coasting in a city or town where street closing is desirable is never long, no one suffers too great inconvenience if for a few days a street is closed to all but children coasting. Public opinion should prevent coasting where there is danger of children running into traffic at the foot of the hill. Country children ought to be made to count it one of their blessings that they have plenty of coasting and skating privileges.

It is teaching civics when you teach regard for human life, and the difference between bravery and foolhardiness. Make your young people realize that they are under greater obligation than ever to grow up strong, healthy men and women, able to do their own work in the world and the work of those who gave their lives for freedom, and so they must not foolishly risk their lives. One of their New Year Resolutions might be, "I will not knowingly play or skate on thin ice."

Another civic service children should perform in winter is to feed the birds. They should go in parties to do this, scraping the soft snow from the ground before scattering grain, and tying suet and meat bones to trees. No doubt each of them has at home a few bird pensioners on their winter bounty.

The good citizen will not see animals suffer, and the good teacher will train her children either to find homes for stray cats and dogs, or to give them over to the proper authorities to be dispatched. The worthy young citizen will be glad to patch up all cracks and provide warm, comfortable quarters for all live stock. This kindness will extend to human beings, and if one of their number is without proper clothing, the tact of the teacher and some manner of providing a school fund should supply his need. We must not have cold or hungry children in American schools. Almost any teacher can find some way of providing hot water enough to make hot chocolate. I cannot conceive of any reason, now that solid alcohol is a fact, why a big pitcher of hot chocolate could not be made during recess, so that each child on coming in could have a small cup be fore starting to work. The gain in health and enjoyment would pay. But the work of preparing should be passed around among the older children. If solid alcohol failed, trench candles could be used, and what fun it would be to heat water in the playground as the soldiers heated food on the battle-ground!

The beauty of the winter landscape will call to mind that when spring comes the French children will again mourn the orchards destroyed by the enemy. Maybe your children will want to plant a tree in France, especially any former pupil of the school lost his life defending liberty. Seventy-five cents given to the Committee for Devastated France will plant a young orchard to take the place of one wantonly destroyed. All of these trees will be living memorials of the brave dead.

You will not let the month of January pass without teaching Longfellow's verse, and as much of the story of Janus as your children can comprehend. Let the children "play" Janus-two of them standing back to back covered with "robe" from neck down. Let one wear gray hair and beard. Let him who looks to the past tell some facts of last year, of the war, of the work the children did for Uncle Sam, etc., etc. Let the face which looks to the future tell what the world expects to see this year-that that the gate of his temple, always closed in peace, will close never to open again. (Old "Janus" may have told that, for seven centuries in Roman times, the gates were closed only three times and then for short periods).

Let "Young" Janus prophesy what will happen during this year, citing our New Year Resolutions, etc. Janus was sometimes represented with the figure 300 in one hand and 65 in the other a good chance for a little number lesson in Roman and Arabic numerals, and in addition for little tots. He sometimes carried a sword in one hand and a sceptre in the other; children can learn to spell both words, and fashion these of paper. He was guardian of gates; they'll like that conceit, and like making a gate

and modeling his double-faced head to go theron. I believe a world of civic thought could come from a study of Janus, who reigned with Saturn, and civilized Italy, if we cunningly wove into all stories the thought that we must look to the past as well as to the future, that hindsight and foresight are needed in good citizens, that we make mistakes because we forget the lessons of the past, and the beginning of each succeeding month in his honor also, we can go a step farther and think of each day as the beginning of a new year, of 365 opportunities to be better Americans, more worthy citizens of our school and community.

Introducing a Victrola into a First Grade

Electa Bascom

"What is this instrument, children?" asked the Musical Director, pointing to the new Victrola the school had just bought.

"Talking machine - Graphophone," came from here and there. "Victrola," said some child at last.

"Yes," said Mrs. L-e, "this is a Victrola." "Miss Wheeler is going to 'sing' to you this afternoon, and while you are listening to what Miss Wheeler sings, you may sit back in your seats and rest. Of course, we must be very polite while she is singing and be very quiet, so we can hear what she says to us. If you understand anything she says, you may raise your hands after she finishes; it would not be polite to do it while she sings."

Mrs. L- e then put on a "Mother Goose" record, the first part of which was "Hey, Diddle, Diddle," and played

that.

A dozen or more hands went up at its close.

"How many would like to hear it once more? Very well, you were so nice and quiet Miss Wheeler will repeat her song for you; she likes to sing for children."

More hands went up at second hearing. Repeating once more, she said, "This time you may move your lips to the words as Miss Wheeler sings. This brought out happy smiles.

