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From the Library of 

Elizabeth Morton Johnston 

Digitized by the Internet Archive 

in 2012 with funding from 

University of North Carolina at Chapel Hill 




The Japanese mother tells the children fairy tales 


^ fini'n 


Copyright, 1Q04 
By Teresa Peirce Williston 

All rights reserved 
Edition of 1927 



672909 CII+ 2>£iVYnL Y . 




v O retell any of the stories of the Orient to the 
children of the Occident and preserve all the 
original flavor and charm, would be impossible. 
Still there is much in the story, just as a story, to 
delight little readers of America, as well as to broaden 
their sympathies and stimulate new ideas. And our 
practical little Jonathans and Columbias need a touch 
of the imagination and poetry embodied in these tales, 
which have been treasured through hundreds of years 
by the little ones of Japan. 

Every effort has been made to bring Japanese life 
as vividly as possible before the children by means of 
the illustrations. Mr. Ogawa, the illustrator, is a 
native of Japan and a graduate of the Imperial Art 
School of Tokio, and combines the Japanese artistic 
instinct and classic tradition with a knowledge of 
American ideas and methods. 

To Mr. Katayama of Tokio I am indebted for great 
assistance in collecting these stories. 

T. p. w. 
September, 1904.. 








The Preface 5 

A List of the Full-page Illustrations ...... 7 

The Wonderful Teakettle 9 

The Wood-Cutter's Sake ........ 17 

The Mirror of Matsuyama 27 

The Eight-Headed Serpent • • 35 

The Stolen Charm 42 

Urashima 49 

The Tongue-Cut Sparrow 56 

Shippeitaro .65 

A Guide to Pronunciation 73 

A Reading List 75 

Suggestions to Teachers 78 




The Japanese mother tells the children fairy tales . Frontispiece 

Japanese children at play S 

The tinker and his tight-rope dancing badger 15 

" Father, here is some sake for you " 25 

" They danced their very best " 47 

" The palace of seashell and pearl, of coral and emerald" . . .51 

" Rolls of silk and piles of gold " 63 

" He curled up and was soon fast asleep " 67 

^«^HU k TSl^A VJ-^ 

Japanese children at play 

Bis 1 




HE old priest, was very hapny. He had 
found a new treasure, jfls he climbed 
* the hill to the temple where he lived, 
he often stopped to pat his beautiful brass 
teakettle. When he reached the temple he 
called the three boys who were his pupils. 

"See here!" he cried to them. "Just see 
the beautiful kettle I found in a little shop I 
passed. I got it very cheap, too." 

The boys admired it, but smiled a little to 
themselves, for they could not see 
what he wanted of an old 
brass kettle. 

"Now you go on with your 
studies," said the priest. "I will hear you 
recite after a while." So the boys went into 
the next room, and the old priest sat down to 
admire his prize. He sat and looked at it so 


long that he grew sleepy, and nod, bob, went 
his head until in a moment he was fast 

The boys in the next room studied very 
hard for a few minutes, but they were boys, 
and no one was there to see to them, so you 
can imagine what they were doing by the 
time the priest was well asleep. 

Suddenly they heard a noise in the next 

• ' There, the priest is awake, " whispered one. 

"Oh, dear! Now we'll have to behave," 
said the second. 

The third one was more daring. He crept 
up and peeped through the screen, to see if it 
really was the priest. He was just in time 
to see the new teakettle give a spring into 



the air, turn a somersault, and come down a 
furry little badger with a sharp nose, bushy 
tail, and four little feet. 

How that badger did caper and dance ! It 
danced on the floor. It danced on the table. 
It danced up the side of a screen. "Oh, my ! 
oh, my !" cried the boy, tumbling back. "It 
will dance on me next ! Oh, my ! " 

"What are you talking about?" said the 
other two. " What will dance on you?" 

"That goblin will dance on me. I know 
it will ! It danced on the floor and it danced 


Free Public Library, Newark, N. /, 

on the table and it danced on the screen, and 
now I know it is coming to dance on me!" 
said the boy. 

'■What do you mean?" said 
.„ „> -" • the others. ' ' There is no goblin 

here." Then they, too, looked through the 
screen. There sat the kettle just as it had 
been before. 

"You little silly!" cried one of the other 
boys. "Do you call that a goblin? That 
looks very much like a teakettle to my 

"Hush!" said the third boy. "The priest 
is waking up. We had better get to work 


The priest waked up and heard the busy 
lips of his pupils. "What good boys I have !" 
he thought, "Now while they are working 
I will just brew myself a cup of tea." 

He lighted his little charcoal fire, filled his 
kettle with fresh water, and put it over the 
fire to heat. 

Suddenly the kettle gave a leap up into 
the air, spilling the hot water all over the 
floor. "Hot, hot! I am burning," it cried, 
and like a flash it was no longer a kettle, 
but a little furry badger with a sharp nose, 
bushy tail, and four little feet. 

"Oh, help! Oh, help! Here is a goblin!" 
shrieked the priest. In rushed the three 
boys to see what was the matter. They 
saw no kettle at all, but in its place was a 
very angry badger prancing 
and sputtering about the 

They all took sticks and 
began to beat the badger, but 
it was again only a brass 
kettle that answered "Clang, 
clang ! " to every blow. 

When the priest saw that he could gain 
nothing by beating the kettle he began to 


plan how he might get rid of it. 
the tinker came by. 

"That is my chance," thought the priest, 
so he called, "Tinker, tinker, come and see 
what I have for you. Here is an old kettle 
I found. It is no use to hie, but you could 
mend it up and sell it." 

The tinker saw that it was a good kettle, 
so he bought it and took it home. He 
pressed it carefully into shape again, and 
mended all the broken places. Once more 
it was a fine-looking kettle. 

That night the tinker awoke and found 
a badger looking at him with his small 
bright eyes. 

"Now see here, Mr. Tinker," said the 
badger ; " I think that you are a kind man, 
so I have something to tell you. I am really 
a wonderful teakettle, and can turn into a 
badger whenever I wish, as you see. I can 
do other things, too, more wonderful than 

The kind-hearted tinker said: "Well, if 
you are a badger you must want something 
'to eat. What can I get for you?" 

"Oh, I like a little sugar now and then," 
replied the badger, ' ' and I don't like to be set 


r J 


The tinker and his tight-fope dancing badger 

on the fire or beaten with sticks. But I am 
sure that you will never treat me that way. 
If you wish to take me around to the differ- 
ent villages, I can sing and dance on the tight 
rope for you." 

The tinker did this, and crowds came to see 
the wonderful kettle. Those who had seen it 
once came again, and those who had not 
seen it came to see why the people liked it 
so well. 

At last the tinker became rich. Then he 
put his beloved teakettle in a little temple on 
the top of a hill, where it might always rest 
and have all the sugar-plums it wanted. 




r I A HE sun was just rising ^^ 

behind the hills. 

The great pine $^$2$?* 
trees showed each black ^SP^ 
needle against the rosy 
clouds of sunrise. 
The stones 

along the path 
way looked orange in 
the sunshine and purpl 
in the shadow 

The dew-wet 
i^>3 breeze blew sweet 
and fresh over the rice fields. 
A poor wood-cutter was toiling up the 
mountain side. Every morning, almost 


before the sun was up, he might be seen 
climbing to the wooded top of the mountain. 
No one worked so hard as this poor wood- 
cutter, yet no matter how hard he worked, 
there was never enough wood in his pile at 
night to please him. 

