A CURRICULUM for ENGLISH in the KINDERGARTEN Lula J. Anderson AP,Roject Presented To

(. l ! I I l ' A CURRICULUM FOR ENGLISH IN THE KINDERGARTEN

I. Lula J. Anderson I -I I A P,roject Presented to the ·

Faculty of the Schoo) of Education

t The San fernando Valley State College !' i

In Partial Fulfillment of the Requirements for the Degree Master of Arts ln Education

! • '

January 1971

I!1...-~~- --....---~---·r--,•·-~ -~·• ---·--·--· --··-··- --·-•-• ------·--•·---· -··-.. ·--- -- TABLE OF CONTENTS Page ACKNOWLEDGEMENT ii PREFACE ilr INTRODUCTION v

Unt t 1: Folk Tale • • • 0 • • ~ 0 • Chicken Licken The Pancake The Boy and HJs Goats

12 Unit 2: Faneifu.J Tale • • • • !ill • Ask Mr. Bear Nothing at All

Unlt 3: Animal Story • • • 0 • • • • ·~ "S 21 Andy and the Lion Make Way for Ducklings·

Un«lt 4: Adventure Story • . . . . . • 32 The Biggest Bear

Unit 5: Myth • • • • • • • 0 • • • • • • .. 39 Why the Bear is Stumpy~tat1ed

46 Un i t 6! Fab 1e • ' • • • 0 • 0 The Wind and the Sun The Lion and the Mouse

Unit 7: Other Lands and People • • • » • • 56 Pelle's New Suit

Unit 8~ Historical Fiction • • • • g ~ • • 62 Sam the Minuteman

Unft 9: Biography • 68 Thee Story• ' of• Johnny• • Appleseed• • • 75 ACKNO\~LEDGEMENT

Sincere appreciation and special thanks is expressi#d to Dr. Martha Brockman, for her guidance, encouragement, patience, and hours of effort on my beha 1f t n assIstIng the completion of this study. Gratitude Is extended to my husband, James G. Anderson for his encouragement and understanding; and a thanks to LaVon Anderson, JoAnn Murray, and Caroline Marmon, for the typing of this project.

Lula J. Anderson PREFACE

The format of thts version of A Currtcu)um forEngltsh Jn :t;be Kindergarten ts an extension of and is patterned after the model program for grades 1-12 developed by the Curriculum study Center at the University of Nebraska. That sequence in .. troduces children to representative 1iterary genres: folk tales, fanciful tales. animal stories~ adventure stories, myths. fables, other lands and peop1e stories, historical fiction stories and biographies, which are presented throughout the curriculum; In creasingly complex selections appropriate to the age and inter ests of the children are Introduced every two or three years to achieve a cumulative effecte It has been the tradition tn the elementary schools to introduce literature as only one aspect of the reading program I i or perhaps to have it relegated to being merely enrichment rna- I . . .h I terial for other subjects, such as social studies. These app roac ... 1 . I es may be justified in part and no doubt this custom will contin- I ue, but, as a resu 1t of renewed interest in ora 1 1i terature anr: the compelling need for an organized developmental program In

I literature for a11 children, which is designed to Introduce 11 .. i terature for its own sake, for Its inherent cu1tura1 values, and for the aesthetic pleasures and delight which it provides, this curricu1um for English was conceived and developed. I

Ii i --~------·------·------·--·------·------..,.J INTRODUCTION TO IHE KINDERGARtEN PROGRAM

I. Premises of the Program Monday•s child is fair of face. Tuesday's child fs full of grace. Wednesday's chf Jd Js full of woe. Thursday's child has far to go. Friday's child is loving and giving. Saturday's child works hard for a living. And the child that Is born on the Sabbath. Day Is bonny and blithe and good and gay. (26:34) --Anonymous

We have them a11 with us just as they were all part of previous generations. But. today 1s child is Influenced by pressures unknown by those of earlier days. Knowledge is doubling every seven years, we are told. Newspaper headlines scream the need for the children to learn more and learn it faster. The young child today, of four-and a-half to sfx years of age, ts distracted and frustrated by being caught up In the social unrest of the times; the population explosion and the ever increasing mobility of that population. In this day of such radical changes, literature is an exi gency. The child Immersed in this fast changfng world, must have an opportunity to obtain wholesome recreation and aesthetic satisfaction that comes from exploring the fascinating world of good literature. He must have an opportunity to enjoy and Interpret human experience as portrayed by master writers. Truly thts nourishing refreshment is very necessary to offset the child's frustrating world. Nfla Banton Smith makes this comment: 11 Persona II ty Is an integration of soc t a 1 emot Iona 1, and behavioral characteristics. These characteristics vi emerge as natural endowments which Interact with experience. Literature provides an Inexhaustible well of human experiences, from whfch children may take deep droughts of life and living. It follows then that one of the most Important func tions of literature is to help children relive the experiences of others and thus to deepen and broaden the I r own personal experIences. " (36: 389) I

Children's literature also affords an opportunity to partlcipat, sympathetically in the_ viewpoints, problems, and difficulties of I ' others. It helps the child to understand culture patterns, both those I which are currently in existence, and those of the past. It enables him to interpret his own needs for security, Jove, companionship, and success. One of the unique characteristics of literature for children is fts diversity of content. tt doesn't confine itself to one spe cialized area of knowledge. The writers of good literature do not pour their stories and poems into subject matter compartments. They write about things that touch them deeply at the moment, things that they feel impelled to share with others. Young children ftnd literary content a very satisfying source of Information to answer numerous questions that prompt them to discover and to think creatively. Literature does far more. however, than provide Information in factual sense; tt presents information and meaningful situations. Kindergarten children have a great thirst for knowledge, but it must be on their individual levels of understanding. How thrilling It Is to be with young children as they encounter first hand experiences. So many things that adults see every day and tal

The ffve-year~old child prefers true-to-life stories, but he w111 accept stories of talking animals dressed to resemble hun~n beings, probably because he knows enough about real animals that he fs not 1 I ke 1y to be mr xed up by such make-be II eve. He thorough 1y enj oys being read to, likes to look at books, and often pretends to be read~ ing. The tendency to imitate is an advantage because his speech tends to Improve as he unconsciously learns new words and takes on a more accurate pronunciation. Although firsthand experiences and observations are the best sources of ideas to be expressed through language, stories and books I a I so he 1p to enrich the background and stimulate an exchange of ideas. II Both prose and poetry, modern or trad it f ona 1, and I i kewl se both fact and fiction should be included il1 the literature diet of the kindergarten child. Effie Lee Morris In her interesting article, Choosing Qoofss for The Deprf~d, has this to say: ''Who are the cultyra11y depr'(yed among our children today? When referring to the world of children's literature, any child who does not have access to and knowledge of good books ts cultural Jy deprived. Regardless of his economic status, hfs racial or ethnic background; his impoverished home In a rural or urban area, a child is disadvantaged if he has not been Introduced to chtldhoC'd literature. (47:105) Teachers have a constant responsibility for introducing to children dozens or even scores of good stories and books each year, thus making it possible for each child to find several that will meet his individual interests and needs and, Jn thls way, bring him pleasure which is conducive to further learning. Any well-rounded language-arts program should provide experiences with stories and books that will cultivate interests, afford real enjoyment andre- fine tastes.

II. The Kindergarten Program Units: For the Kindergarten Curriculum Program, the same nine units (Folk Tale, Fanciful Tate, Animal Story, Adventure Story, Myth. Fable, Other Lands and People, Historical Flctfon. and Biography) presented in the Nebraska C.urrtculum for Engltsh have been developed in thrs project to be used as supplementary materfats to the Nebraska program which covers grade one through twelve in detail. The stories select ed could very easily be placed in more than one .group, however, using this classiffcatton they not only serve the purpose in allowing

for stress on certain elements of the stories, but also in aiding 1 the sequential development from kindergarten through first grade. I I I·

I! ·····-~-···-···- ...... ,.. ___ ,_. ______,_,__ ,______,__ ,_ __ -· ··- -·· ...... _,_~ ... - ... -·- ...... ' ...... --- '"""" .... ' ,_, ______...... ' ...... J (1) Core Text lx From the various stories or books which were recommended for each unit, careful selection was made from those versions which are l) of the highest degree of literary integrity; 2) and for children

from five to eight years of age; 3) and that the books are suitable to the objectives of the unit. If for any reason a teacher should not be able to obtain the books recommended, some alternates are suggested and which should be applied In the same fashion as those stories selected for the units. In a few Instances where the stories are short and very difficult to obtain, they have been re-printed.

(2) Genera 1 I nt roduct ion As set up in the Nebraska Curriculum for English (program) there is a very Important sequence established within each class- ification. There Is also a definite progression from the first grade through the sixth grade units in the complexity of concepts presented. In preparing the series of units for the kindergarten curriculum the same general sequence of classifications has been followed. Special emphasis has been given the kindergarten unit on Folk Tale tn em- pJoying the same usage of oral and repetitive features as found In the first and second grade units on Folk Tale. The chart showing the units from kindergarten through sixth grade, which follows, indicates how these vertical sequences are Integrated and how the progression ' from the kindergarten through sixth grade Is accomplished. Under the general Introduction of each new unit, the major objectives of that unit have been stated. This section also dfs- CORRELATIVE ELEMENTARY UNITS -- KINDERGARTEN AND X TAE NEBRASKA CURRICULUM FOR ENGLISH - .. GRADES 1 - 6 UNITS

--·--~------·~---·-·------FOLK TALE FANCIFUL TALE ANIMAL STORY

Grade Chicken Lfcken Ask Mr. Bear Andy and the Lfon K The Rancake The Boy and hfs Nothing at A 1.1 Make Way for Duck- Goats 1 f ngs

Little Red Hen Little Black Sambo Mf 11 ions of Cats Three Bi11y Goats Peter Rabbit The Elephant •s Child. Gruff Where the Wild How the Rhl noceros Gingerbread Boy Things Are Got His Skin Ferdinand

Litt~E!. Red Riding And to Think That Blaze and the Forest Hood I Saw It on . Fire Stor~, of the Three Mulberry Street How Whale Got His 2 Bears Throat Story_of the Three The Beginning of the rftgs Armadillos The Cet That Wa 1ked by HJmself

Sleeping B~auty The Flve Chtnese The Blind Colt Brothers How the Came 1 Got Cinderella or the His Hump Ll tt le Glass MadeJlne How the Leopard Got SJ ipper His Spots Mother Holle Madeline's Rescue The Sing-Song of Old Man Kangaroo ---,------~----- 4 · Febo 1d Febo 1dson Charlotte •s Web Brlghty of the Grand Ceanyon