"This time," repeating it again, "I am going to let you sing with Miss Wheeler, but we must wait for the orchestra to play first."

"Oh, some one began too soon! We must start over." "Fine! How do you like to sing Victrola music? I knew you would like it."

"Now, Miss Wheeler will listen while you sing. I will play just what the orchestra plays for Miss Wheeler before she sings, and you be ready and start at the right time. Are you ready?"

"Oh, what a good time we are having!" exclaimed Doris. "Can't we do this every day?"

"Let us sing with Miss Wheeler and we will all stand while we do this. Good! Children," she encouraged, "I am so glad you know how to use your sweet high voices. Now, if you will be seated, Miss Wheeler will sing two more songs that we all love to hear, before she goes.'

Then, with eager ears, they listened to "Little Bo-Peep" and "Little Jack Horner," clapping softly as the Victrola stopped.

"Can't we do it all over again?" pleaded a small Mexican boy, as Mrs. L- e closed the instrument.

"Some day, dear," she said, nearing the door, "some day.

Good-bye, children," and the Victrola lesson was over.

The Bears that Lived in an

Envelope

Algot Swanson

At this time of necessary conservation in the use of paper, it is gratifying to discover much valuable material for handwork in what has always been considered a waste product, namely, used envelopes.

In the spring when the nature talks are of the "wake up" time of the furry sleepers, the children are particularly fond of the story of "The Three Bears." They never tire of this story and it furnishes excellent material for double cutting from envelopes. The envelope must be carefully opened along one of the long sides. From one envelope comes gruff old Father Bear, kindly, motherly Mother Bear and dear roly-poly Baby Bear and Baby Bear's own teenyweeny chair.

From a second envelope come in one piece, the little Brown House in the Wood (the home of the Three Bears) a tree to shade the living-room window and the fence that marks Baby Bear's playground.

How to Use the Patterns

The objects are to be cut double and it is important that each pattern be placed on the envelope with the highest point (marked by dotted line) on the fold of the envelope. I have found an ordinary paper clip a useful device in keeping the pattern from slipping. It is better than pins, as there are no unsightly holes nor warping of the paper. To make the object stand, spread the sides slightly at the bottom and fold the standard on the dotted lines. The standards are to be folded in opposite directions, so that one overlaps the other. This gives the object a broad foundation and no amount of "joggling" causes it to fall.

This sort of cutting is adaptable to the illustrating of almost any subject and the children are delighted with the results because of the stability of the cut-outs.]

H

OW shall I secure expressive reading in my First Book class?" asks the rather discouraged young teacher. "When I tell the children to read naturally, just as they talk, it is not always good advice, for some children talk through closed teeth, others' speech is indistinct.

"Then if I tell them to watch for the punctuation marks, and it will help them, especially the period which tells that the sentence is completed, I find I am making a huge mistake, for the lesson now is simply a hunt for commas and periods.'

No, the solution of the problem of expressive reading will never be reached in these ways. What we should aim at is to secure expression of thought, and that the child must be specially trained to find for himself. Having found it, he should be encouraged to give it to others.

This can be accomplished by questioning on the sentences. For example, "Harry brought his new sled to school. George is asked to tell the class who brought the sled to school. "Very good," replies the teacher, "and now can you tell us where he brought the sled?" "Now tell us which sled he brought to school." "How did the sled come to school?"

A short drill daily on such sentences will be found a great assistance. It is useless to try to get the children to read expressively from their readers if they do not know all the words in the lesson, so that preceding every reading lesson there should be special drill in words and phrases.

We bave a choice of several methods in the teaching of reading the Phonic, the Look and Say, and the Alphabetic. A good teacher can make a success of any of these. Our preference is for the Phonic, because the children have something to fall back on, and if they do not know a word, may get it by sounding.

Blackboard work in Reading should not be abandoned by Senior First teachers. It quickens the eye, is a great help in making up stories, and the children enjoy it. They see how quickly the story flows from teacher's chalk as she writes.

Our blackboard reading lessons are often founded on the War, or on current events of the day, or on the Bible story of the morning.

In writing a story on the blackboard it is not necessary to write every word of the story. Occasionally tell part of it and place asterisks to mark that part. Then when seat-work period comes, write some questions based on the story, including some on the part that was not written on blackboard. This tests the memory.

A picture may be pinned on the blackboard and the story based on it. Suppose it were a squirrel, the teacher might say, "Daisy, pretend you are a squirrel and tell us a story about yourself. Donald, you may be one; perhaps you have a different story to tell us.