This morning, as he walked along, he talked 
to himself. "It seems to make no difference 
how early I start or how late I work at night, 
I never have enough money to buy the things 
I wish for my old father and mother. Now at 
their age they need tea and sometimes a cup 
of sake." 

So he set to work harder than before. It 
was very warm and he was very tired as well 
as hungry. Suddenly close by where he was 
chopping he saw a fat young badger fast 

"Well!" thought the wood-cutter, "here is 
something I might take home to my father 
and mother. He would make a fine stew." 

The more he looked at the sleeping badger 
the less he wanted to kill him. If he were 
awake it would be different, but to kill him 
asleep ! The wood-cutter could not do it. 

He said to himself, "No, I cannot kill him. 
I will just work harder, and see if I cannot 


earn money enough to buy them something 
extra for to-morrow." 

Just then the badger stood up. He did not 
run away as you might expect. He stood 
looking at the man. It almost seemed as 
though he smiled. 

The wood-cutter stared at him with his 
mouth open. You do _^ not expect the 
badger you are just &jmw^t S°^ n S to kill to 
stand and smile ^^IIB* at y° u - But 
this badger 4^^^^^^^^^ spoke, and 
this is what ^^Pim; he said : 

"Now, Mr. 4^^Kl^^K^ Wood-cutter, 

^•**>_ j* 

/ V- 


you did well not to kill me. In the first 
place you could not do it. More than that, 
since you were good to me, I will be good to 
you. You cannot guess all the things I can 
do for you. But first, will you just go beyond 
that pine tree and bring me a smooth flat 
stone you find there." 

The wood-cutter hurried to get the stone. 
When he reached the place there lay a rich 
feast all spread out on dainty dishes. 

The wood-cutter thought of his father and 
mother. He wished he might take them just 
a bite of some of these dainties. He would 
not touch anything that was not his own, 
however, so he began to look for a smooth 
flat stone. 

" He-he ! " chuckled some one behind him. 
He looked around. It was the badg^£,. -laugh- 
ing until his bushy tail shook. 

' ' Does it not look good ? Why don't you eat 

' ' Oh, I did not wish any for myself. I only 
wished that my poor old father and mother 
might have such a feast as that for once in 
their lives." 

"Never mind, they are eating just such a 
one this minute." 




The wood-cutter stared. "Why, we have 
only rice and water in the house," he said. 

"They are eating just what you see here," 
said the badger. 

" Where could they get it?" 

fap-vUp, rap-a-Up, yH| 

"I sent it to them, and this is for 3^ou and 
me. So sit down quickly, for I am very 

They sat down and ate and ate, now dango, 
or dumpling, now go '2 en, or boiled rice. Then 


eggplant, sake, cakes, and fruits until the 
wood-cutter could eat no more. 

The badger looked like a round fat dump- 
ling himself, he was so full. 

"Rap-a-tap, rap-a-tap, rap-a-tap, rap. 
Rub-a-dub, rub-a-dub, rub-a-dub, rap." 

It sounded like the music of the drum beat- 
ing for the soldiers. 

' ' Fan-ta-ra-ra-ra, fan-ta-ra-ra. " 
This was like the music for the dances. 

"Ru-lo, re-lo, ru-le-o, re-lo." . 
It was the wailing of the sad sweet samisen. 
Where did it all come from? The wood- 
cutter was looking everywhere but the right 
place. ' ' Where does all this sweet music come 
from?" he asked the badger. Then he saw. 
It was the badger drumming and strum- 
ming on his skin that was stretched until he 
looked like a dumpling. 

With a chuckle the badger 
disappeared. The wood- 


looked for him, but saw onl»/&g| 
beautiful waterfall. It tumbled 
in foam over the rocks. What 
a sweet song it sang ! 

The wood-cutter knew that he 
had never seen it before. He 
went up to look at it. SniffJ 
something smelled v 
good. He stooped down 
drink of the cold 
sparkling water. 

He drank and 
stared, then drank ^ 
again. It was sake, 
as sure as could be. 
He filled his gourd with i 
and hastened home. 
' ' Father, here is some ^S" 
sake for you! " he cried 

He told hisr father all 
about the badger and S. 

the feast. Then his father told him about his 
feast, too. 

The next morning when he started to work, 
you may be sure he did not forget his gourd. 
He was surprised to see a great crowd of 


■jijW'iJ • 


people going up the mountain. Before this 
he was the only one who would take that 
long, hard climb. They all had gourds in 
their hands, as many as they could carry. 

Some one had listened at the wood-cutter's 
door the evening before, and heard him tell 
about the sake waterfall. 

When they reached the place one of the 
men said : " Now, young man, since we hap- 
pen to know about this place, you need not 
mind if we help ourselves first. We have to 
go back down the mountain to our work, so 
we are in a hurry. First let us all have a 
drink together." 

They all filled their gourds and took a 
long, deep drink. How they stared ! The 
wood-cutter saw that something was wrong, 
so he slipped away and hid behind a big 
pine tree. 

They took one more taste. ' ' Water ! That 
is only water ! " all shouted at once. "Just 
wait until we get that scamp !" But they 
could not find him anywhere. 

Down the hill they went again. They 
were angry to think of that long walk for 

When they were gone the wood-cutter 




ills .1 



1 Fat her, here is some sake" for you* 

slipped out and tasted the water again. It 
was sake, j ust as before. 

After that, whenever the poor wood-cutter 
went there for a drink, or to fill the gourd for 
his father, the water tasted like the richest 
sake, but for others it was only water. 



emsSi, ,-irv;' : 




IN Matsuyama there 
lived a man, h: 
wife, and their 
daughter. They loved each 
other very much, and were very happy 
together. One day the man came 
home very sad. He had received a message 
from the Emperor, which said that he must 
take a journey to far-off Tokio. 

They had no horses and in those days there 
were no railroads in Japan. The man knew 
that he must walk the whole distance. It 
was not the long walk that he minded, how- 
ever. It was because it would take him 
many days from home. 

Still he must obey his Emperor, so he made 
ready to start. His wife was very sorry that 


: ?m 



he must go, and yet a little proud, too, for no 
one else in the village had ever taken so long 
a journey. 

She and the baby walked with him down to 
the turn in the road. There they stood and 
watched him through their tears, as he fol- 
lowed the path up through the pines on the 
mountain side. At last, no larger than a 
speck, he disappeared behind the hills. Then 
they went home to await his return. 

For three long weeks they waited. Each 
day they spoke of him, and counted the days 

until they should 
see his dear face 
again. At last 
the time came. 
Th ey walked 
down to the 
turn in the 
road to wait 
for his com- 
ing. Up on 
the moun- 
tain side some one was walking toward them. 
As he came nearer they could see that it was 
the one for whom they waited. 
The good wife could scarcely believe that 



her husband was inljeed safe home again. 
The baby girl laughed aa® clapped her hands 

to see the toys he broughtr^er. 

There was a tiny imagew Uzume, the 
laughter-loving goddess. Nexrv£ame a little 
red monkey of cotton, with a^tfce head. 
When she pressed the spring he ra*24o the 
top of the rod. Oh, how wonderful waa^the 
third gift ! It was a tombo, or dragon ffy. 
When she first looked at it she saw only a 
piece of wood shaped like T. The cross piece 
was painted with different bright colors. But 
the queer thing, when her father twirled it 
between his fingers, would rise in the air, 
dipping and hovering like a real dragon fly. 

Last, of course, there was a ninghio, or doll, 
with a sweet face, slanting eyes, and such 
wonderful hair. Her name was O-Hina- 

He told of the Feast of the Dead which he 
had seen in Tokio. He told of the beautiful 
lanterns, the Lanterns of the Dead ; and the 
pine torches burning before each house. He 
told of the tiny boats made of barley straw 
and filled with food that are set floating away 
on the river, bearing two tiny lanterns to 
guide them to the Land of the Dead. 