:ra 11 Tale Amerl ca The Snow Queen King of the Wind Ra;>unzel The Lion, the Witch 5 The Woodcutter's and the Wardrobe Chf Jd The Three Languages -·-·-·------·------~------The Seven V~ages Allee in Wonderland Big Red 6 of Sinbad and Through the Looking Glass A Wrinkle ln Time xi CORRELATIVE ELEMENTARY UNITS -~ KINDERGARTEN AND

THE NEBRASKA CURRICULUM FOR ENGLISH -- GRADES 1 ~ 6 UNITS ------·------ADVENTURE STORY MYTH FABLE ~------~------~-- Why the Bear f s The Wind and the Sun Stumpy-ta i Jed The l. ion and the Mouse --·------·-·-··---·~------· Lttt le Tim and The Story of the The Dog and the the Brave Sea First Butterfly Shadow Captain The Story of the The Town Mouse and The Little Island First Woodpecker the Country Mouse

The 500 Hats of The Golden Touch The Hare and the Bartholomew Tortoise 2 Gubbins The Bears on The Ant and the Hemlock Mountain Grasshopper

Wlnnie-the-Rooh Daedalus and Icarus Chant J c leer and the Fox Mr. Popper•s Clytie Narcissus The Musicians of Penguins Bremen

Homer Price Hiawatha's Fasttng Jacobs: The Fables of Aesop 4 Theseus and the Minotaur Arachne Phaeton and the Chariot of the Sun

The Merry Adventu•·es Ceres and Prosperine BldpaJ Fables of Robin Hood Atlanta•s Race Jataka Tales Island of the B1ue Dolphins The Laborers of Hercules

The Adventures of The Children of The Wfnd In the Tom Sawyer Odin Willows The Hobbit J xii CORRELATIVE ELEMENTARY UNITS -- KINDERGARTEN AND THE NEBRASKA CURRICULUM FOR ENGLISH -- GRADES 1 - 6 UNITS

------~------OTHER LANDS AND HISTORICAL BIOGRAPHY REOPLE FICTION

------·------~------Gra~e Pelle's New Suft Sam the Mtnuteman The Story of Johnny K App 1eseed --1 A Pal r of Red The Were Strong Clogs and Good George Washington

-----·------~------~------·------2 Crow Boy Caroline and her Rlde on the Wfnd Kettle Named Maud

3 The Red Ba 11 oon The Courage of Christopher Columbus Sarah Noble and His Brothers

--·--·-~------A Brother for the Chf 1dren of the \-li lla 4 Orphel ines Covered Wagon Leif the Lucky ------The Poor f n the Little House on Dr. George Wall the Pat rle Washington Carver, 5 Scientist This Dear Bought Land

Hans Brinker The Book of Cartier Satls the 6 Kl ng Arthur St. Lawrence Secret of the Andes Noble Knfghts

CORRELATIVE UNITS: "You Come Too" - Roetry of Robert Frost -

Grade 6; Pgetry .fru:. .tb~ .~ .Gr§d.~t; Language Exf!loratiQne xi i i cusses the "genre11 of the works presented, and outlines the relation· ship between the unit in question and other units in the curriculum.

(3) Background Information for the Teacher Thts section presents the various charactel"istics of the

stories, their motif~ theme, structure, the author and his style. In the different units not every type will be included, for example, a discussion of the author Is not always Important or possible.

The materfa1 included In this section and that In the General

Introduction of each unit~ ts definitely not to be used directly with the children. The materials are to be used as suggestions that may h help a teacher to teach more effectively and to act as an aid in the understanding of some of the literary nature of stories and their place in the curriculum. It is of the utmost importance that the teacher under$tand the meaning and the literary method of the work so that she might tnsti11 within the children Insight, understanding, and motivate them to be creative.

(4) Suggested Procedures One of the major objectives in outlining the literature units, fs to plan for the chi-ld's experience with the literature itself. There seems to be special magic in the atr when the teacher becomes a good storyteller or enjoys reading from a good book for the enjoy·· ment of the children. The key to children's appreciation and con i tinued enjoyment of good literature is much listening to good stories, I I well read or told by a person who likes It and revels in an oppor- i tun I ty to share that enjoyment wf th others. I J xiv "In order to tell stories to children (most effectively) a kindergarten teacher must know the story well enough to tell tt in

his own words, but should memorize refrains; rhymes, frequently re~

peated phrases, or significant quotations. Because it is not necessary to look at the book, the teacher who tells a story may watch the children•s reactions. At natural pauses in the story presentation, some of the illustrations may be shown. Some teachers

tlke to keep the open book toward the children so that they may see

the f 11ustrations. Then, as the story is told, the teacher turns the pages to illustrate the action described. Some books are so well written that much of the charm of the story depends upon the author's own words. These stories should be read to the children." (44: 194)

The voice of the storyte11er has much to do\Mith a successful story time. Pleasing pitch, freedom from nasality, and proper into nation are Important. The children should be seated close to the teacher so she may use a conversational t0ne, wfth changes In volume and timbre for emphasis. Pauses should be planned to increase suspense. The teacher should always speak distinctly. There are many good story renditions on recordings. Some of these should be included in the variety of stories the children ex~ perfence. Because these stories lack the important communicative

interchange between audience and narrator, ft is important to lntroe I duce these stories with some teacher~pupi1 discussion. The children I I I may need fo1Jow~up discussions also. In selecting story records, the 1 same criteria that the teacher applies to his own storytelling method I should be applied to the narrator on the recording. XV The extended activities play a very important pal"t in the kindergarten child's experiences with literature. Hearing a story or poem may not always be an end in itself. Some stories suggest follow

up activities such as dramatization, dramatic play, puppetry, lllus~ tration, rhythmic responses, or retelling to others. Any type of activity growing from the story adds to concepts, knowledge, and appreciation. The addftlonal experiences build vocabulary and add to the desire to learn to read. Dramatization of stories may begin spontaneously within a small group of children, or it may be planned by the teacher as part of group-activity. Special stories may be selected for this activity, or the children may express a desire to 11p1ay0 any story they have enjoyed. If a few children work out a story on their own, the teacher enters in only as requested. Usually, the children will set the

scene, volunteer for. or designate roles, 11 dress up 11 for the parts they play, and dramatize the storyo The first attempts at creative storytelling in the kindergar ten are not 1 ikely to be very original. The chJ tdren may begin by

rete 111 ng a familiar and we 11-liked story they have heard at home, at church, on TV, or In school. Some children will present only the barest sketch of the plot, others wi 11 te 11 the story in great deta 11; still others will repeat every memorized word. When the children have had many opportunttTes to tell famtliar stories to others they may begin to experiment with including fdeas of their own. Often

thIs takes the form of beg r nn i ng with a fam.ll i a r st. o. ry .but cone ludt ng it with their own original ending. The other varlatron is starting l·-~·~------~-~------~---~---~-----~----~-~----~~-~------~ - -•- --•v•---o•-•- ••••-·--••---·•·•-··-·•-••••• - •• • xvl to make up a story of their own. but adding familiar characters and concluding it with the ending of some well-loved story. The more ex periences the children have of listening to the teacher read and tell many kinds of stories wi 11 offer the budding storyte 11er many choices of beginnings and endings. As their vocabulary grows. their des criptions and recounting of adventures will become better. The teacher should encourage the child who uses original material in hJs story or description. The teacher, while encouraging originality,

11 needs to be sure that the real remains distinct from 11make-believe •

Such a follow-up statement as 11 1 liked your story. It was a make-

believe story, wasn't lt."

(5) Poetry

In poetry, children delight in rhyme, rhythm, meter, onomat~ opolic words, alliterations. tone color, cadence, all that goes into the melody of verse, even though they do not know the technical names. The very young child will settle down to listen for long minutes to nursery rhymes, wfth their marked rhythm and boldly apparent rhymes; he derives great pleasure from chiming in as the more familiar ones are repeated. Children of all ages continue to revel in the singing qualities of poetry if some adult has not ruined thef r p Ieasure by poor selection or over analytic treatment.

'~ppreclation Js caught, not taught. If a teacher gets a deep-down p Ieasure out of reading poetry • if she 1·eacts to the mcod and the mean f ng, her 1ove of poetry is 1J ke 1y to be conveyed to thost.! who listen to her. A simple and sincere manner, a natural voice, and her genuine response to the situatIon port rayed t n the poem wi 11 I c -~ xvl f help the children to share her enjoyment." {12:82)

I fl. Literature

A. The §rutt J.n Cb I 1d ren 's .b.I te,r54 t u r~

11 11 The magic of 0nce upon..::a time ; or "Once there was and was

not 11 ~ t s Immeasurable. Those of us \

As we study the creation, growth; and spread of these tales, I I we learn that they were not originally intended for children. Rather, 1 they grew from the depths of the spirit of mankind, and were a part of the adult world,. The curiosity of children, their sense of wonder and adventure. made them a natural audience for these tales. So the tales have become their rightful heritage. Although these tales have no known author because they are part of the folk tradition they were finally written down as a means of ; -~~~oC~----.~~-~·~-·--··----·---~----•--•··~~~-~-~~"-'"~-~~---c-~-·~----~---•--·•·•--.-"""""•"~-~-,,.,,,,,_,_, .. r~ xvi i i preserving them. Many of the German folktales were gathered by the Grimm Brothers, the Norwegian tales by Asbjornsen and Moe, some French tales by Perrault. Before long there appeared several English translations, and children found themselves with many stories which they enjoyed. Some of the tales were too adult in concept. Children did not respond to them as spontaneously as they did to those which fitted themselves into their Imagination. It was natural then to have collections of these tales appear which would be childlike in their selection. Says Mae Durham tn one of her interesting articles:

11 1n recent years, because of the de 1uge of chI 1dren 1 s books on the market and because of our overly zealous attempts to provide books which children can read by themselves, adaptations and simplifications of the tales have become rampant. Our concern about \vhether this word or that word can be understood has caused us to make first one change, then another, until the original robust, romantic, or suspenseful imagery Is doomed. ~/e have reached a least common denominator. The natural rhythm of the original story no longer exists. What is left is a mere joining together of words which children can read without any regard for basic power of language as found in the unadulterated, or less adulterated, 11 versIons~ ( 45: 103)

