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THE LIBRARY OF THE

UNIVERSITY OF

NORTH CAROLINA

From the Library of

Elizabeth Morton Johnston
Patterson

Digitized by the Internet Archive

in 2012 with funding from

University of North Carolina at Chapel Hill

http://archive.org/details/japanesefairytalOOwilli

JAPANESE
FAIRY TALES

FIRST SERIES

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The Japanese mother tells the children fairy tales

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THE PREFACE

vO 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..

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THE TABLE OE CONTENTS

PAGE

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

A LIST OF THE FULL-PAGE
ILL USER A TIONS

PAGE

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

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THE WONDERFUL TEAKETTLE

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

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

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
room.

• ' 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

;->i£35?

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
eyes."

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

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
room.

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

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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
that."

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

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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.

iLk

THE WOOD-CUTTER'S
SAKE

r I AHE 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
asleep.

"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

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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°^nS 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,

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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
some?"

' ' 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."

'<&

^SiLfe^ii

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|
rap-a-Upjap.

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

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-
cutter

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 •

*33!

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
nothing.

When they were gone the wood-cutter

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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.

^SP

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emsSi, ,-irv;' :

THE

MIRROR OF

MA TSUYAMA

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

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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

r#.

45?

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-
San.

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
with

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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 EIGHT-HEADED
SERPENT

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
her.

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

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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 }Tears, 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
her."

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

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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 !

*&L

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.

M'-

THE STOLEN CHARM

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
needles.

"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
boy.

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

w±

.(i

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
happy."

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
me."

"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

jvJ-'fSSSSH"**"

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 ?"

Mji

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

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 }rou 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
Fox-cub.

They waited by the pine tree until the Rat

5=3

-edt£#B

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
Puppy.

"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\

U RASH IMA

"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

5°

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

<»u

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

years.

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.

:QSW?V

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.

-:\"-«sr»*-

fe **

777^ TONGUE-CUT SPARROW

V$*

N a little

old house

in a little

Vvl . old village in

Japan lived

a little old

man and his

little ol

wife.

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

itKvWU^Sm

Bite

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
songs.

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
dance."

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
contented.

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-:'^

*8&*

sssti

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.

&' &

ngg^

S5S

■;&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.

■

~/\

*X-

111

! 'W

^■"^■tp*"

SHIPPEITARO

RAVE SOLDIER was the
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

•

»5

'fF&i : -■

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

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

Mir.

"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 :

™i>*S

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

*-•■■ ■ v. '--y--iiv-

y^s

"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

?3jBSav*i

^W'

."■■■ :

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
Soldier.

"It is up that

§t%*

,.^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
wind.

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.

«£?

A GUIDE TO PRONUNCIATION

GENERAL RULES FOR PRONOUNCING JAPANESE WORDS
AND NAMES

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)

g£>

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

(mah' tsu ya' ma)
ninghio (nien' yo)
Ogre (o' gv)
0 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

A READING LIST

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.

93>Q

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.

fin
I

lp3a

SUGGESTIONS TO TEACHERS

GENERAL SUGGESTIONS

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.

•"WS8S8

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

ART WORK

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.

MAKING AND MODELING

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
costumes.

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DRAWING, PAINTING, DESIGNING, AND CUTTING

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.

COLLECTIONS

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.

A JAPANESE DAY

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.

SPECIAL SUGGESTIONS

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
waterfall.

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.

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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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INDUSTRIAL and SOCIAL HISTORY
SERIES

By KATHARINE ELIZABETH DOPP, Ph. D.

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
grades.

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
grades.

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.

RAND MCNALLY & COMPANY

CHICAGO NEW YORK

**S

DRAMATIC READER SERIES

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
plays.

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.

RAND M^NALLY & COMPANY

£&?

tern

CHICAGO

NEW YORK

STORIES PICTURES TELL

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

RAND MCNALLY & COMPANY

CHICAGO NEW YORK

A-jJti

THE SUNBONNET and OVERALL
BOOKS

ByEULALlE OSGOOD G ROVER

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

RAND M<?NALLY & COMPANY

CHICAGO NEW YORK

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