At last her husband handed the wife a 
small white box. "Tell me what you see 
inside," he said. She opened it and took out 
something round and bright. 

On one side were buds and flowers of 
frosted silver. The other side at first looked 
as clear and bright as a pool of water. When 


she moved it a little she saw in it a most 
beautiful woman. 

"Oh, what a beautiful picture!" she cried. 
" It is of a woman and she seems to be smiling 
and talking just as I am. She has on a blue 
dress just like mine, too ! How strange !" 

Then her husband laughed and said : 

"That is a mirror. It is yourself you see 
reflected in it. All the women in Tokio 
have them." 

The wife was delighted with her present, 
and looked at it very often. She liked to see 
the smiling red lips, the laughing eyes, and 
beautiful dark hair. 

After a while she said to herself: "How 
foolish this is of me to sit and gaze at myself 
in this mirror ! I am not more beautiful than 
other women. How much better for me to 
enjoy others' beauty, and forget my own face. 
I shall only remember that it must always be 
happy and smiling or it will make no one else 
happy. I do not wish any cross or angry 
look of mine to make anyone sad." 

She put the mirror carefully away in its box. 
Only twice in a year she looked at it. Then 
it was to see if her face was still such as 
would make others happy. 

The years passed by in their sweet and 
simple life until the baby had grown to be a 
big girl. Her ninghio, her tombo, the image 
of Uzume, even the cotton monkey, were put 
carefully away for her own children. 

This girl was the very image of her mother. 
She was just as sweet and loving, just as kind 
and helpful. 

One day her mother became very ill. Al- 
though the girl and her father 
did all they could for her, she 
grew worse and worse. 

At last she knew that she 
must die, so she called her 
daughter to her and said : _ 
Y My child, I know that I 
must soon leave you, but 
I wish to leave something 



3 2 

my place. Open this box and see 
what you find in it." 

The girl opened the box and 
looked for the first time in a 
mirror. "Oh, mother dear!" 
she cried. ' ' I see }^ou here. Not 
thin and pale as you are now, 
but happy and smiling, as 
you have always been." 

Then her mother said: 
"When I am gone, will you 
look in this every morning 
and every night ? If an}^thin< 
troubles you, tell me about 
it. Alwa}^s try to do 
right, so that }^ou will 
see only happiness here." 

Every morning when the sun rose and the 
birds began to twitter and sing, the girl rose 
and looked in her mirror. There she saw the 
bright, happy face that she remembered as 
her mother's. 

Every evening when the shadows fell and 
the birds were asleep, she looked again. She 
told it all that had happened during the day. 
When it had been a happy day the face smiled 
back at her. When she was sad the face 


looked sad, too. She was very careful not 
do anything unkind, for she knew how sad 
the face would be then. 

So each day she grew more kind and lov- 
ing, and more like the mother whose face she 
saw each day and loved. 





THE great god Su- 
sano walked by 
the river Hi. He 
walked for four days and 
saw no living thing. At 
evening on the fifth day 
he lay down to sleep in 
the bamboo thicket, close 
by the river's edge. 

He dreamed that he 
saw a beautiful maiden 
floating down the river. 
A great monster rose from 
the water and was about 
to swallow her, but the 
god swam out and saved 

Susano wondered about 
his dream, and in the 
morning he said to him- 
self : "In this beautiful 
land it seems strange that 
I find no living thing. I 
will go on up the river 


•&iit' 'v 

to-day, but if by night I find no one, I will 
return to heaven once more." 

As he spoke something floated down the 
blue face of the river. It was a chop-stick. 
Then the god Susano knew that some one 
lived by the river, so he started on to search 
until he found them. 

Toward evening he thought he heard the 
sound of voices. He hurried on, and as he 
turned a bend in the river he saw an old 
woman sitting by the edge of the water and 
weeping. Her husband and little daughter 
sat near her. 

Susano looked at the girl in sur- 
prise, for she seemed to be the same 
one whom he had seen in his dream. 
"What is your trouble?" he 
asked of the woman. " Perhaps I 
can help you." 



The old woman answered: "No one can 
help us. Our beautiful daughter must go as 
her seven beautiful sisters have gone." 

"But tell me all about it," said Susano, 
for he remembered how he had saved the 
maiden in his dream. 

"There is a great monster who owns all 
this land," said the man. "He is a serpent 
eight miles long, and he has eight heads and 
eight tails. Each year, for seven } T ears, he has 
come and carried off one of our daughters. 
Now there is only this one, the youngest, 
remaining. We know that he will soon come 
and carry her away, too. Nothing can save 

Now Susano thought that so beautiful a 
maiden was too good for an eight-headed 
serpent, so he sat down and thought how he 
might save her. He sat by the river bank, 
under the feathery bamboo, and thought. 

The blue face of the river turned to red 
and gold. Then Susano knew that the sun 
had set, but he did not look up. The light 
faded and all was dark. He knew the stars 
were shining, for he could see their tiny 
points of light reflected on the smooth surface 
of the water. Still he could think of no plan. 


At last he said: "Morning thoughts are 
best. I will sleep now, and perhaps in the 
morning I can think of some plan." 

In the morning he was up with the first 
light of the sun. The old woman brought 
him food, but he ate nothing. He sat by 
the water's edge, under the feathery bam- 
boo, and thought and thought. 

Just as the sun was sinking again he went 
to the old man and woman. 

"Weep no more," he said. " I have thought 
of a plan to save your daughter. We will get 
up early in the morning and go to work, but 
to-night we will sleep, for we need rest." 

The next morning they were at work long 
before light. The old woman prepared a rich 
soup in eight huge kettles. Susano and the 
old man made a great wall, having eight 


* t ' 5 * &£:«*» 

gates in it. Before each gate they set a 
kettle of the soup. Then Susano bruised 
some leaves which he found by the river- 
side and put them in the soup. A delicious 
odor arose from each kettle of soup and 
floated over the mountains. 

Very soon they heard a great roar. ' ' Be 
quick ! Hide yourself ! " cried the old man. 
"It is the eight-headed serpent. He has 
smelled the soup and is coming to get some." 

With a noise like thunder the great serpent 
dragged himself over eight hills. His eight 
tails writhed along the ground or whipped 
through the air. Eight red tongues darted 
from his eight great mouths. 

His eight heads poked through the eight 
gates in the wall, and in a moment the soup 
was disappearing. 

Susano stole up, and with one blow of his 
sword cut off the first head of the serpent. 
In a moment another head was gone, then 
another and another. 

The serpent was angry, but he would 
rather lose a few heads than forego the 
soup. Perhaps Susano had put something 
in the soup to make him think so. 

Whiz ! and the tails lashed about. Whiz ! 



and Susano's sharp sword cut off the fifth 
head. The snake was furious with pain, but 
still trying to get the last few drops of soup 
that were left. 

Susano's sharp sword 
^flashed through the air 
and cut off the sixth 
head. Another mo- 
ment and the seventh 
,head fell. 

Just then the serpent 

turned on Susano. His 

(great mouth was open to 

iwallow him, but the 

brave man sprang upon 

)the monster's neck and 

from above cut off the 

last head. 

The great body quiv- 
ered and shook until 
the trembling 
leaves fell 

down from the trees. At last it lay quite 
still, and they knew that the serpent would 
never trouble them again. 