If we could be less concerned about comprehension and more aware of apprehension, we would soon discover that white children may not be able to give a dictionary definition of some of the strange

and wonderful words appearing fn the substantial versions, they can sense what the words empJy. If one recalls the story of Rapunzet in which the peasant woman craves rampfon, we certainty do not know specifically what rampion is, but we sense It is something good to eat. .J xlx These stories gain more importance when we realize that they are not a part of the reading program planned just to help the youngster develop the tools and the techniques for reading, but that they are being told and read for enjoyment. Another Important point to consider is the varymng complexities of these tales. Must we water down the myths and fables so that a second-or-third grade child can understand them? He loses thereby the important symbolism for whlch he may be ready. If we must change concepts to suit the child reader, would It not be better to save the tales for a later age, when the child's experience will allow him to apprehend more appreciatively the substance of the story? Storytelling or the reading of the folktales by adults pave the way to the time when the child can read the stories by himself, re freshing his memory of the times when he first heard them. In this way the choiceness, the uniqueness, of the language need not be for- felted for a prosaic, unimaginative language just so the child can read and unde rs tan d.• Another type of tale which we use with children is the short, original fantasy - the tales of Hans Christian Anderson. Although these stories fot low the folktale pattern, they are ol"iglnal works. Because they are original, we must be careful, in selecting the translation, not to go_afie1d from what the writer originally wrote. The translations of Paul Leyssac and R. P. Keiguin try to capture the spirit of Andersen. without reaching a lease common denominator which does not do justice to hts genius •

.--~---·------·------~------·------·- ---·------· -----·------·--- .. ----. - J XX We are doing children a grave injustice when we select

versions which are stripped of their intrinsic substance, whether ft

be mf rth, suspense~ romance, or whatever, in order to make the stories more understandable. Writers in English of the short, original fantasy are: Rudyard Kipling, Eleanor Farjeon, Howard Pyle, Carl Sandburg. With writers such as these, we need only a belief in their prose style. Their delectable and Individual use of language can be felt by children. There is no need to substitute simpler, more prosaic words to help understanding. We need only the courage of our convictions-- a natural response to the music of language.

ChJldren°s literature differs somewhat from modern adult literature in the following ways: J) In its treatment of nature~ society, and the human personality; 2) also rn aesthetic or style at the level of the organizing of sentences and larger units; 3) the aesthetic devices of the chlldren•s story (the eprsodic plot, the common plot, the emphasis or rhythmic excitement, oral repetitive features, the quick action with a sudden ending, seem to appeal to senses of form and to rhythm which are essential to the child.

In the curriculum for English for kindergarten children it Is essential that four basic plot patterns be used whenever possible in the different units, (the same plot patterns used in the Nebraska Curriculum for EnglJsh program) which are: 1) a small person•s or a hero's journey from home to a confrontation with a monster; 2) a small

j J xxl person's journey from home to being Jso1ated from home; 3) a helpless creature's rescue from a harsh home and a wonderful creation of a secure home; 4) a conflict between a wise beast and foolish beast. Stories which deal with a child leaving home may portray many of the same values, but the evils and problems which each child encounters are usually quite different, and suggest a different meaning within each story. Chlldren•s literature does not present a moral universe which is suggestive of the tragic sense that virtue and reward are not one, that both sorrow and happiness fall on the just and the unjust alike. The rewards of virtue in children's literature are both spiritual and physical. The designing, secretive, and complex are not destroyed from above but destroy themselves, or somehow shed their cruelty and wickedness. There is a sense of granting In the rewarding of good and of ea r·n i ng f n the reward of ev i 1.

IV. Composition

A. 1~ program ln composition Attempts to give the kindergarten child: 1) experiences which help him Jearn to speak In sentences and to express ideas in logical sequences; 2) observing and Interpreting picture detail; 3) relating personal experiences to vicarious experiences; 4) distinguishing be tween make-believe and reality; 5) predicting outcomes, making com~ parlsons, and drawing conclusions; 6) dictating Ideas In an organized way for a story or an experience chart. xxl I V. Language

The materials fcH· language study consists of a language explorations section in the part of each unit devoted to suggested procedures.

A. !.he J.angyage mrem Strives to help the kindergarten child in: 1) expression fn

word usage and increasing speaking vocabulary; 2) using appropriate words to describe emotions, feelings, actions and sensory images; 3) clarifying word meanings; 4) recognizing and supplying rhyming words; 5) learning to enunciate clearly and to pronounce words

correctly; 6) identification and descrimination of phonetic sounds.

VI. Conclusion

TelJ me a story~; In all languages, in all countries, chtldren

of all races, from tinw before time was even measured have made this

plea. It is tantamount to saying that literature is so precJous a thing that even though we have only a few hours in school each day,

we devote a substantial proportion of the time to sharrng it with others by reading or telling stories. In a world when the shabby, the shall<»J, and the shocking vie for and receive the at·tentlon of our

children. the responsibility for attaching high value to good liter ature falls heavily on the teacher.

By presenting good literature to the child, it not only broadens hls horizons and awakens him to richer concepts, but helps

him to appreciate the beauties of his 1itet"£H•y heritage.

To ensure the chJ ld with the best rn chi 1dren 1 s 1 fterature, ' ---~~~I._!':_l_~~-~-~-~o!:_!~s -~~- c~-~~--~!_!h~ __':_l_i ~~e~~--~!.!J. ~-~! --~!- _l_f. ~!~f;l-~Y ______.. j ~-.,-~, ·-·~---~··--~--·--·-·-·-~~---~---•·--~~·-••"-~~.-~~-·~-~~~~-·--~-~_,., ~-~--~~·-~-~~.~--·~--~~~-~.,~~·--~-~.-o•·•~H~-·- •-~---·- r-·~ --- ' xxi I I j integrtty were selected for use in thf.s project. They are classifled I under nine units which present a we11,...balanced program of good stories I and books. Two ldnds of extended activities used for a follow··up after I reading a book a1·e: 1) activities designed to deepen the appreciation of the book, 2) activities based on the content of the book but which are designed primarily to provide learning experfences in other curriculum areas. It is most essentia1 that the extended activities have a direct connection wfth the~ of the book. They are provided to enrich the pupt1 1s understanding of the story and compli- ment what the author has satd. D~asplte its intimate relationship with the book, moralizing or sermonizing as a follow-up activity by the teacher Is not recommended. It ts also neither necessary nor desir~ able to sum up the story or state its theme to the children. These should reach the child In the form presented by the author and artist. Good reading or story telling requires advanced planning and preparation just as do other activities of the school day. The responsibility of the teacher before reading to the class falls into two categories: 1) familiarizing herself with the story and 2) pre paring the children for the listening experience. The things that contribute most to the way she reads are being thoroughly familiar with the story and having a genuine relish for it. Mere techniques cannot substitute for these. One aspect of the story hour which has a hfgh place on the list of pleasures the children experience while hearing the story Is enjoy- xxtv tng the i llustrattons presented in the book. Ample time should be used In showing the pictures so that every child gets more than a now~ you see i t, now·you don t t look.

In summing up, it ts essential to make the story hour all that

Robert Frost has safd of books and reading: '~e begin with delight

11 to end "'' th wi sdom •

j CHICKEN LICKEN

THE PANCAKE THE BOY AND HIS GOATS

I I I I L-- ---~~~-.. --_ ---~---··------FOLK TALE: CHICKEN LICKEN THE PANCAKE THE BOY AND HIS GOATS

1 CORE TEXTS:

Note: tnasmueh as the stories of this unit are all old folk tales, there may exrst several versions of eaeh storyo This unft Is based on the folk tale versions taken from the following

references: 1) The story of Chicken Lfcken in which he meets vartous

anima 1s and ends up In the foxes den t s found t n The Ta 1.1 Ta 1e J!g,Qk

.Qf. ,Nurser;~ Tale§. by John Langstaff. (28:55) 2) .'!'.b.@. Pancak§ fs found

in May Hl11 Arbuthnot's book, Gh11dc;n ~Books. (1:348)

The Boy and His Goa!;s is very difficult to obtain; therefore . . I it is reproduced hereunder.

i THE BOY AND Hl S GOATS i

Once upon • time there was a ltttle boy who had some very I fine goats. Every morning he took a stick and drove them to 1 the hillside where they could eat and grow fat. 1

One evening when it was time to go home, the little boy II said; 11Go home, goats, go home,." But they would not go home. So the little boy took his stick and ran after the goats shout"' I ing, ttGo home, goats, go home. 11 Instead of going home, the I goats Jumped over a fence Into a cornf t e 1d and the 11 tt 1e boy could not get them out. The little boy was sad, so he sat , do.tn and cried. Ju$t then a rabbit c.ame hopping by. When 1 1 11 he saw the little boy he said~ \-Jhy are you crying little boy? 1 The lfttle boy said, 11 l'm erytng becaU!se I can't get my goats ! out of the cornfield." The rabbtt satdt Hf1J1 get them out I 11 for you. The rabbit hopped around the cornfield trying to J make the goats go home. But the goats would not go home. i So the rabbit sat down by the little boy and they both began ! tO cryo I Then a fox came walking by. When he saw the boy and the 1 -"~-"--~-~~---~------~---·------~------J 3 rabb J t he said, '1Why do you cry ?11 The rabb f t saId t at I cry because the little boy cries and the little boy erfes be~ cause he can•t get his goat out of the cornfield." "Is that all ?11 asked the fox. 11 1'11 get them out for you,. 11 The fox ran around barking at the goats, but he could not mal

Folk tales have been told since time immemorial. No one knows who first told them, but we do knQr./ that they were related on long winter evenings by t;he fireside, In the huts of humble peasants, as well as fn the castles of nobility. The tales that were told grew

! up with the chfldren, and as they migrated to new lands, the tales traveled with them, becoming a world-wide currency of culture.

The stories tn this unit are notable for their distinctive qualities common to most 11fo1k lfteratura, 11 namely, verbal repetition . and the repetition of parallel events in an episodic plot. The major objectives for this unit are: l) to enrtch or supplement firsthand experiences of children with folk ta1e literature; 2) to provide chtldren with experiences in lfterature that depends upon repetition as a major literary device; 3) to encourage children to parti etpate orally. both fn 1 istenfng and asslstfng with oral presentation,

BACKGROUND INFORMATION FOR THE TEACHER

Folk tales are relevant for children at many levels because I they are rooted In the feelings of most individuals. Universality I truly characterizes folk tales. Through thts universality chi Jdren I become heirs to rlch verbal lmput and output. lnterestfnglyt repetr ... , I t ions which are t'lfoven w f th f n these fo t k ta 1as do not br f ng boredom. I Actually the repetition Itself gives pleasure, comfort, and a sense I of mastery to children who come to kn

This unit ts formulated to help children to understand the ! i i funet Jon of repet it l on In good 1t te ratu reo The fo 11 Qt./ i ng repetitIve i

1 taunt of Chicken Li cken f s enjoyed by the young chI 1d because of its , reassuring nature ..