Robbie is waiting patiently to tell what he saw in Muskoka last summer, and it is such a good story that teacher says she must write it on the blackboard.

Robbie was in Muskoka last summer. He was visiting some friends who had a nice place beside the lake. They had a tame red squirrel, that used to come to the back door to be fed. It was missing for three weeks, and all thought it had been killed. Then one day they spied Frisky climbing up an old dead tree. In a little while she came with something round her neck. Now what do you think it was? It was a baby squirrel. Robbie watched her as she sped along and dashed into some thick bushes. Soon she came back again for another little squirrel. And to Robbie's surprise he saw Frisky carry over to her new home, one at a time, four baby squirrels! Before Robbie left Mus

koka Frisky and her little family used to come to the back door and were so tame that they would almost eat out of his hand.

Whenever possible let the children personate the characters in a lesson. Such stories as "The Hare and the Tortoise," "The Field Mouse and the Town Mouse, "The Wolf and the Cat" lend themselves easily to this. The Pied Piper is a favorite. Some strips of red and yellow cheesecloth joined together, having a draw-string at the top, serve for a cloak. This with a cap, and a ruler for a flute, will transform a child immediately into a Pied Piper. The rats need no disguise, and the cloak-room serves for the river where they are all drowned.

"May we play the story of the Hare and the Tortoise?" asks Jackie. "I should like to be the Tortoise; may I please?" "Why choose that part?" asks teacher. "Because the Tortoise is a winner," is the reply. "I'd like to be the Hare," ventures Walter. "Walter wants to be the Hare because he's a good runner," whispers his little sister. A judge to decide who is the winner has to be appointed, and Cecil offers his services. He assumes the name of Mr. Fox and takes up a position near the bridge (the back of the room).

When all is ready, the slow moving Tortoise makes his entrance on all fours, from the cloak-room, and moves carefully along. The Hare emerges from the same place a little later, and with a few bounds is soon up to the Tortoise.

Hare Good morning, Mr. Tortoise; it's a fine day. Where may you be going?

Tortoise I'm just on my way to the river to get a cool drink. See the city 'way off in the distance? Well the river is over there!

Hare You certainly have a long way to go. What a pity you cannot run as fast as I can, for then you might soon get there.

Tortoise For all I'm slow, I believe I could beat you in a race to the river.

Hare You think so? Well, there's Mr. Fox, he can be judge, and we'll have a real race. (Mr. Fox comes forward, stands beside the contestants, and in his most impressive manner starts the race by calling "One out, three GO!" The Hare with quick leaps is soon far ahead.)

two

Hare (yawning) I feel sleepy. That slow old fellow will never catch up to me. I might as well take a nap. (Lies down, closes his eyes.)

(The Tortoise keeps on his way and reaches his goal at last.)

Hare (waking up and looking around) Strange I do not see any sign of the Tortoise. What a slow old chap he is! I'll go back a bit and look for him. (Turns round, hops in opposite direction.) No, I do not see him. I'l go on by myself to the river and get a drink and wait for my slow friend.

(The Hare gets to the river and is more than surprised to see the Tortoise already there waiting for him.)

Tortoise (laughing) You're beaten, Mr. Hare. It's very easy to see that the race is not always won by the swift.

Expression can also be taught by taking opposites.
My clock is fast-My clock is slow.
Our house is cold-Our house is warm.
This apple is hard-This apple is soft.

Or by teacher giving an affirmative sentence and the class making it negative.

John gave his brother a dime.

(Continued on page 52)

Teacher To-day we will study "Surya Bai," a tale taken from "Old Deccan Days," by M. Frere. Before looking at this particular tale we might note a few general characteristics of these tales. They are the tales of a Hindoo people of Southern India, the Lingaets, noted for frugality, intelligence and industry. These Hindoos were marked by a superior civilization and a social unity. They had a beautiful country by the sea-coast and many old architectural remains of former dynasties. These tales were taken down by oral tradition by M. Frere, from an old woman who told them to her grandchildren. Speaking of the tales, this old nurse said, "In books they put down stories wrong, cut them short, leave out the prettiest part, and jumble the end and the beginning.