Then Susano took the maiden up to the 
Land of the Smiling Heaven. There they 
lived, always looking down upon the earth 
to see who were in trouble and helping them. 





LITTLE boy sat on the sand at the 
foot of an old pine tree. 

"Pish, pish," whispered the pine 
tree as the spring wind swept through its 

"Swish, swish," said the waves as they 
chased each other up to the yellow sand. 
"Swish, swish," said each wave as it threw 
its armful of white foam at the foot of the 

The boy heard the whisper of 
the pine tree and the splash of the 
waves, but he looked far out over 
the water. He was looking for the 
white Foam Fairy who came each 
day to play with him. 

At last she came, riding 
on the top of the highest wave 



In her 


hand she held something which shone in the 
sun like a drop of dew. 

She sat down on the sand with the boy. 
For a long time she sat watching the waves 
and the sea birds and the soft white clouds. 

At last she said : ' ' Little boy, we have 
played here together for many weeks. Now 
I must go away to another land, so I have 
come to say good-by. Do you see this tiny 
silver ship I have brought you? It is a 
charm and will always keep you well and 

The boy looked up to say good-by, but 
could see only the rainbow that gleamed in 
the spray of the waves. 

She was gone, but close by his hand lay a 
tiny silver ship that shone in the sun like 
a drop of dew. The boy picked it up and 
walked slowly to his home. 

"See, mother," he said, "here is a tiny 
silver ship which 'the Foam Fairy gave to 

"That is a charm, my boy," said his 
mother. "You must alwa}^s keep it, for it 
is very precious." 

Then he showed the charm to his two pets, 
the furry little Fox-cub and the fuzzy little 




Puppy. They sniffed and blinked at it very 
wisely, as though they knew all about it. 

Weeks passed and spring warmed into 
summer. One evening the boy became very 
ill. His mother went to fetch the silver 
charm, for that would make him 
well again. It was gone ! Who 
could have taken it ? 

The furry little Fox-cub 
and the fuzzy 
Puppy were 
very sad. 

They sat 
in the dusk 
and blinked 

flies flashing among the 
trees. They blinked at the stars in the far- 
away sky. Their sharp little noses twitched 
as they smelled the sweet dew on the flowers. 

They thought of their poor sick master 
and wondered how they could help him. 

At last the Fox-cub said: "I believe the 
Ogre must have stolen the charm. Let's go 
and see." 

"Oh, dear! I'm afraid of ogres," said the 
Puppy, with her tail between her legs. "How 
would we ever get it if he did have it ?" 




"Come along. We'll 
a way, "said the Fox- 

They crept softly 
along the path which 
led up the hill to the 
house of the 
Ogre. On the 
way they met 
the Rat. 

"Where are you going?" squealed the Rat. 

"We are going to the house of the Ogre, to 
see if he has stolen our master's charm," said 
the Fox-cub. 

"And I don't know how we'll ever get it if 
he has it," whined the Puppy, with her tail 
between her legs. 

"I'll go, too," said the Rat. "I know how 
you can get it. Just you wait here by this 
tree until I creep up to the house. When 
I am by the window } r ou make a dreadful 
noise and then run for your lives. I'll meet 
you at the foot of the hill." 

"Oh, dear! I'm afraid," sniffed the Puppy. 

" Never mind, he won't hurt you," said the 

They waited by the pine tree until the Rat 




was close to the house. Then they made a 
noise like all sorts of monsters, and turned 
and ran for their lives. 

By and by the Rat came, too. 

"I know where it is ! " he cried. " He has 
the charm and he keeps it in the pocket of 
his sleeve. I know it is there, for when you 
screamed he felt in his pocket the first thing 
to see that it was safe. Now we'llwait till 
he gets over being frightened, and then we'll 
go back and get it." 

Soon they were by the pine tree again. 
Then the Rat said : ' ' Now, you Fox-cub, 
change yourself into a little boy, and Puppy, 
into a little girl. Then both go in and dance 
for the Ogre. Dance for your lives, and keep 
on dancing until I am down the hill again." 

"Oh, dear ! I'm so afraid of ogres," said the 

"Never mind. Dance for your life and he 
won't hurt you," said the Fox-cub. 

Then the Rat hid himself in the folds of 
the girl's long dress. 

The boy and the girl walked up to the door 
of the house. 

"Please, Mr. Ogre, may we dance for you?" 
they asked. 



% £"■ ■<&£&4£&JIS& 

Now the Ogre was very tired and very cross, 
so a dance was just what he wanted to see. 
He said : "Yes, but if you don't dance well, 
I'll eat you." 

They danced their very best and the Ogre 
was so interested that he did not see the little 
Rat slip from the girl's dress and crawl under 
his sleeve. 

He did not hear the Rat gnaw through the 
cloth, nor see him as he slipped away with 
the tin)^ silver ship in his mouth. 

When the Rat was safely down 
the hill, the girl and boy suddenly disap- 
peared. The Ogre never knew what became 
of them. Like a flash they were only a Fox- 
cub and a Puppy, running and tumbling 
down the hill as fast as they could. 

They thanked the Rat for his help, and 
then ran to their master with the silver ship.. 

"Dear master!" they cried, "here is your 
charm. Now you will be well once more." 

Sure enough the boy did get well and lived 
long after the furry little Fox-cub was a 
grown-up Fox and the fuzzy little Puppy was 
a grandmother Dog. But the Dog still puts 
her tail between her legs whenever you talk 
about ogres. 

■ j \ 





"ANY years ago a boy lived down by 
the sea, where the great green waves 
came riding in to break on the shore 
in clouds of salty spra}^ This boy, Urashima, 
loved the water as a brother, and was often 
out in his boat from purple dawn to russet 
evening. One day as he was fishing, some- 
thing tugged at his line, and he pulled in. It 
was not a fish, as he expected, but a wrinkled 
old turtle. 

"Well," said Urashima, " if I cannot get a 
fish for my dinner, at least I will not keep this 
old fellow from all the dinners he has yet to 
come." For in Japan they say that all the 
turtles live to be a thousand years old. 

So the kind-hearted Urashima tumbled him 
back into the water, and what a splash he 
made ! But from the spray there seemed to 
rise a beautiful girl who stepped into the boat 


. *&.:•;.•». 



with Urashima. She said to him : 
"I am the daughter of the sea- 
god. I was that turtle you just 
threw back into the water. My 
father sent me to see if you 
were as kind as you seemed, 
and I see that you are. We 
who live under the water say 

that those who love the sea can never be 
unkind. Will you come with us to the 
dragon palace far below the green waves?" 

Urashima was very glad to go, so each took 
an oar and away they sped. 

Long before the sun had sunk behind the 
purple bars of evening, Urashima and tlie 
Dragon Princess had reached the twilight 
depths of the under sea. The fishes scilftded 
about them through branches of coral and 


"The palace of seashell and pearl, of coral and emerald' 


trailing ropes of seaweed. The roar of the 
waves above came to them only as a tremb- 
ling murmur, to make the silence sweeter. 

Here was the dragon palace of seashell and 
pearl, of coral and emerald. It gleamed with 
all the thousand lights and tints that lurk in 
the depths of the water. Fishes with silver 
fins were ready to come at their wish. The 
daintiest foods that the ocean holds for her 
children were served to them. Their waiters 
were seven dragons, each with'a golden tail. 

Urashima lived in a dream of happiness 
with the Dragon Princess for four short years. 
Then he remembered his home, and longed 
to see his father and his kindred once again. 
He wished to see the village streets and the 
wave-lapped stretch of sand where he used 
to play. 