11 1 heard it with my ears, saw ft wlth my eyes, And a pfece of it fell on my head."

. As these lines are repeated~ a ch t 1d Is quI cl' 1y or fen ted to the se... quence of the story. Likewise, we hear the boastful voice of the pancake as he rolls along meeting first one antmal and then another.

11When I have g l ven the s 1f p to Goody Poody,. and the goodman • and seven squalling children, and Manny Panny, and Henny Penny, I may well I'

slip through your feet Cocky Locky, 11 said the Pancake, whIch ro 11 ed i ! off as fast as ever. I n J1lq ~ SJl9. HJs Goats we hear 'the sad ref ra I n' 11 1 cry because the rabbit cries and the rabbit cries because the boy I I crles and the boy cries because he cannot get his goats out of the I I cornfield. 11 The child is .subtly pleased and flattered by his recog- I

nit ton of what has happened to the 1 ittle boy. He fe~1.s secure because he knows \'Jhich action follows another. The child not only en ... I joys repetition within the story, but also through repeat performance 1 I of the same tale. I Repetition found in these stories is rather remarkable for I va r i ous reasons : 1) repetition as a structural device which Is very I ! '., .. -~·----.. -----·-----··· ---·------·------·------·------·------~-----___j r-;:::~~~-;--~~-;~~~er~:h~r.~t~~i~~: of-fo::::-:~~:::::t~

J repetition facilitates memory; 3) the storyteller cannot leap from I

I the known to the unknown too qu t ck 1y because of the constant repet i- I I '

J tion; 4) rt appeals to a basic or rhythmic sense. The three stories of this unit lay a foundation for the Inter· I pretation of other stories and the recognition or motif. The children I

may recognize that the Pancake; beca~.;se of his fmpudence, Is victi- j

mized by not knowing the downfall of the fool ish or the proud. Both I "The Pancake11 and 11 Chicken Lickenu Illustrate the lesson of leaving

a secure home, confronting a monster, and eomfng out the loser. ~

12.¥. s.os! Ji.l! Goats may IJlustrate that even .th§. Jma1J~st sm. sycs;e§d sgmetilll§s. Here, a small boy away from home is confronted by a mon

ster. The monster here encountered, is hfs btg problem in getting his

goats home. He meets with success when the little bee helps him to

outwit the goats~ and he finally is able to arrive home with his goats. I I The characters, as in most of the folk tales, are one·dlmen- 1 I sional: that is, they are either bad or good, with little complexity .. , The pancakeJ having jumped out of the frying pan and escaped from the family and a series of creatures, is typical of the racing-chasing style of these little tales. In this accumulative or repetitionat I ! I tale, tts charm lies tn its minimum plot ~:tnd maximum rhythem. Its , episodes follow each other neatly and logtcally in a pattern of ca- dance repetition. The animals or Inanimate objects are exaggerated /characterisations of human beings. and in that exaggeration Jte their I

~-h~~~~ :~~~-fa:c i nat~~~~--- Th~--~o ll~of-~~~:.~~~-~- a~---~:--~-:~~-~s _of----~- J 7 courage, ~:T

these tales, but they are never emphasized to the point of being moralistic. I ' SUGGESTED PROCEDURES:

· l:.i t~rsture Presentation

1. ~icken L~ A. As a means of setting the scene to enjoy this story, have several pictures of barnyard fowls. invite the class to

talk about the pictureso B. Tell the chrJdren you are going to tell them a story about a 1i tt le chick who thought the sky was fa 111 ng.

C. Tell the story and use pictures if possible. D. Discussion from the class:

1. What hit Chicken L.icl

2. Why do you suppose he thought the sky was falling? I 3. To whom did Chicken Licken want to tell the news? I

4.. \>Jhat do you suppose the kfng mtght have said If he had 1 heard the news? I E. Before the story fs to1d the second time, choose a child tol ! be Chicken Licken, another to be Hanny Penny; another to bej I Ducky Lucky, etc. When these points of repet(tlon come in I the dialogue, stop talking and Jet the characters fill in I the mhsing conversation. I I ~ Psanef}Jse I I A. One btt of verse which is prone to give delJght with tts ! ~~·-··-~---·------·------·------·-----·------·---·------·----·--·-·-·------_j -~~---····-·-~·-···-----~---·------""-----·---. ------.-~·--·~·-·-. ---.--~-----·--·~·---~------~---·-··.-·---8 .... , f mus I ea l cadence and set ch 11 d ren to chant I ng I s .,._ uM Ix a Pancake o u Ch 11 dren 11 ke to eat pancakes, and they l ike I stories and poems about pancakes. i MIX A PANCAKE 11Mix a pancake, Stl r a pancake, Pop tt in the pan; Fry the pancake Toss a pancake -- Catch it if you can. 11 (49:d)

Christ Jna Ros~ettt t : Il.m§. .fm: Poetry

B. Tell the children that they are gotng to hear a story about

the pancal

sf on. 1. Who wanted the pancake made? I 2. Can you tell how the pancake got out of the pan? ! 3o What happened to the eaneake when he came to the brook?/ 4. How do you suppose the old woman and her children felt I when the pancake rolled away? 5. How dtd the pig fool the pancake?

6. What character In Chicken Licken Is most like the pig?

Do If the teacher decides to retell the story, different

chfldren tnfght be chosen to place the flannel board charac.. ters on the board and say their parts of repetitron as they come In the story. I -~---··~·- -·-~-·--··-··--~----~--·------·----·------·------·-···-·------··---·-----~·--- ... J A. Use pictures of goats and allow the chfldren to express

the I ,~ opinions as to the characterIstIcs of goats. B. Te11 the children that here Js another story they may enjoy

hearing. Suggest that they llsten to see if they can find j

the place where the characters say the same things- over andlI I over and, If they like, they may say these parts with you., C. After the story has been told, the foli<:Mfng questions are suggestive for discussion. 1. Why do you suppose the goats did not want to go home? 2.. Why do you think the goats were not afraid of the other antraals?

3. Of all the character$ In the stor~ whtch would you be most afrat d of? 4. What do you really think the bee did to each goat?

.~pqsitlon Agtlxftle&. 1. Oral

A11 three stories. lend themselves v~ry well to dramatization.

If necessary. rere~td the stories and then have the children

portr~y in dramatization the conversation of the various char ... acters. They might try makfng up endings of their own for I some of the stories. I

II Written I A. Write a group story of some animal that wa$ fooled like I I Chicken Licken in thinking the sky was falling. They i L~~-~---~~~~------~------~------~------~------~------~------J --~---···---~----~--·--····--··------~------~------·----~----~----_-·-~------·--·------··--·-··· 10 [ should try the technique of repetition in thelr story as much as possible. Later the story can be made Into a elass booklete I I B. As the children dictate, write a group story about a small child that has trouble getting hJs dog or some pet to come home or to follow him. vJork on repatitfon as much as pos'"' slblee The children may then illustrate the story.

LangYsUll J;xpl Qrat toru? J. Vocabulary Kindergarten children may exhibit curiosity concerning the sounds and meanings of some of the new words. The following words are suggested for this purpose. Squalling stlp (slip away and frizzling piece of clotM·ng) btde trtce (one try) firmer snout ladle bairns (children)

II. Phonology Children may suggest words that rhyme with the key words, such

as: ~ ~ see try UNi..... fly tree my three dry knee by

&xtende~ Activities ' I. The chi ld.ren may enjoy planning and painting a mural of either Th1 Psmcake or CJJtcken Lickeo. I ~ ~ ~~~--·-· ~~-~------~--~--~---~ ~-~~------~---~----·------~------~-·---~---~------J 11 11. Allow the children to make puppets and dramatize Jbe Boy 904 His- Goats.-·- Ill. At the listening center the children may have access to the folllng recordings: Old Mother Hubbard and Her Dog (56:LT 1l) Old Woman and Her Pig (56:LT 11) Chicken Licken (56: LRS 25) Henny Penny (56: LRS 28) Po§ try Eliza Lea Totten, 11The Little Kittens 11 --TIME FOR POETRY

Edward lea1·, 11A was once an Apple Pie" - TIME FOR POETRY

Ei lmstrips ChI cken Li cken (57: LT 47) Billy and Nanny Two Little Goats(57: LT 15)

BIBLIOGRAPHY Johnson, Edna, Evelyn Sickels, and Francis Sayers, 11Teeny 11 11 Tlny, and "The Old Woman and Her Plg , Anthology of Children's Literature (Boston: Houghton Mifflin Co •• 1959). p. 199 and p. 197. ASK MR~ BEAR NOTHING AT ALL

I I I '~ ···--~·-· -·-·---~---~-·-·------·------~------·----·------·------·------...... J FANCIFUL TALE:

ASK MR .. BEAR NOTHING AT ALL

I CORE TEXTS:

Marjorie Flack, Ask&. Bear (New York; Macmi 11an Co., 1932) Wanda Gag; Nothrng 8S.. All (New York: Coward McCann. Inc., 1941)

ALTERNATE TEXT:

Watty Piper, IbJ! Littl§. Engine .Ib.s.t. Could (New York: Platt and Munk Co. Inc. 1930).