Naturally the tales have some common characteristics which are Oriental. The inevitable jungle, the chattee and the saree, the well and the bazaar, appear frequently. Beautiful trees, such as the pomegranate, the banyan, and the mango, flowers and odors, treasures and gems, occur in profusion. Poisoned food, a long journey, a marriage test, or being thrown into a well, are common episodes. A maid is frequently protected by a hedge of thorns, ditches, or spears, and transformation is very common. The "Rakshas" is a superhuman personage corresponding to the "Ogre." He has the simplicity and stupidity of the Norse giant. The Cobra often is a friendly beast. He is said to carry jewels in his mouth. He is the deadly hooded snake and builds up or destroys the fortunes of the house to which he belongs. No native will voluntarily kill him. The Jackal is the clever animal of the tales and, like Reynard of other tales, is a fine example of the success of wit against brute force, of mind over matter. The leading characters are step-mothers, mothers-inlaw, elder sisters, younger sisters, Rakshas, Rajahs, Ranees, carpenters, wood-cutters, servants, bangle-sellers, milkwomen, etc. Woman's influence in the tales is for good, although in a country where woman often is a slave. Despotism reigns, yet the subject asserts independence as in 'Surya Bai.' "Brave Seventee Bai," the "Daisy Lady," is a wonderful adventure which the Suffrage movement would enjoy. It is a tale of woman's courage, of the new woman who would be fearless and use her reason. There is humor in "The Valiant Chattee Maker" and "The Blind Man, Lame Man, and the Donkey." The latter shows how one sense affects another and teaches fair dealing. It contains motifs very similar to "The Bremen Town Musicians." Incidentally it may suggest a cure for deafness. "Sodewa Bai" is the Hindoo "Cinderella," "Singh and the Cunning Jackals" contains the motif of "The Dog and His Shadow" and "Panch-Rhul Ranee" contains a clog motif similar to the shoes of "The Elves and the Shoemaker." "How the Sun, Moon, and West Wind Went Out to Dinner" is a pourquois myth. "Muchie Lal" is tender and beautiful; it tells how the Cobra took care of Little Ruby Fish.

Turning to "Little Surya Bai" let us notice its particular features. Surya Bai was the Sun Lady and the tale is probably a sun-myth. What would you say was its main theme?

Pupil A Baby cared for by Eagles.

T. Yes, the way in which the Mother and Father Eagle built a great nest, in a lofty tree, made of iron and wood, with seven iron doors, and as big as a little house, and

there took care of the little Baby, reminds one of Mowgli in the jungle. How did the Eagles care for Surya Bai? P. They loved her and they brought her precious things, princesses' dresses, playthings and jewels. When they left to get a diamond ring for her they gave her a year's provisions, a Dog and Cat for company, and fire with which to cook her dinners.

T. Is there anything suggestive in this?

P. Perhaps the twelve-months' journey was symbolic of a year. Six months there was fire in the nest, in spring and summer. When the fire was gone from the nest it became winter until in spring the fire was returned to the nest. This gives the suggestion that the tale is a sun-myth.

T. What other interesting motifs are there? P. How Surya Bai obtained fire from earth. The various tasks the Rakshas Mother gave her to do. The trail motif-Surya Bai scattering the corn in the path from the Rakshas' home to her Eagles' Nest. The poisoned nail. It acted like the poisoned apple given to Snow White.

The Rajah Hunter who made Surya Bai his Queen just
as the Hunter King who saved Snow White.
The transformation motif: Surya Bai, Sun-flower,
Mango-tree and Beautiful Lady.

The Milk-woman and her humble home.
The Rajah and his palace.

T. What elements of Oriental setting are there? P. The Eagles' Nest; the jungle; the well; the palace court-yard; the tents and hunting accessories; the humble hut; the precious jewels; the bazaar; and the sun-flower and the mango.

T. Do you notice any special elements in the characters of the story?

P. The Great Eagles show beautiful comradeship. They show some of the fine things in character: Foresight, endurance, industry, capability, faith, sacrifice, love and sorrow.

T. What would you say of the character of Surya Bai? P. She is lovely and beautiful. She seems like a daughter of the gods in her ability to think a way out. She is gentle and sweet, but also could assert herself. When the Mother Rakshas asked too many favors she quickly said that she would seek the fire elsewhere if it were not given her then. She also exercised caution and judgment in not returning to the Rajah's palace. She showed a natural heart of love and goodness in trusting her Sister.

T. Oriental characters are apt to be symbolic, distinctly expressive of a quality. What does the Attendant symbolize?

P. Faithfulness.

T. And the Rajah?

P. The Rajah expresses the ordering of society, government by the head of the house. He also expresses a true estimate of worth, regardless of wealth.

T. What do you think of the Milk-Woman?

P. She is a very strong character. She is a queen of a woman though in humble circumstances. She certainly ruled her Husband and Sons. She asserted her rights before the Rajah in a very independent fashion. She does not seem domineering at home. She probably had good reason to manage her household so fully. She was very charitable to Surya Bai and very considerate of her.