He did not need to tell the princess of his 
wish, for she knew it all, and said: "I see 
that you long for your home once more ; I will 
not keep you, but I fear to have you go. Still 
I know you will wish to come back, so take 
this box and let nothing happen to it, for if 
it is opened you can never return." 

She then placed him in his boat and the 
lapping waves bore him up and away until 

a «*&* 

his prow crunched on the sand where he used 
to play. 

Around that bend in the bay stood his 
father's cottage, close by the great pine tree. 
But as he came nearer he saw neither tree nor 
house. He looked around. The other houses, 
too, looked strange. Strange children were 
peering at him. Strange people walked the 
streets. He wondered at the 
change in four short 

old man came 



along the shore. To 

him Urashima spoke. 

^9 " Can you 




tell me, sir, where the cottage of Urashima 
has gone?" 

"Urashima?" said the old man. "Urash- 
ima ! Why, don't you know that he was 
drowned four hundred years ago, while out 
fishing ? His brothers, their children, and 
their children's children have all lived and 
died since then. Four hundred years ago it 
was, on a summer day like this, they say." 

Gone! His father and mother, his brothers 
and playmates, and the cottage he loved so 
well. How he longed to see them ; but he 
must hurry back to the dragon palace, for now 
that was his only home. But how should he 
go? He walked along the shore, but could 
not remember the way to take. Forgetting 
the promise he had made to the princess, he 
took out the little pearl box and opened it. 
From it a white cloud seemed to rise, and as 
it floated away he thought he saw the face 
of the Dragon Princess. He called to her, 
reached for her, but the cloud was already 
floating far out over the waves. 

As it floated away he suddenly seemed to 
grow old. His hands shook and his hair 
turned white. He seemed to be melting away 
to join the past in which he had lived. 




When the new 

m oon hung her 

horn of light in the 

branches of the pine 

tree, there was only a 

small pearl box on the 

sandy rim of shore, and 

the great green waves 

were lifting white arms 

of foam as they had done 

four hundred years before. 



fe ** 




N a little 

old house 

in a little 

Vvl . old village in 

Japan lived 

a little old 

man and his 

little ol 


One morn- 
ing when the 
old woman 
slid open 
the screens 
which form 
the sides of 
all Japanese 
houses, she 
saw, on the 
doorstep, a 
poor little sparrow. She took him up gently 
and fed him. Then she held him in the 
bright morning sunshine until the cold dew 




was dried from his wings. Afterward she 
let him go, so that he might fly home to 
his nest, but he stayed to thank her with his 

Each morning, when the pink on the moun- 
tain tops told that the sun was near", the spar- 
row perched on the roof of the house 
and sang out his joy. 

The old man and woman thanked the spar- 
row for this, for they liked to be up early and 
at work. But near them there lived a cross 
old woman who did not like to be awakened 
so early. At last she became so angry that 
she caught the sparrow and cut his tongue. 
Then the poor little sparrow flew away to his 
home, but he could never sing again. 

When the kind woman knew what had 
happened to her pet she was very sad. She 
said to her husband : "Let us go and find our 
poor little sparrow. " So they started together, 
and asked of each bird by the wayside: " Do 
you know where the Tongue-Cut Sparrow 
lives ? Do you know where the Tongue- 
Cut Sparrow went?" 

In this way they followed until they came 
to a bridge. They did not know which way 
to turn, and at first could see no one to ask. 


At last they saw a Bat hanging head down- 
ward, taking his daytime nap. ; "Oh, friend 
Bat, do you know where the Tongue-Cut Spar- 
row went?" they asked. 

"Yes. Over the bridge and up the moun 
tain," said the Bat. Then he blinked his 
sleepy eyes and was fast asleep again. 

They went over the bridge and up the 
mountain, but again they found two roads 
and did not know which one to take. A little 
Field Mouse peeped through the leaves and 
grass, so they asked him: "Do you know 
where the Tongue-Cut Sparrow went?" 

' ' Yes. Down the mountain and through the 
woods," said the Field Mouse. 

Down the mountain and through the woods 
they went, and at last came to the home of 
their little friend. 

When he saw them coming the poor little 
Sparrow was very happy indeed. He and his 
wife and children all came and bowed their 
heads down to the ground to show their re- 
spect. Then the Sparrow rose and led the old 
man and the old woman into his house, while 
Jhis wife and children hastened to bring them 
boiled rice, fish, cress, and sake. 

After they had feasted, the Sparrow wished 

- s»aJ sV#,»'. L 

to please them still more, 
he danced for them what 
called the "sparrow 

When the sun be 
gan to sink, the old 
man and woman 
started for home. 
The Sparrow 
brought out two bas- 
kets. "I would like 
to give }^ou one of 
these," he said. 
"Which will you 
take?" One basket 
was large and looked 
very full, while 
the other one 
seemed very 
small and light. 
The old people 


thought they would not take the 
large basket, for that might have all the 
Sparrow's treasure in it, so they said : "The 
way is long and we are very old, so please let 
us take the smaller one." 

They took it and walked home over the 
mountain and across the bridge, happy and 

When they reached their own home they 
decided to open the basket and see what the 
Sparrow had given them. Within the basket 
they found many rolls of silk and piles of 
gold, enough to make them rich, so they 
were more grateful than ever to the Sparrow. 

The cross old woman who 
had cut the Sparrow's tpngue 
was peering in through the 
screen when they opened 
their basket. She saw the 
rolls of silk and the piles of gold, and planned 
how she might get some for herself. 

The next morning she went to the kind 
woman and said : "I am so sorry that I cut 
the tongue of your Sparrow. Please tell me 
the way to his home so that I may go to him 
and tell him I am sorry." 

The kind woman told her the way and she 
set out. She went across the bridge, over the 


tt%».'3g2^H"'&$^?\\y$~$W- : '^ 



mountain, and through the woods. At last 
she came to the home of the little Sparrow. 

He was not so glad to see this old woman, 
yet he was very kind to her and did every- 
thing to make her feel welcome. They made 
a feast for her, and when she started home 
the Sparrow brought out two baskets as be- 
fore. Of course the woman chose the large 
basket, for she thought that would have even 
more wealth than the other one. 

It was very heavy, and caught on the trees 
as she was going through the wood. She 
could hardly pull it up the mountain with 
her, and she was all out of breath when she 
reached the top. She did not get to the bridge 
until it was dark. Then she was so afraid of 
dropping the basket into the river that she 
scarcely dared to step. 

When at last she reached home she was so 
tired that she was half dead, but she pulled 
the screens close shut, so that no one could 
look in, and opened her treasure. 

Treasure indeed ! A whole swarm of 
horrible creatures burst from the basket the 
moment she opened it. They stung her and 
bit her, they pushed her and pulled her, they 
scratched her and laughed at her screams. 

&' & 



■ ; &m 


At last she crawled to the edge of the room 
and slid aside the screen to get away from the 
pests. The moment the door was opened 
they swooped down upon her, picked her up, 
and flew away with her. Since then nothing 
has ever been heard of the old woman. 














! 'W 





name of a very brave 
man in Japan. One time 
he was going on a long journey. 
He had to go through woods and 
over mountains. He crossed 
rivers and plains. Near the 
end of his journey he came to a 
great forest. The trees were so 
thick and tall that the sun could 
never enter there. 

All day Brave Soldier hurried 
along the mossy path that led 
among the great tree trunks. 
He said to himself, "I must reach the next 
village before dark or else I can find no place 
to sleep to-night." So he hastened on along 
the narrow path. 