GENERAL INTRODUCTION: I This unit is prepared for the Kindergarten on the modern fanci·[

ful tales and delightful stories created by modern authors f<>r modern I

children. These modern stories are very much like folk and fairy 1 tales in that they use the same lf)asic devices; but these stories, un .. 1ike some of our folk 1 iterature, were created just for children. These new tales are optimistic in their outlook, and fuJ1 of humor, gaiety and nonsense. The most outstandfng characteristic of the "Modern Fanciful Tale," Is that It operates In the dream world of the]

child's imagination, unhampered by the necessity of sticking to the 1 possible .. Concentrating as ft does on the chi1d*s perception of real ... ! I tty and on verbal repetftfon, the objectives of thfs untt are I) to ~ have children experience other stories dependent upon repetition as a I I I j literary device; 2) to present enjoyable stories from the realm of I '·~-·~~·--~---·-~-~-·-~------··--·-·--·------·-·------··------J ~~----·---~·--~---····--·------·-. --~. --·-----~------.--~~---~~-. __ .. _, ______.______..., 14! 1 modern fanciful literature: 3) to help satisfy the child's desire fori Ifantasy, I

I BACKGROUND INFORMATION FOR THE TEACHER: I I Aut hoc Marjorie Flack is an American writer and artist. Her books

'have a clearly defined plot and delightful humor. She is a careful craftsmam and her stories are as lovingly worked over and perfected

as are her bright pictures. Her books are picture~storles In the best sense of the word. The t 1Justrations have few datal ts, clear, bright colors and delfghtful action. Wanda Gag (1893-1946) grew up fn a Minnesota community which was very enriched by culture of an immigrated society. Her stories and illustrations reveal this rich background of old world customs, I superstitions, music and marchen. The rhythms of her texts and i 11us- I trations, perfectly blended in her books; attest to the strength of I ! the folk traditions in her backgroundo I ! i

Ltke poetry • fantasy uses a metaphori eal approach to the per.. I

ceptlon <>f universal truth. Webster's New '!Wentleth Century Diction- I

ary defines fantasy as "the mental apprehension of an object of per- I' l ceptlon," and as 11 lmagination; the process, the faculty, or the result I I of forming representations of things not actually present." I

That ts to say, fantasy comes from the ereatfve imagination, a J I power the mind has of forming concepts beyond those derived from ex .. I _t~rPstl_9Jll@~.L_wh i ch_g_r!LP..resenuo our s~ses •__ t1ntl!Ji¥_demandl!i __~ J ' 15 something extra, perhaps a kind of sfxth sense. All children have it,

but most adults leave it behind with their cast.. off childhood.

The l i terature of fantasy f s various:~ both in subJect matter I I and treatment. It has, however, a tendency to follow certain well-de-. I' flned patterns that have been set by great writers. E.M. Foster in • h l s book Aspects .Qf. .t.l:l§. Nove 1 makes this Jnte resting COimlEint :

"Although the subject matter of a fantasy; 1ike the pat .. tern, may often be repeated in other books~ it is not al· ways the subject matter nor the pattern which gives a book of fantasy the degree of quality It possesses. Its qual ity 1 Jes in the creative Imagination of the writer and Jn his own personal expression of that imagination; In the consistent Integration of hts original idea wfth the drama of events;. and the integrity with wh·ich he gives verlsfmH itude and reality to the unreal world of fantasy." {21:101)

Fantasy Is timeless and placeless. It Jives tn the eternal

country of the imagination and Js never outmoded by succeeding s~cial , periods and conventions. A hundred years from now chi 1dren t.

]1otlf

~ Ht. ~ could be grouped in either of two categories. lt is In the style of the accumulative folk tale and is also an example

of a talking beast story. lt 1s modern plot -- a little boy looking for a birthday present for his mother, Its repetitfonal style and the I surprise ending, also modern. have endeared it to thousands of young I chi Jdren. i

.... -----~~~--~~------·-·----·------·------·------·--·----J ~-----~:~~;:-8J; A~:h ;:~- ••:::-:. -~ 1k t•~::-:~ -:. • -::~~~C I allegorical flavor, tells Its readers that If you are nothing at allp I you have to get dizzy getting busy, and the first thing you know I I you'll be something after all. A plainer lesson could hardly be pre~ I ,::;::d: t•:: t:::t t:: •:::~:t ~:n=ust ng and so appeal! ng that ch 11 dren I

Ask Ht. ~presents a picture of a child and his animal friends which ts not a part of the world of folk tale or fable, but rather part of the world of today. Danny sets out, like Innumerable fatry tale children. from a secure home and goes deep Into the woods to meat a great danger. He escapes the danger and comes home to a happy conclustono

Nothing At All. because he ts invisible, finds hfmself alone Jn a strange placeo After a strenuous effort and some exercise of magtc, he becomes visible and ffnds a happy home with his two brothers.

Both stories along with their del fghtful pfctures~ inseparable from the tales themselves, have yery appealing plots, a direct style

of writing~ and a note of gaiety and nonsense. Each of these tales Is a picture-story with beautiful cadenced rhythm, action, suspense, and a satisfying conclusion. In both stories the animals have almost I

I human qualities~ such as kfndness, faithfulness, playfulness, and ! helpfulness. I I I Stryctyre I I I The allegory with its double meaning and its frankly moral 1 .. ~-~-~----~~~~- ···~·---~------~------·------·-----__1 ~·~--- -~------_------_-_ ------.------. -~----~-~------~------~-_----~------·--17"• r lesson has never been so popular with young chfldren as other types of J storfes. However, N.Qthfng 8.:t. AJl. which ts very lightly wrlttens and I with much humor and ~harm. does have a great amount of appeal to the I i young chi Jd. It has the quality whteh Is characteristic of many of I : the folk tales.

; SUGGESTED PROCEDURES:

I . Ask lit:. ~ A4 This Is an excellent time to tell the chrldren something about the author and t llustrator, Marjorie Flack. B. Tell the children that they are going to hear a story about a little boy, very much Hke themselves, who had a problem simflar to those they might have. c. Read the whole story at one sitting. Inasmuch as the lllusj I trations are such an rmportant part of the story, provide ! sufficient time for the children to look at and enjoy the pictures. I ! o. Provide for a discussion period after the story. I 1. Do you think this story is a true story? Why not? I 2. Were you surprised at Danny 1s btrthday present for hts mother? Did It cost money? Can you think of a gift for your mother that would not cost any money?

I (They might suggest a kiss, a smf le~ saying 11 1 love I

iI 11 i you ). I I

II • Hoth hl9 8.t 8.11 J 1 L___ ------·------·------·------~----·------··------J 18 II. Nothlog At All (cont.) A. There is always a certain fascination about a closed door. To some ft suggests an Invitation to what lies behind the door. This ts a unique way of welcomlng children Tnto a

land of enchantment, Jmagfnation, and beauty. Use a pte- II ture of a door that wlll open. Have the children guess I what is behind the door. When you open the door there will j be nothing at all. Tell the children that they will hear I I a story about an animal which was named ''Nothing At All." I I B. Read the whole story aloud, and be certain that every child! has a chance to enjoy the charming pictures as the story is read. C. Discussion: 1. Who was Nothing At All?

2. Do you think that kind of magtc would work wfth every .. body? 3.. What part of the story did you like best?

CQmposttigo Act(yttf~ 1. Have the children draw pictures of other things Mr. Bear could have given Danny for the birthday glfte The children may then dictate their stories to the teacher acting as $cribe. II. By using pictures of either the animals or the gifts suggested,

have the chfldren develop in sequence. the story Ask Hto ~ Ill. For a class or group actfvlty have the chtldren compose a story

about magic. The teacher wl11 wrlte it on the board and later I -- ~-~------~~~----~------J 19 make it as a chart story.

Longyagft g;splor:attons I • Morpho t ogy A. Have the foltow1ng rhymes printed on charts, then ask the children to give the word that rhymes with the one In the sentence.

A 1J t t le red .b!.n Jam~ Lives In a (pen). G~ttlng __(dlzzy)o

A cow g Jves m.Ll.k A b! g black b.YsL As smooth as (silk). is und~r the . (rug) ..

A big brown bear A big red .fms. Sat on a (chair). Is Inside a __(box). A funny old sggt I see a §.1.ru! Was wearing a (coat). Painted (red)o I see a bfg whfte sheep Take a l.9.2.ls. And he is fast . (asleep). In th f s new __(book).

Chi Jdren may also enjoy giving rhymes of their own.

11. Vocabulary A. Discuss the meaning of some of the new words found tn the story NQ.thlng Ill. All, (8rphan, whimper, invisible, jackdaw, roused, munmured).

Extended ~t I y I t I @S, I Make puppet heads of each of the characters In Ask &. Bear. I • I Encourage the children to use them fn retelling the story of I Danny's search for his mother's btrthday gift. I j ! [ j. t._ --·~----. -~-----~----~--~------~------·------~ ._ ___ ·-, 20 11.. Guide the ehfldren in planning a dramatization of eJther or both stories. To give several children an opportunity to par ticipate fn thfs activity, suggest that two different groups

plan dramatf~atfon •

. POETRY:

John Kendrick Bangs, "The Little Elf" ~ .f.Qt PO§try (This fs a beautiful verse of a child meeting an elf.) Walter De La Mare, "Some One" .Il.J:Di. .f.gJ: PQS!tr:Y (Someone came knocking, but who? It fs full of wonderment and surprise)

BIBLIOGRAPHY:

VIrginia Lee Burton. !h§ Little House (Boston: Houghton Mifflin 1942). The adventure of a little h¢uneo

Marjorie WI J lfams Bianco, I.Wt Velytteen RAbbit (New York, Doubleday 1926). This lovely story is built upon the theme that toys come to tr fe if they are loved enough ..

I I I I ! ----~ .. --~-~~~------~------~------·---·-· -~------·~--~------.. ------···--···J ~------·------·-·---··~--·---·------·-----~--·--··---··-···------.. ------· i

I i '

.Yn.Lt 1: Animal. Story

ANDY AND THE LION MAKE WAY FOR DUCKLINGS I

I I I I I

i I I I I l I I L ... -··-----·--.. ·----·------·------···-·-···-····------·-·-·---·------J ANIMAL STORY:

ANDY AND THE LION MAKE WAY FOR DUCKLINGS I I ' COR! TEXTS:

James Daugherty, .8nsb!. An~ !l:ul Lion (Eau Clalre, Wls: e:. M. Hale~ Coot 1938)~

Robert McCloskey, ~Way .fru:. Dyc;,kllngi (New York: VIking Press • 1941).

GENERAL INTRODUCTION:

This unit Introduces to the children two animal stortes wtth

11 realistic11 tendencies. rhythmic style and clearly deffned plots,

which follows the pattern of the folk tales and fanciful storJes. The

major obJectives are: t) to develop an awareness of the realistic as ,

opposed to the make believe; 2) to provide children with an enjoyable! I experience wtth good stories. I

BACKGROUND INFORMATION FOR THE TEACHER: I I Author I

James Daugherty (North Carol tna. 1889 ... ) Is both sculptor and ,,II artist but is best known for his murals and book i 11ustrations. Wtt.h

an artlst•s keen eye for characterization, he has directed his talents!

toward rendering Jn visual terms the classic figures of American His- I1

tory. Some of his books dea II ng with /\mer! can II fe are ll;!Di<>l BOQ!lll., I

which won for him the Newberry Award, Abraham Lincoln, and Poor 1

Richard. He Is not altogether lJmtted to Amerlcan scene. His book I ------·---·--~-----.------·---·------·-----·------·------~--_1 23 ADs!¥. And 1M .1J9.n fs an excellent book for the younger child. Robert McCloskey was the first artist to recefve the Caldecott

Medal twice. first In 1~42 for~~ For .Q.uckllngs and a_gafn In

1958 for ~gf Wonder. He won a scholarship to the Vesper George : School In Boston and studled at the National Academy of Design In

• New York City. where he received the President's Award. He ts nCM living fn Maine on an fsland In Penobscot Bay. The Island. the sea. and the coast have provided the background for several of his books.