She was rather keen in deciding about the mango; and her Son's conversation with her indicates that she was humorous. Her home, though poor, seemed a pleasant place.

T. What do you consider the message of this tale? P. I suppose it is similar to that of Cinderella, that loveliness and goodness such as that of Surya Bai, womanly sweetness and gentleness, is bound to win its reward in the end, even if, as in this case, it meets the strange care in babyhood by Eagles, the danger from Rakshas, and a jealous Sister, the transformation into a flower and a tree, and a trial of patience and endurance through sorrow.

T. Now let us dictate the drama which the story would make. You found in making a preliminary outline that the drama made how many Acts?

P. I suppose two: One, "Surya Bai's Childhood," up to the time she became a Queen; and the second one, "Surya Bai as Queen.

T. It is really a double drama in two parts. It seems simplest to call each part an Act and let it consist of a number of scenes. Had you any special difficulty in work

ing out the drama? P. I felt the main problem was to see that no part of the life of Surya Bai is repeated. In the story her history is told more than once. It is necessary to unify the story in the drama.

T. Yes, and you had to change the beginning. It would never do in a drama to begin by disclosing that Surya Bai as a baby was stolen. In the drama you must begin with action. What is the centralizing element? P. The fortunes of Surya Bai, whatever happens to her.

T. The climax in the first Act is the Rajah's finding Surya Bai, and the conclusion, their marriage. The climax of the second Act is Surya Bai's telling her own history and the finding of Surya Bai by the Attendant; and the conclusion is the return to the palace home and the good rewards to all. Will you first give the outline of the Acts and Scenes?

Wife Eagle Yes, that is true; but to fetch it we must go very far.

Husband Eagle Such a ring is not to be got nearer than the Red Sea, and that is a twelve-month's journey from here. Nevertheless we will go. But we must provide carefully for Surya Bai while we are gone. Daughter, your Mother and I must go away on a long journey. We shall be gone twelve months. Here in our strong nest we leave with you enough food to last you well. Do not waste it. And here are a Dog and a Cat to take care of you and keep you company. There is fire in the fireplace, so you will have all you need and will not have to leave your nest. Be sure to keep the seven iron doors locked.

Wife Eagle Good-bye, dear Child, we will be back at the end of twelve months and bring you a beautiful diamond ring! Take good care of yourself! (Eagles fly off.)

Surya Bai I shall not be lonely when they are gone, for I shall have so many things to do. I must cook my dinner and keep the Nest neat and clean. I can take dinner with the Sun and supper with the Moon, and I can talk to the Stars. Besides, I shall have the Cat and Dog for company, and Mother and Father Eagle will soon be back. Looks in box.) Why, that naughty Cat has taken all I cooked! Come here, Tommy, I must spank you for taking all that nice dinner! You don't need to take things, I will give you your dinner. Never do that again! Tommy I do not like being whipped and I do not like to be caught at a trick.

Towzer Never do it again or our Mistress will not like you.

Tommy What do you know about it? I'll put out the fire.

Surya Bai O Tommy, what have you done? We cannot cook dinner without that fire and our last dinner you took. What shall I do? We can have nothing to eat. I must try to think out a way.

Towzer Bow! wow! I'm so hungry! Three whole days with no food is a long while.

Surya Bai Yes, I know it is. We must have some fire. I will climb to the edge of the nest to see if there is any fire in the country below. (Opens the doors.) Very far off there, near the end of the sky, I see a thin curl of blue smoke. I will try to get some fire. Tommy, you and Towzer keep the Nest till I come. I will let myself down the tree.

Mother Rakshas How lovely this Child is, as beautiful as the sun and as bright, with her many jewels! What a dainty morsel she would be! If my Son were nly here he would eat her. I will try to detain her till his return. Who are you and what do you want?

Surya Bai I am the Daughter of the Great Eagles, but they have gone a far journey to fetch me a diamond ring, and the fire has died out in the Nest. Give me, I pray you, a little from your hearth.

Mother Rakshas You shall certainly have some, only first pound this rice for me, for I am old and have no daughter to help me.

Surya Bai O yes! I will gladly do that for you. Mother Rakshas If you are kind, grind this corn for me, for it is hard work for my old hands.

Surya Bai Here is the corn, Mother.

Mother Rakshas Sweep the house for me first, and then I will give you the fire.

Surya Bai Now, Mother, I must go!

Mother Rakshas Why should you be in such a hurry to go home? Fetch me some water from the well and then you shall have the fire.

(Continued on page 60)