After a time he seemed to be going up a 
mountain side. As he hurried on it seemed 
to grow darker and darker. Brave Soldier 
knew that it was not late enough for night 
to be coming on. "There must be a storm 
coming," said Brave Soldier to himself, "for 
I hear the trees sighing and rustling. Now I 



'fF&i : -■ 


must hurry, for I do not care to be out in a 

So Brave Soldier walked as fast as he could, 
and hoped that he would soon come to a vil- 
lage. The wind rushed through the tree tops, 
and the rain hammered on the leaves far 
above him. 

It was so dark that Brave Soldier could 
hardly follow the path. "If I do not soon 
find some house or village, I shall lie down 
here under the trees for the night. They are 
my friends and will not allow any harm to 
come to me." 

He had no more than said this when he 
came to a clearing in the trees. It was not 
quite so dark here, and Brave Soldier saw 
some kind of a house standing in the middle 
of the open space. He went to it and found 
that it was an old ruined temple. It looked 
as though only bats had been there for a 
hundred years. 

No palace ever seemed more welcome to 
anyone than this old ruined temple did to 
the tired traveler. He found the corner 
where the roof leaked the least, curled up in 
his cloak, and was soon fast asleep. 

In the middle of the night a terrible 




"He curled up and was soon fast asCeep " 


awakened him. Such shrieking and yowl- 
ing ! It sounded like an army of cats, each 
trying to see who could make the most noise. 
When at last they stopped for a moment, per- 
haps to catch breath, Brave Soldier heard a 
voice say, "Remember, don't tell this to 
Shippeitaro. All is lost if Shippeitaro knows 
about it." 

"I wonder what they are up to," thought 
Brave Soldier. "I will just remember that 
name Shippeitaro, for he seems to be quite 
an important person around here. It is pos- 
sible that I may meet him some day." Then 
he turned over and went to sleep. 

In the morning when he awakened, the 
storm was past and the sun was shining. 
Now he had no trouble in finding his way, 
and soon came to a village. 

On all sides he heard a sound of weeping 
and crying. All were dressed in white, a 
sign that some one is dead or dying. 

"What is the matter? Who is dead?" he 
asked of an old man who sat by the roadside. 
Instead of answering, the old man pointed to 
a little cottage at the end of the street. 

Some little children were sitting in the door- 
way of a house. Brave Soldier said to them : 



iS*W ; '* ^-M^^i^MMm 

*-•■■ ■ v. '--y--iiv- 



"Can you tell me, little ones, why all the 
people in this village are weeping?" 

The children, too, only pointed to the same 
house at the end of the street. 

When the soldier came to this house he saw 
an old man and an old woman weeping as 
though their hearts were broken. A little 
girl was trying to comfort them. 

"Do not Aveep so, dear grandmother," she 
said. ' ' I am not afraid to go. I am sorry to 
leave 3^ou, but some one must go, and the 
other women in the village will take care of 
you when I am gone." 

' ' What is the matter ? " asked Brave Soldier, 
coming up just then. " Where are you going 
and why are all weeping so ?" 

"I am going up to the temple to-night," 
answered the girl. "Every year some one 





."■■■ : 

must go or else the monster will destroy the 
village. There is no one else to go this year, 
so I will go. They will put me in that basket 
you see by the door, and carry me up to an 
old temple in the woods and leave me there. 
I don't know what happens then, for those 
who have gone have never come back." 

"Where is the tem- 
ple ? " asked Brave 

"It is up that 


,.^li: = 


hill in the woods, M 

said the girl, pointing to the very temple 

where he had spent the night. 

Brave Soldier remembered what he had 
heard there the night before, and he also 
remembered the name he had heard. 

' ' Is there anyone around here by the name 
of Shippeitaro ? " he asked. 

' ' Shippeitaro ? Why, that's our dog, and 


he is the nicest dog you ever saw, too." Just 
then a long, lean black dog came up and 
began to lick the hand of his mistress. 

"This is Shippeitaro, " said the girl ; "is he 
not a fine fellow ? Everyone loves him." 

"Yes, indeed, he is a brave-looking dog," 
answered the man. "I want to borrow just 
such a dog as that for one night. Would you 
let me have him for so long?" 

"If you will bring him back, for he must 
stay here to take care of grandmother and 
grandfather," said the girl. 

Then Brave Soldier told her what he had 
heard in that same temple the night before. 

"I mean to put that brave dog into the 

_ basket instead of you, 

v" »| "~ — - _ — ~" V *" - *' '• 

3> "i '■^vwKtl ,J> 

and see what 
will happen. I will 
go along to see that no harm 
shall come to him." 
The dog seemed to under 


z. \\ 





stand what was wanted, and acted as though 
he was glad to go. 

They put him into the basket which had 
taken so many beautiful maidens to their 
death. Just before dark they carried him up 
through the listening woods to the temple. 
All but the soldier were afraid to stay, but he 
took out his good sword and lay calmly down. 

At midnight he heard the same frightful 
noises. He looked out and saw a troop of 
cats led by a large fierce-looking tomcat. 
They gathered about the basket and tore 
open the cover. Out sprang the good Ship- 
peitaro, with every hair bristling. He seized 
the tomcat, who was really the monster, and 
made short work of him. 

When the other cats saw their leader killed 
they turned and fled like leaves before the 

Then the soldier took the brave dog back 
to his mistress, and told the people how he 
had done what no man could have done, and 
saved the village from the monster. 

Do you wonder that all the psople love 
Shippeitaro, and love to have his picture over 
their doors ? They think that it will frighten 
away all evil. 





The division of a word into syllables is after a 
vowel instead of after a consonant, as in English. 

Accent is very slight, as in French. It consists 
more in the length of the syllable than in the stress 
laid upon it. 

Consonants are all very much softer than their 
English equivalents. This is especially true with /, 
which is pronounced more as though one started to 
give the sound of z but ended with yu. 

a has the sound of a in father 
c " " " " ee in meet 
i " " " " 1 in it 
o " " ' x " 6 in stone 
u " " - " " u in full 

Both e and o are very much shorter than the Eng- 
lish e and o, having about the duration of e and 6 
although they have the quality of e and 6. 

Abe (ah' bay) Fuji Yama 

Akandoji (ah kan doj') (foo' je yah mah) 

Buddha (bu' dah) gozen (go' zen) 

Hi (high) 



Horai (ho' ri) 
Inaba (ee' nah bah) 
Keta (ke' tah) 
Z0//7 (16' fty) 

(mah' tsu ya' ma) 
ninghio (nien' yo) 
Ogre (o' gv) 
Hiiia San 

(o hena sahn) 
Oki (o' key) 

.?«£/ (sah' ke), 

Japanese wine 
Samisen (sah' me sen) 
SJiippeitaro (shpay tah' ro) 
Susano (sii' san o) 
Tajima (tah' je mah) 
7i?/h'0 (to' kyo) last three 
letters all one syllable 
tombo (to' mbo) 
Urashima (wra' she mah) 
Uzume (u' zu me) 


1 w 


Arnold, Edwin. "Seas and Lands." New York: 
Charles Scribner s Sous. 
" Japonica." New York: Charles Scribner s Sons. 

Bacon, Alice M. "Japanese Girls and Women." 
Boston : Houghton, Mifflin & Co. 
"A Japanese Interior." Boston: Houghton, Mifflin 
& Co. 

Bishop, Isabella Bird. "Unbeaten Tracks in Japan." 
Nczu York: G. P. Putnam's Son*. 

Bramhall, Mae S. "Wee Ones of Japan." New 
York: Harper & Brothers. 

Brinklev, Captain F. "Japan." New York: Bonis, 
Hozvard & Hulbert. 