The author has also put some of hts own boyhood interests, such as playfng the harmonica, and Inventing things, Into his books. His books reveal that he is not only an artist wfth a rare gift for humor and interpretive details. but a writer who knows today•s children. His stories and pictures are outstanding In humor and realism.

.Q.enl)l There are. In general, two kinds of animal stortes: I) those I I that treat antmals rea1isticaHy as animals with strictly animal char- I

acterlstles; and 2) those that assign to anrmals thoughts, emotions. j I the· power of speech, and actions whl.ch mirror human actions. Each of 1 i these two general kinds of stories have innumerable gradations of har~ I I much an animal Is 11humanJzed." Some stories of the second kind, es• j pact at Jy folk tales and fables which use talking animals as characters.! ! use the animals only as human betngs In disguise, with little or no I I attempt to assign any real animal characteristics to them. Other 1 stories of this ktnd treat the animals essentially as animals but with\ I

the power of speech. I.bA- Ihr§fl Qfl ~~ §oat§. Qryff. derive much of theIr I i ····-··--·--···------··--·------~---·-·-·------·------·-----J ·------~~~-~------~---·------·------·--~------·------····--·-:i4"' r charm and effecttveness from the faet that animals behave according / to their animal nature and also have the power of speech.

J There are also gradation$ of the extent to whtch animals are I ' I 1 humanized in the first general type of stories. Some stories of this ! 1 type asstgn the animals no human characteristics at all. Others, : whJ le not giving to animals the power of speech or making them act

Hke human beings, do assign tQ them humalliZed thoughts and emotions.

j ~ Aod. Ib@ .lJ..Q.a. would be classified with certain huma11 thoughts and I 1 I emotions. ~. 8ru! ~. 1J.Qn. could easily be classlffed as a modern I ! fanciful tale or as a modern fab1e4 The realistic tendencies are in I the description of the boy. Andy Is a real boy. and the only natural ! ! [ thing that could happen to a boy J Ike Andy actual ty happened., Take a i 1 boy who dreams about 1tons, talks about 1Ions ancl reads about 1ions i i ·1e 11 the only natural thing left is to meet a lion and that ts just \ /what happened. i

; I S,tryctu,c.e. !

1 I I There Is action and suspense throughout part two of the story 1 I ,8.ndv. And ~ bion, Here Andy meets the lion and does the lion a great! i ! I favor. Part three Is leading up to the surprise endlng, where An~y l I saves the lion and b"comes a hero. The eoncluslon Is the fulfl """'"t ~.I! i of a chi Jd•s wish, the happy reunion of Andy and hfs friend the lIon. I The beautiful pictures are fuJI of humor~ actfon, and reaJtsm. I I

I Mot if Il ! .Make.~ W. Dur;kltns.s is an almost realistic story of a mother I i ! l ~~-~k~:~:-~:~d~- her duck 1 i n~-~-fr: the~~~r 1es--~~ ver ~t~:~:~-- hea:______j ~-~----~. ------~-~------··---~------~;-~··· f traffic to the Boston Public Garden. The structural motif of the

I story ls 9 of course, the journey from home and back again, SimtJar in I some ways to the journeys of Sambo, Peter Rabbit and Ferdinand. The I j only threat of violence or destruction in the story is the boy on the bicycle who almost runs over mother duck, and the uncertainty of

Mrso Mallard and her eight ducldlngs crossing the street through heavy trafffco The careful precautions that Michael. the trafftc policeman, and the special police car with four other policemen take to assure safety for Mrs. Mallard and her family, Is pleasing and reassuring. The end of the story follows the structural pattern in that now the I duck family has found a home which Is more peaceful and secure than tt/ was when the adventure began.

Style The style of this story Is clear and direct with the formulaic I repetition of the walking of Mrs. Mallard and the eight little ducks I whose names alI rhyme -- Jack, Kack, Lack, Mack, Nack, Ouack, Pack, and Quack. The beautiful drawings have just the right amount of I I variety, action, color, and characterization to amuse and fascinate i ! i the small children. i I SUGGESTED PROCEDURES:

b[t@rature Present§tion I I I . I A. An. excellent time to read Andy And The Lion would be aroun1 circus time. One might also use several circus pictures to1 i ! ! .. -.-----~------~------·--· ------·------J motivate the class tn talking about circus animals. B. Read and show the beautiful pictures in one sfttlng. Certain discussion topics and stories fo11ow rather ly from the reading of this story. I. Have you ever heard a story wherein someone met some· thing bad In the woods? (Children may suggest "little Red Riding Hoodu) 2. Who did Andy meet on hfs way to school? Was he bad? Why? 3. Have you ever dreamed about any wild animals? What were they? 4. Why was Andy made a hero?

Compos i t ion Act} vi t i eJi. I. Stimulate the chlldren"s Imaginations by asking: Where do you i thInk the II on was goIng when he met Andy? How do you suppose I

. I he got a thorn In hIs foot? ~/here do you suppose the 1ion went 1 I after he left Andy? I ! II. The class might compose a story similar in plot but with dlf· ferent characters. The teacher might make a chart story from their original ideas. I Language F~Pl~uations I. Vocabulary

Ustng a picture of a lion, the chlJdren might suggest ac- i tton words to describe the lion. I I I ------~----~------~~------~------~-J ---·~------·------·-·------·------·------··-----·-·------"-----~-----2 7'1 r 11. Diction I The teacher might have printed cards with the following I I allusions to animals. The children may choose one to pan· i I I tomlme -- (The teacher wi 1J read to the child in a whisper).[ i The other children may guess what animal the child is act- j lng out:

cross as a bear fierce as a 1ion sly as a fox gentle as a lamb swift as a deer qulet as a mouse big as an elephant tall as a giraffe. The cards also might be used tn having the chJ1dren draw pictures or 111ustratlons.

&xtenged Actiylties 1. The teacher mlght have a set of riddles about various animals which may be used as a guessing game. Examples are:

I am called the ship of the desert. I can carry my own water. I I have a hump on my back. Guess who I am. I am a very large animal. I I always carry my own trunk. I I can do many tricks in the ctrcuso I I Who am I? i I II. Using a matching picture game of mother animals and their I babies is an excel1ent way to teach relationshfpo I A. This is also an Ideal tlme to teach the names of the vari .. I ous baby animals: I elephant .. calf cameJ ... colt sheep - lamb I Jon - cub bear - cub deer - fawn I duck - duckling horse - colt cat - kitten I dog - puppy hen ... chick goose .. gosling I cCM calf i I ----·------.------______j 28' Poej;r~

WILD BEASTS I will be a lion And you shall be a bear And each of us will have a den Beneath a Nursery chair And you must growl and growl and growl And J wJ J 1 roar and roar And then- why then- you 1 Jl growl again And I wf 11 roar some more: (49:e) Evaleen Stein Children delight in dramatizing this poem.

SUGGESTED PROCEDURES: (cont.)

.LJ terature .Pre§entftt Jon

II • ~ ~ For Quti.kJ t ngs I A. Since duckS are common pets of ohlldren, It may be posstblel for one of the children to bring a duek to class. The I children could then observe the duck~s habits and play wlthj tt. I I 1.. The teacher could then introduce the story ~ ~ .Ew:l I D!.t&.ls.J i w G I

B. DlscussiQn of the story I

1. Talk about the varJous places that Mr. & Mrs. Mallard J Duck v ts i t i n f t nd I ng a horne. I a. What was wrong with some of the places they vlsfte~ B.. 1Jhy do you th t nk they chose '!:o five In the pond in I i I

L~o~-~~ -~ _ ~~ -~----~---·- ----~~h~ ;~ub 1J e ~~~~:~------~--~·-·-·- ---~-·--- ~ ·- J 29 2. What were some of the things Mrs. Mallard tried to teach her baby ducklings? c. Who almost ran over Mrs. Mallard and her babies? t. What kfnd of a policeman do you think Michael was? Why?

Composition As;tivl:tl@i I. Stimulate the children's Imagination by having them describe the many things Mrs. Mallard and her eight baby ducklfngs saw In their long journey. II. Use flannelboard with cut-out animals and have children make up para) tel storieso

1 J J I. The children might draw pfctures of the part of the story they '! liked best; and then present them to the class_ IV. Co Jl ect rea 1 is tic and make-be 1t eve pIctures for ch i1 d ren to classify tndependently. Two sturdy boxes, one labeled with a realtstfc picture and the other with a make .. belteve picture, , would serve as receptacles and storage containers for the pte- tures •

.b§ngyage Expl or:a;t; Ions 1

t • Phono 1ogy I A. Have the children listen to the names of the eight baby I ducklings and tell why they sound alfke: Jack, Kack, Lack Mack, Nack, Ouack, Pack, and Q.uack. B. Have children suggest words that begin like duck"

---~-.. --~-~~~~-~~ck~- pluck, _s-~ruck~-buck, ~~-~:-----·--·------···------__1 --~-~----- ••--·-.-.-•-.-·---·-·--·-··-•---•·--··-~----·---·--•~••·--·------·•------··--••w----·-----~-~-•-••'"'" '0. 30 1 II~ Diction A. Have various pictures of ducks, geese. and chickens. En ... courage the ch11dren to describe their pfcture using com- I I plete sentences. For example: My duck has webbed feet My duek can swim My duck Is big and yellON

! Extended Acrt Jvi t 1es

I o Provlde clay and encourage the children to mold fig11res of ani mals. Suggest that the children paint pictures of woodland

animals they particularly like. Provide 18 111 X 2411 sheets of newsprint for the pafntfng, label the pictures when they are

completed. and assemble them tn a class booklet about animals.

II o Films

The following films may be used: Mother Hen •s Fami Jy (Coronet) 11 mfn, Color/b&w

Seven Little Ducks (Bailey) 11 mtn. B $. W Batley Films Inc. 6509 De Longpre Ave.. Hollywood, Ca tif. 90028

Pggatry

Rose Fyleman, Regents P~rk (Making Music Your Own; CaJtfornia Serres) p. 148.• What makes the ducks: in the pond, I wonder; go Suddenly under? Down they go in the neatest wayj You'd be surprised at the time they stay. ! You stand on the bank and you watt I and stare, 1 i Trying to think what they do 1 1 down there; 1 t -~·~~---~~~-···~·-·------··---~---~--·------·----~~------~··--··--J 31 \ j ~nd, just as you're feeling anxious, then Suddenly up they come again, Ever so far from where you guessed, Dry and tidy and self·possessed.

