less of the mechanical in the reading than in any I had
heard in my visits to schools; but it was exceptionally accurate.

The second form of giving back which has proved a keen pleasure and a
stimulus to growth is a kind of "seat-work." The children are allowed to
make original illustrations of the stories by cutting silhouette pictures.

It will be readily seen that no child can do this without visualising each
image very perfectly. In the simplest and most unconscious way possible,
the small artists are developing the power of conceiving and holding the
concrete image of an idea given, the power which is at the bottom of all
arts of expression.

Through the kindness of Miss Sweeney, I am able to insert several of these
illustrations. They are entirely original, and were made without any
thought of such a use as this.

The pictures and the retelling are both popular with children, but neither
is as dear to them as the third form of reproduction of which I wish to
speak. This third kind is taken entirely on the ground of play, and no
visibly didactic element enters into it. It consists simply of _playing
the story_.

When a good story with a simple sequence has been told, and while the
children are still athrill with the delight of it, they are told they may
play it.

[Illustration: THE FOX AND THE GRAPES]

[Illustration: "THERE WAS AN OLD WOMAN WHO LIVED IN A SHOE"]

"Who would like to be Red Riding Hood?" says the teacher; up go the little
girls' hands, and Mary or Hannah or Gertrude is chosen.

"Who will be the wolf?" Johnny or Marcus becomes the wolf. The kind
woodchopper and the mother are also happily distributed, for in these
little dramatic companies it is an all-star cast, and no one realises any
indignity in a subordinate _role_.

"Now, where shall we have little Red Riding Hood's house? 'Over in that
corner,' Katie? Very well, Riding Hood shall live over there. And where
shall the grandmother's cottage be?"

The children decide that it must be a long distance through the
wood,--half-way round the schoolroom, in fact. The wolf selects the spot
where he will meet Red Riding Hood, and the woodchopper chooses a position
from which he can rush in at the critical moment, to save Red Riding
Hood's life.

Then, with gusto good to see, they play the game. The teacher makes no
suggestions; each actor creates his part. Some children prove extremely
expressive and facile, while others are limited by natur