Chamberlain, Basil Hall. " Things Japanese." New 
York : Charles Scribner s Sous. 

FlNCK, Henry T. "Lotus Time in Japan.'' New 
York : Charles Scribner s Sous. 

Fraser, Mrs. Hugh. "Letters from Japan." New 
York : The Macmillan Company. 



George, Marion. " Little Journey to Japan." 

Griffis, Win. E. "Japan in History, Folk-lore, and 
Art." Boston : Houghton, Mifflin & Co. 

Hartshorne, Anna C. "Japan and Her People." 

Hearn, Lafcadio. "Kotto." Boston: Little, Brown 

& Co. 
"Glimpses of Unfamiliar Japan." Boston: Little, 

Brozvn & Co. 
" In Ghostly Japan." Boston : Little, Brozvn & Co. 
"A Japanese Miscellany." Boston: Little, Brozvn 

& Co. 
" Kokoro." Boston : Houghton, Mifflin & Co. 
" Out of the East." Boston : Houghton, Mifflin & Co. 
"Shado wings." Boston: Little, Brozvn & Co. 
"Youma." New York: Harper & Brothers. 

Humbert, Aime. "Japan and Japanese." Nezv York: 
D. Appleton & Co. 

La Farge, John. "An Artist's Letters from Japan." 
Nezv York: The Century Company. 

Lowell, Percival. "Occult Japan." Boston: Hough- 
to n, Mifflin & Co. 
" Noto." Boston : HougJiton, Mifflin & Co. 

Menpes, Mortimer. "Japan; A Record in Color." 
New York : The Macmillan Company. 

Morse, E. S. "Japanese Homes." Nezv York: Harper 
& Brothers. 

Murray, David. "Japan." New York: Charles Scrib 
ners Sons. 



Rand, Edward A. All Aboard Series. 

"All Aboard for Sunrise Lands." Chicago: Don- 
ahue Brothers. 

SciDMORE, Eliza R. "Jinrikisha Days in Japan." 
New York: The Century Company. 

Shigemi, S. "Japanese Boy." New York: Henry 
Holt & Co. 
"Japanese Fairy Tales." Tokio. 

Stoddard, John Lawson. Lectures : " Glimpses of 
the World." New York : E. S. Werner Publish- 
ing Co. 

Taylor, Bayard. "Japan in Our Day." New York: 
G. P. Putnam s Sons. 

Taylor, Charles M., Jr. "Vacation Days in Hawaii 
and Japan." Philadelphia: G. W. Jacobs '& Co. 

Van Bergen, R. "Story of Japan." New York: 
American Book Company. 






EVERY story read by children should be made 
as real to them as possible. A child's first 
impulse is to live the story he hears. This 
impulse should be used by the teacher. During the 
rest period let the children play the story they have 
read earlier in the day. Encourage them to plan the 
action, the " stage settings," etc., very carefully before 
they begin, so that they can carry the story through 
correctly and without interruption. 

In preparing to act a story the children should 
first of all retell it. This retelling is the best means 
of increasing the child's vocabulary, improving his 
habits of speech, and giving him self-possession and 
the ability to express himself easily and well. 

After acting and telling the story the children are 
ready to tell it on paper. Give them the new words 
they need as they find they need them, and use the same 
list for the spelling lesson of the day. It is easier for 
children to learn the correct use of capitals, periods, 
and paragraphs when they first begin to write than 
to wait until they have formed the habit of writing 
carelessly. Encourage the children to seek for the 

■■■■ .L. 



7 8 

best way of expressing a thought. Reading the 
written story to the other children for their sugges- 
tions and criticisms is helpful. 


The art work should always be founded on the 
general work of the room. Stories offer a great fund 
of material, and expressing his ideas of a story in 
some form adds to the child's interest as well as to his 
understanding of what he reads. 


First in importance comes the making of models, 
either with clay or cardboard, wood, etc., of the 
things about which they read. Let them construct a 
tiny Japanese village on the sand table. Use wooden 
splints or very heavy cardboard for the framework 
of the houses, paper for the sides, and grass for the 
roofs. The animals and children can be made from 
clay or paper, or real dolls dressed in Japanese 




Color appeals to children, and for that reason they 
should be allowed to use colors. Painting alone, 
however, soon leads to careless, indefinite work — 
hence it should be combined with drawing and paper 
cutting, both of which help to emphasize form. Too 
little is usually done with designing in the primary 
grades. This was the first form of art invented by 
primitive man in the childhood of the race. And it 
will be found that children who are not ready for 
illustrative work are often very apt at designing. 
They will enjoy making designs for cups and saucers, 
screens, fans, swords, and the like. 


Encourage the children to make a collection of 
pictures of Japan and the Japanese, of newspaper and 
magazine articles, and of all sorts of Japanese curios. 
It is surprising how much can be obtained in this way, 
and what an addition it is to information and enthu- 
siasm. Its greatest benefit, however, is in encouraging 
the children to go after the information they want 
themselves, instead of waiting for it to be brought to 
them ready-made and predigested. 


The children will enjoy a "Japanese day." Let 
them find out all they can about Japanese schools, and 
then play they are in Japan for half an hour. Let each 
tell what he saw on the way to school, the houses, the 
people, the stores, etc. 


A Japanese luncheon, with a lesson on cooking rice 
and making tea, has been tried with success. Let the 
children eat the rice with chopsticks they have made 
out of wood. 


The following suggestions for subjects and treat- 
ments may be of help in the art work : 

The Wonderful Teakettle. Page it. 

Draw a teakettle, make a model of the temple, 
model the teakettle in clay and change it into a 
badger. Make a design for cup and saucers. 

The Wood-Ciitters Sake. Page ip. 

Paint the wood-cutter going up the mountain- 
side, draw or cut out the badger, the gourd, and 
the dishes used at the feast. Paint the wonderful 

The Mirror of Matsuyama. Page 2g. 

Introduce perspective. Why did the man dis- 
appear in the distance? Which looks larger, a 
tree near by or one far away ? 

Paint a scene in Tokio. 

Make a lantern, painting paper for the sides. 



Page 37. 

Paint the bamboo 

Draw the Eight- 

The Eight-Headed Serpent. 

Make chopsticks from wood, 
thicket and the river at sunset. 
Headed Serpent. 
The Stolen Charm. Page 44. 

Draw, paint, or model the dog, the fox cub, the 
ship, the foam fairy, and the ogre. Let the chil- 
dren, for recreation, try the Japanese dance, which 
consists in swaying and posturing to represent 
some story or phase of nature. The feet are rarely 
moved. . . 

Urashima. Page 51. 

Model a turtle, draw or paint the boy fishing, 
the palace in the ocean, the cottage by the pine tree. 
For the game, practice the motions of rowing. 
The Tongue-Cut Sparrow. Page 58. 

Draw or paint the sparrow, the bat, the mouse, 
and the baskets. Design the screens of the house. 
Make the screens, using thin strips of wood or 
cardboard for the frames. 
Sliippeitaro. Page 67. 

Draw the forest and temple, the cats and Ship- 
peitaro. Make a pasteboard model of the temple. 




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Extension Division of the University of Chicago, A uthor of 

"The Place of Industries in Elementary Education" 

This series for the early grades embodies the experience of the race in industrial 
and social processes which is related with a marked freshness and simplicity. By 
story, practical activities, and unusual pictures it appeals to the whole child and 
enables him to understand in a measure the complex life about him. 

The Tree-dwellers: The Age of Fear. Primary grades. 