What is Jt makes the duck, 1 wonder, go Suddenly under? Rose Fy 1eman

MysJ£ ao.Q. B,hythmes I. Children may tmftate Mrs. Duck and her eight ducklings by waddling in time with music. Use the Bowmar Record: Anlmsl

II. Sing and dramatize "Six little Ducks; 11 this is a lovely song and it lends ttsetf well to dramatization. 11Sfx Little Ducks," Making Music Your Own (California State Series Kdg.) p. 148.

BIBLIOGRAPHY: I Loul$e Fatio; ~Happy Lion (New York: McGraw- Hf11 Book Co~ 1954). I Marjorie. Flack,. Ansi.Y.!_s s.nd .l:l:m Duck§ (New York: Doubleday & 1 Co. Inc. J932L !

Clella Delafield, M,rs. Mallard'§ DyckHng§ (New York: Lothrap j Lee and Shepherd Co. 1946)9 ! Ma1·garet Frlskey, Seyen Diving Ducf

I -~~~---·--·~------~------~------·-----·-~---~------·-~-----·----·------·--...! r·-· ------~-~·-· ------~--·------·--~----~-----~------·---·-~--.. ---.. --·-----

Unit~: Adventure Story:

THE BIGGEST BEAR

I ---~---~ .. ---~---·--·------·-··------....·------"---- .. -~.... - ...--· ____ ,____ j ADVENTURE STORY: THE BIGGEST BEAR CORE TEXT: lynd Ward, The Biggest Bear (Boston, Houghton Mifflin Co. 1952) Alternate:

Sue Ward, Rosa~Too-Little (New York, Doubleday & Co., 1950)

GENERAL INFORMATION: The Btgge_s.t_ .Bear has been selected to Introduce stories of realistic adventure to the kindergarten children. It ts a realistic story in that everything that happens is possible and seems most probable. Realism for the younger child begins with himself, his personal problems and needs, and those of other children like himself. Family life in stories for the youngest fs full of affectionate rein- forcement and understanding. Such stories build the small child's conffdence and keep alive his sense of belng loved and of finding life full of delightful posslbflities. As children read these stories or hear them read, they will share vicariously these experiences. More over, they discover In the process that their country is made up of different kinds of people Jiving rn different parts of the country, wtth different problems, different customs but with the same family affection and loyalties. Tbe ~iggest ~is as real as the children next door. It Is a story which will give children a clearer understanding of themselves, greater social insight, happy sense of life's gaieties and a warm liking for the people who make this country. To be sure. there are some imaginative qualities in the story but there 0>~~-~--·····----~~----···-···-·-···-··~·------····~-····---··-·-·------···-·· ··--···- ····-~· .. -- ---·--··~ .... ·~·· ·--·-·· ~~······ .... ~~- ...... J I are no magical elements, no talking beasts, and magical carpets to 34! provide rides. The objectives of this unit are: 1) to allow the children to experience vicariously the adventures of Johnny and his bear; 2) to present a story that is a contrast of realism and the I

fancifuli 3) to provide the children with a good 11 realistfc11 adventure story. BACKGROUND INFORMATION FOR THE TEACHER:

8Ytbqr Lynd Ward, (Illinois, 1905 --) is a versatile artist working in lithography, wood engraving, water color and oil, in color as well as in black and white. The Biggest Bear won for him the Caldecott medal

in 1953. May Massee, In 11 Deve1opment of the Twentieth Century In

Illustrations of Chi ldren 1s Books'', has this to say about Lynd Ward: ''\vhatever book he chooses to Illustrate immediately takes on charac-

ter ••• ". Some of these books are: The Cat WhQ Went To Hea'{(iQ~

.J..oh,no}! Tremain, and .I.bslllbili ~parro~CL.

Realism is not a definite form In fiction, rather it is an objective, and endeavor to represent life honestly. Literature Is said to be a mirror of life. With a11 its beauty and bestiality.

Reallstrc stories seek to represent lifo as it Is. A realistic story I may be defined as a tale that is convincingly true to life; that is ! the ~laces, people, action and motives seem both possible and plaus- I lble. I.lJ.!a Biggest Bear is a 11ta11 tale", but it is still a realistic I I adventure. Johnny, the hero, is in a "real" world with "reaJI' people ; ... ;;,) ; ~ ; •it! .. -----~------.------~------·--··-·-··· ------·· ..... ···------··-· -·· ... . -- .. ... J 35 and 11 rea1' 1 animals. It Is more than just an adventure story; lt is an animal story too. Johnny learns just what different t·raits a bear possesses.

Young Johnny was so mortified because his family had no bear skin nailed up on their barn door that he set off to capture a bear all by himself. He did it, too, and brought it home alive. That bear grew and grew and grew, and Johnny's problems grew right along w with the bear. Like the conventional folk hero, Johnny for social reasons must have a bear skin hanging on the barn door. So he sets out, like the folk hero, to bring back a bear skin. The structural motif Is somewhat like the folk tale In that Johnny meets with trouble.

The theme of the story is rather a social theme. Johnny 1s mortification of being the only farm in the valley without a bear skin on the barn, gives to Johnny a tack of prestige and honor among his friends. The story touches on the beauty, the tenderness and unsenti

mental pictures of rural family life. The solution to Johnny 1s pro

blems» like most things in 1lfe1 was a compromise, but not half bad for either Johnny or the bear.

The story Is simple and told in a straightforward style. lt moves rapidly, reaches its climax rather quickly. and has a somewhat

I ··~~--~--·-··-·---··------·--·------·------~--··---·-·· ····· -·-··· .·-···· ---. -·· ... -·-· ·····--········ .. --····. ... J surprfse ending. The pictures have a scrnewhat three·dimenslonal 361 I effect. The characters have a tender, homespun quality that ts quite heroic.

SUGGESTED PROCEDURES:

.L j tSltiiltYt..E! .P.res§lntAt ton f. To Introduce the story .If.:li. Bfgge,st Bear mount a picture of a bear on a paper 1811 x 2411 and print beneath it the caption: 11Have you seen the biggest bear?".

II. Tell the children that you have a delightful story about a small boy and a bear.

til. Take time to read and enjoy the outstanding pictures of this delightful book.

IV. Discussion may follow. A. Ask the children if the story is real and why they think

f t iS? B. What was the one thing Johnny wanted most of all? c. What did Johnny really find? D. Why was the bear always getting itself Into trouble? E. Do you suppose If your neighbor has a bear and he ate your food that you would want to get rid of the bear? F. Why do you suppose the bear kept coming back to Johnny? Composition Activities I. The children might enjoy giving their ideas if asked--\>lhat would you do if you had a bear in your home? II. The children might be lead to see the comparison of stzes

small, ~ddle-sfzed, and large. Have them suggest the different slzes in people, animals and articles.

Langue)ge ExP lorgt ions I. Vocabulary A. Discuss the new words of the story: humi 1 fating maple sugar mash smokehouse sap tribulation

11. Phonology A. Encourage children to suggest words that begin 1tke bear. Write words on the board.

B. Children may find pictures to use in making illustrations of the words • C. The teacher may decide to have the children make a

11 11 Sound Book •

Ill. Syntax A. Give children a sentence and have them add different words to the sentence. For example: l. The bear liked to eat. The children mtght suggest the following:

2. The bear l f ked to eat ID§P l.e. sugar.

3. The bear 1i ked to eat. smoked hs!m. 4. The bear liked to eat pancakes. ••r••-n-•• T

B. Then show the children how they can make one big 381

sentence using all the wo.-ds~ as: The bear liked to eat maple sugar, smoked him, and pancakes.

Ex:J;enged Acttvl ties I. Have the children dramatize the story.

II. Read the story Tbe ~ l1.b,Q Saw Tbe .§.p....r.l..ttg (Karla Kuskln,

Harper & Row, 1961).

Ill. Music and Rhythms A. Children may pretend they are bears while music is playing. B. Let children sing, "The Bear Went Over The Mountain".

I Vo Films Ltve Teddy Bears (Koala) Bear Country

BIBLIOGRAPHY: Robet·t McCloskey, Blueberries For Sal

_j WHY THE BEAR IS STUMPY~TAILED

I J MYTH: WHY THE BEAR IS STUMPY-TAILED

CORE TEXT:

May Hi J J Arbuthnot~.Jfu¥. Ifte ~ l! Stumpy-Tal led (New York: Scott, Foresman & Co. 1922).

GENERAL INTRODUCTION: The North American Indian tales In literature are mostly of the npourquoil 1 --- how and why type tales which explains hO'Jif the present world came to be as it fs. They give a chfld an appreciation of the religious and moral side of the American Indian. Y.b.y_ The llimr, h Stympy-Tafled creates interest in a study of anlmalst and makes an attractive approach Into a comparative study of behavior charac-·· teristics of animals and people. The major objectives for this unit are: 1} to present to children an understanding of how myths have come about as people attempted to explain their environment, 2) to help children enjoy and appreciate the imaginative sfde of the Amerfcan Indian.

BACKGROUND JNFORW\TJON FOR THE TEACHER ..G.enr:e A myth is a traditional or legendary story which is concerned with Gods and supernatural beings. It frequently attempts to explain some basic truths. Poets and storytellers of aJ) nations use myths for many purposes. They retell them in their own language--in prose _j 41 i and verse, In short story, and epic. An understanding of mythology j will make literature more meaningful. Phyllis Fenner makes this interesting comment:

11 ft is very important that children should know about I myths because ft shows them that the concerns of men today are exactly the same as they were before re corded time. Trial and Triumph, fear and hope, corss motives of mankind are the elements with which myths are concerned. Every generation doesntt start brand~ new; it comes along with all the knowledge acquired In the past, and myths give a sense of this; (1) myths a;llow chi fdren to identify with an adult world.. In myths and in folklore events occur in a grown-up t-1orld in which the child participates; (2) myths give chi tdren an experience with true, nobi 1ity of language; sometimes children meet real literature for the first time In the myths and folklore they encountet· Jn read·· ing and listening to stories." (1]:38) It fs only natural that the myth makers used the things they could see, like the sun, the moon, the stars, the wind, plants and anlmals, etc., to symbolize the forces they believed operated tomal(e things happen to them.

