallowed
him, or at last melting in the full glare of the hearth fire. It is a
very good example, too, of vividness of emotion. _The Little Elves_
illustrates steadiness of emotion, it is pervaded by the one feeling,
that industry deserves reward. The French tale, _Drakesbill_, is
especially delightful and humorous because "Bill Drake" perseveres in
his happy, fresh vivacity, at the end of every rebuff of fortune, and
triumphantly continues his one cry of, "Quack, quack, quack! When
shall I get my money back?" _Lambikin_ leaves the one distinct
impression of light gaiety and happy-heartedness; and _The Foolish,
Timid Rabbit_ preserves steadily the one effect of the credulity of
the animals, made all the more prominent by contrast to the wisdom of
the Lion. Variety of emotion appears in tales such as _Cinderella,
Little Two-Eyes, Sleeping Beauty_, and _Three Pigs_, where the various
characters are drawn distinctly and their contrasting traits produce
varied emotional effects. All the great fairy tales appeal to emotion
of a high moral quality and it is this which is the source of their
universal appeal. It is this high moral quality of the spiritual
truth, which is the center of the tale's unity, holding together all
the parts under one emotional theme. This is the source of the
perennial freshness of the old tale; for while the immortal truth it
presents is old, the personality of the child that meets it is new.
For the child, the tale is new because he discovers in it a bit of
himself he had not known before, and it retains for him a lasting
charm so that he longs to hear it again and again. The beauty of
truth, the reward of goodness, and the duty of fairness, give a high
emotional quality to _Little Two-Eyes_; and _Sleeping Beauty_
illustrates the blighting power of hatred to impose a curse and the
saving power of love to overcome the works of hatred.

Considering folk-tales from the standpoint of emotion, if asked to
suggest what author's work would rank in the same class, one is rather
surprised to find, that for high moral quality, variety, and worthy
cause, the author who comes to mind is none other than Shakespeare.
Perhaps, with all due respect to literature's idol, one might even
venture to question which receives honor by the com