The Tree-dwellers gives an absorbing story of man before the fire and after its 
mastery, together with its part in civilizing the race. Man's struggle for food and 
shelter, his crude industrial efforts and first reach after social pleasures are pictured 
in graphic style. 

The Early Cave-men : The Age of Combat. Primary 

The Age of Combat takes the reader into the long-drawn battle for supremacy 
between the cave-dwellers and the animals of the period. Fire, and its rediscovery 
after the flood, play a big part here. Fire means defense, warmth, the rousing of 
man to new defensive and industrial efforts. 

The Later Cave-men : The Age of the Chase. Primary 

In this gripping story the beginnings of the chase — the second industry — are well 
brought out. From the pursued, man becomes the pursuer. Cooperation manifests 
its power. Inventive genius springs into swift and clever action. 

The Early Sea People: First Steps in the Conquest 
of the Waters. Intermediate grades. 

In the fourth book the second industry — fishing — comes into prominence. Clans, 
driven from post to post, make their homes on the shores of the sea and adapt their 
life to new conditions. The first man ventures forth on unknown waters, and with 
him begins vast new progress. 

The Early Herdsmen. Intermediate grades. 

At this stage of his development, man takes the first steps in taming animals — 
dogs, for hunting purposes, and the grass-eating animals — goats, and cows, to serve 
the hunger needs of the clans. These, driven by the long winters, seek warmer climes 
for themselves and new pastures for their herds. 

Very fine pictures by Howard V. Brown, Kyohei Inukoi and Louis Jensen. 







Many Plays with Songs, Music and Folk Dances 

Bright, simple, and charmingly ilustrated, these books utilize the child's dramatic 
instinct to develop grace of expression in reading and speaking. 

Storyland in Play. By Ada M. Skinner, teacher of first grade, 

St. Agatha School, New York City. First and second grades. 

The stories in this little book — fables, folklore, and poems, from English, Irish, 
and German sources, are chosen for their strong interest, simple outline, and marked 
dramatic quality. Sprightly pictures in colors by Mary L. Spoor. 

Stories to Act. By Frances Gillespie Wickes, teacher of second 

grade, St. Agatha School, New York City. Second grade. 

Half plays, and half stories to dramatize, the content of this book, covers a wide 
range of interest. Fairy tales, stories of animals, wind and rain, are from Southern, 
English, and German folklore and Japanese mythology. Humorous pictures in colors 
by Maud Hunt Squire. 

Story Hour Plays. By Frances MintzGoman, formerly of Avon 

Avenue School, Newark, New Jersey. Third and fourth grades. 

These books are chiefly about animals and birds. They are based upon stories 
from Russia, the Punjab, Malay, Africa. There are selections from Lessing, Bidpai 
and others. Swift in movement and to the point, these plays reflect life, humor and 
strong moral lessons. Pictures in colors by Clara Powers Wilson. 

Fairy Plays for Children. 

Ethical Culture School, New York City. 

By Mabel R. Goodlander of the 
Second and third grades. 

A book of fairy plays that may be used as a dramatic reader. With many of the 
plays are simple folk dances with music and directions for drilling children. Suggest - 
tions for staging and for costumes. Thirty-one photographs illustrate the action of 

Sunbonnets and Overalls: A Dramatic Reader and an 

Operetta. B% Etta C. Flogate and Eulalie Osgood Grover. Second and 

third grades. 

In the first half of the book are short dramatic readings and poems, in the second, 
the operetta proper. Tuneful music, songs, and dances. Necessary directions for 
costumes and staging. Illustrated in colors by Bertha Corbett Melcher. 








By FLORA L. CARPENTER, Instructor in Drawing in the Waite 

High School, Toledo, Ohio. Formerly Supervisor of 

Drawing, Bloomington, Illinois. 

Every child loves pictures and wants them. If they tell a story, so much the 
better. In these eight little books for the grades, Miss Carpenter utilizes with skill 
this instinct of the little picture lover. With fifty-seven carefully selected master- 
pieces, stories of the pictures, and little sketches of the artists, she teaches the child 
to know and to care for the works of the master painters. 

The stories are delightfully simple and informative, and the pictures as well as 
the text are graded to the interests and powers of the child. 

Book One. Mothers and babies, children and little animals are the interests 
pictured here. Reproductions from Raphael to modern painters include The Madonna 
of the Chair and the Feeding Her Birds by Millet. 

Book Two. In the second grade the child and animal interests of little children 
are still strong. These are fed by such charming pictures as Millet's First Step, 
Reynold's The Strawberry Girl, Renouf's A Helping Hand, and others. 

Book Three. To meet the broadening interests of the third grade, industrial 
pictures are introduced, for example, Landseer's Shoeing the Bay Mare, with delightful 
pictures of child life in which little ones themselves are busy. 

Book Four. By means of the master work of Murillo, Landseer, Millet, Corot, 
and Boughton, the historical and industrial strain is further developed. 

Book Five. In this grade pictures in which history and industry are prominent 
are continued. Millet's The Gleaners, Dicksee's The Child Handel, Bonheur's Horse 
Fair and others, give an idea of the contents. 

Book Six. Through Watts' Sir Galahad, Alma Tadema's Reading from Homer, 
Guido Reni's Aurora, and others, the sixth grade is introduced to myths and legends 
in the picture world. 

Book Seven. For boys and girls of the seventh grade, history in pictures is 
featured. Turner's Temeraire, Da Vinci's The Last Supper, Le Page's Joan of Arc, 
ar.d other such famous paintings are well reproduced and treated. 

Book Eight. The subject matter here is more diversified than in the preceding 
book. American painters and illustrators with their work are covered. Among 
them are West, Whistler, Abbey, Sargent, La Farge, and others. 

Bound in boards, with Hapgood cover design. 
Send for descriptive folder 








Illustrated with four-color pictures by Bertha Corbett Melcher, the " Mother of 
he Sunbonnet Babies." 

The Sunbonnet Babies Primer. First grade. 

A world famous primer. The Sunbonnets, their pleasures in mud-pie making 
oarty-giving, and house-keeping, excite the keenest interest and a ready voicing ot 
!he text. The words are very simple and grading easy. 

The Overall Boys. First and second grades. 

The Overall Boys are jolly little chaps in blue overalls and straw sombreros whose 
labors consist chiefly of camping, sand-digging, making hay, and fishing. I he text 
is simple and grading careful. 

The Sunbonnets and Overalls: An Operetta and a 
Dramatic Reader. Etta M. Hogate and Eulalie Osgood 
Grover. Primary grades. 

The first half of this book is composed of verses and dramatic readings. The 
second, of the operetta with its rhythmical songs, drills, and musical exercises, bimple 
stage setting and costumes. 

The Sunbonnet Babies in Holland. Second and 
third grades. 

This is the first of several little travel books much liked by children. The story 
concerns both land and sea, and Holland with its quaint people unique sights and 
customs is the center of action. The little travelers learn much about Dutch lite 
and end by drinking tea with the little Princess Juliana. 

The Overall Boys in Switzerland. Second and 
third grades. 

From the gangplank of an ocean liner Joe and Jack step right into the romance 
and history of Europe. Up the Rhine they go to Bern. They climb the Rigi, explore 
glacier caverns, visit the scene of William Tell's story and learn much about the 
industries and life of the famous little republic. 

The Sunbonnets in Italy. Third and fourth grades. 

With the small tourist the reader gets fascinating glimpses of the life, natural 
features, and the man-made wonders of Italy. He walks on the crust of the boiling 
volcano, visits Pompeii, enters by sea the marvelous blue Grotto of Capri, and does 
much else of great interest. 

Send for descriptive folder 





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