Motif The simplest form of myths are the HpourquoP' stortes, (the

''why" and the 11how11 stories} attempting to explain how the world got to be as It is. This myth, Wh.)! ]be Bear ll. Stumey-Jailed, Is very simple and is especially good for glvfng the kindergarten child an introduction to myths. This story has a great many elements of the folk tale and in thfs myth It is warning the unwa1·y against the folly of credu!i ty. The story fits we 1J in the common pattern of the 'why" myth. because it explains the reason why the bear does not have a long tail like most anfmals. The story also contains a lesson for 42 the moral instruction of the listener, another device of the folk tale or fable. In the kindergarten as In the elementary grades, myths should

'be read for the story and Its slgnlflcance to the culture rn which it originated. The prfme purpose of using the myths should be the , imaginative quality, the beauty, and the entertainment values of the I myths themselves.

The story definitely has a clarity about it, and a flashing symbol ism .:t.11s.t. stimylates the _imagination of the child. It ls simple and clear with very little complexity of language.

SUGGESTED PROCEDURES:

Literature Pres~ntatfon I. Show the children some pictures of bears. Have them note that

bear's tails are always short. Ask them if they know why, and

if they think the bear's ta f1 was a·lways short. Let them project reasons. II. Tell the children that long ago people observed certain things about plants and animals but did not know the reason why cer tain things happened. Therefore, they made up tales to explain the facts of nature. These tales are called myths. Ill. Children may listen to tape recording of the story while teacher uses audio visual materials or flannelboard figures l to enact the story. Discussion of the story may follow. 43 A. Ask the children if they would rather be the bear or the fox, and why. B. How dfd the fox trick the bear? c. What really happened to the bear's tail?

D. \vhat kind of animal would you say the fox was?

.C.QIOposj t.i.on. Activ.i.ti$U?.

I. Discuss the method used by the bear to get fish. Do you think the bear catches his fish this way now days? 11. Try a class nature myth on subjects as: Why cats wash their faces after eating. Why the turtle walks so slowly.

Ill. The chI 1dren may want to write a group story and te 11 how the bear outwits the fox.

Language ExpJ~ratlons

I. Phonology A. Have children supply the missing rhyming word In each sentence.

t • A b i g .f.oK was 4. Sitting on the ~ caught in a ___ .(box) would not be ____ .(nfce) 2. Sitting rf ght there 5. We found a nail was a big brown ____ (bear) in the milk ____ .(pail) 3. In the d rsh· 6. The fox is very ,W·· were many ____ .(fish) and he has a wi eked _.(eye) If. Vocabulary A. The following words may be studies for meaning and l _.. _ -· ~ronounc~:tro:: ...... _ ...... 44 sll nki ng bruin craft whence bade stumpy B. Allow the children to suggest words that might describe the bear and the fox. The following words might be suggestive: Bes:!r. fox hungry sly stumpy-taft bad cold smart patient dishonest

I. The children may enjoy playing the game of "comparisons". They might compare the bear and the fox as to size, and various characteristics, then allow them to compare other animals. 11. While looking at pictures of bears, discuss the sizes, kinds, colors, flat-footed walk, furriness of bears, etc. Ill • A11 ow the chi 1dren to use tape record f ng of the story and also use flannel board figures. Let the children pantomime bears on all fours. The teacher may wfsh to provide music for the bear walk.

POETRY: FURRY BEAR (51:40) THE BEAR HUNT (52:63)

Introduce the poems by asking the children if they would like l ~o-~ a -bear and-~-v~ I~ ~ ca~e. ------...... - 45 "The Bear Hunt11 and 11 Furry Bear 11 wi1 I stimulate the children's interest in constructing a cave-like structure to represent the bear's winter napping place. Blocks, bricks. cardboard boxes. or other available material can be imaginatively used by the children.

They wl11 enjoy crawling into these caves and hollows and pretending to be sleeping bears.

Have the children sing a song about a sleeping bear, such as "Are You Sleeping?11 The might substitute "brother bear" for "brother

John'* in "Are You Sleeping?11 1

BIBLIOGRAPHY:

Edward W. Dolch, 11 How The Elephant Got Hts Trunk" and 11 11 Why The Sea Is Sa1t , .Old Wor]d StorJes,(Champatgn, 111. The Garrard Press Publishing Co. )p.52. .u.n.I.t .§.: Fable:

THE WINn AND THE SUN THE LION AND THE MOUSE

J r· ··-~.·--~~----···--·--····----~---··-·-·--·------··-~--- ·-·------·· -... -~------.. ·-· ...... ··----·--··· ···--

1 FABLE: THE WIND AND THE SUN THE LION AND THE MOUSE

CORE TEXTS:

"The Wind and the Sun", from Brian Wildsmlth (ed. & ill,.); Jh.e

Fables .Q.f. A~so12 (New York: Franklin \vatts; 1964)

11The Lion And The Mouse 11 , from Joseph Jacobs (ed. ) • .II'l§. FabJ~s of AesQR (New York: The Macmillan Company, 1950). Note: Both core selections also appear in May Hill Arbuthnot, Time .fQr. Fairy Tales (Chicago: Scott, Foresman and Company, 1952, revised 1961).

GENERAL INTRODUCTION:

This unit Introduces the children to the classical literary

fonm of the fable~ It is a short narrative intended to convey a moral and having as characters; animals or inanimate objects that speak and

act lfke human beings. It fs true that some fables, like '~he HlnQ

Wolf," do not have animal characters. _However~ these characters are mere symbols and are as conventionalized as animals. According to one theory fables had their beginning as beast tales and ware transformed into fables for strictly moral purposes. The storytellers early recognized that the tales offered a fascinating \•Jay to give concrete form to abstract principles and teach wordly wisdom in a practical 48i way. Perhaps the chief value of the fable Is that as a pleasing tale, ! I it gives joy to children. It Is simple, short. vivid and dramatic. I I Animals with human properties appeal to a child's imagination and / i pleases his ·fancy. The fables chosen for this unit are definitely the! I more simply structured tales credited to Aesop. I As an introduction to the fable, this unit also seei(S 1) to I 'I present the simplest of fable patterns; 2) to help the child under- ! ' stand that sometimes through their actions animals tend to present themselves with human traits and actions; 3) to provide children with I I the enjoyment of a good story and to enhance their literary background., The following quotation from Joseph A. Wagner, author of

ChiJdr§n•s Llt~te~ Through Storytelling gives his opinion why

11 Fables11 should be Included in the curriculum: °Fab1es should be included in the curriculum Jf only because they provide the background for an understanding of the many current expressions and aJJusions. Pick up a newspaper or magazine and notice the cartoonst editorials, and articles alluding to 11~ Hare !i!J1Q, the Jortis~,·· 'a.T.b!i f\nt,.c:md the .Gn~sshopper, 11 or "Illii YJ.Q.lf. ln. Shee.P..1S .Cloth IH§it!:l In every conversation 1 isten to such expressions 11 11 as "Sour Grapes", ubarrowed plumes, the "lion's share ; ct Ht~-::: dog 1n the manger,. 11 It/hat current I i terature is more universal than fables?" (40:42)

BACKGROUND INFORMATION FOR THE TEACHER

Genre Fables might be defined as brief narratives which attempt to make abstract ideas of good or bad, wise or foolish behavior, concrete and sufficientlY striking to be understood and remembered. But because they are concerned with abstract ideas of good and evil they are 491 not readily understood by most chlldren until the episodes and thetr I i I significance have been talked over and discussed. Somettmes the I characters are men. sometimes the elements, but chiefly, they are I I animals. Whatever they are the characters of a fable are quite im- I personal and abstract. It is never Ping with all his brothers, sisters! Jand relatives. It is merely duck. Thts impersonal quality of the ; fable does not have the appeal to small children as does the more real I or personal quality of some of our other stories. For young children, five-to-nine, fables having maximum story I

interest, such as .Ib§. Lion p.n.d !.!:~.§.Mouse, are best told 'Nithout moral·· hing. Children learn to appreciate the fact that sometimes very small creatures may become most useful and helpful and are not to be scorned because they are small and seemingly unimportant.

The great fable sources are Aesop, The Panchatrantra, the J Jatakas, and La Fontaine, but to most English speaking people, fables I and Aesop are synonymous. A fourteenth century monk by the name of I Planudes added to a collection of fables, supposedly by Aesop. Its I authenticity is now considered doubtful, and perhaps there never was I such a man as Aesop. Authentic or not, his name goes right on appear-

ing on each edition and people keep right on tntnking that it was Aesop who collected these priceless tales.

uundoubtedly adults sense the fable 1s teaching value and offered them to children and youth, generation after generation; as guides to wise conduct. Today, there are innumerable beautiful editions of Aesop's fables illus trated by distinguished artists •. Appealing as some of these books are, children should not be expected to sit down and read them as a whole. They may be quite tire some when used in such a fashion. Fables are for occas ional use and they should be presented and discussed with 50 a light touch and the minimum of pedantry. Children should know a few fables because they contain the dfstl lled wisdom of the ages ln striking a memorable form. 11 (2: )

'Theme t1ost of our fables have only one theme. It is more or tess

dramatized throughout the story and is stated at the end of the story.

~ ~ln£ gog the Sun is centered around a single incident. Each trying to outdo the other and proving that he is the stronger of the

11 11 two. The theme, A friend in need ts a friend indeed , is rather

clearly dramatized in Th~ 1lQn and Sne Mouse •

.clliu'.agte r Probably one of the reasons why the fable is the most important I pedantic and the least appealing to children of all other forms of I literature. is the character problem. They are of course quite ab- J

stract and very Impersonal. At times the children may be more sympath 1 etic with one of the characters. Probably in the story The 1Jon and I l .:th~i''~Mo~., they would most likely feel a little more sympathetic with

Il the timid little mouse than the strong lion. A fable is intended to 1

makt~ the listener feel more understanding toward the wise and virtuous regardless of 1t1hat character he may be. Most children would prefer the sun to the wind. The characters are usually just symbols with

very little descriptfons about them.

Style The style of the fable is simple, short and straight. Figures of speech or sensory Images are rarely found in fables. You never little mouse; or a kingly, ferocious lion roaring widly. The simple narrative language of the fable Is never elaborately used.

All fables are structured rather simple» however, they may be classified according to their plot patterns. Some fables are Involved

In a single incident and presents some moral Jesson. ~_Dog~ Hii

.§hru:f.Ql!. Is a good example of this type. .The other types of fables may

be classified by their plot patterns Into the foolish beast fable. In

this group the foolish beast usually speaks or acts as if he were

doing so very wisely; the foolish beast momentarily appears to get the better of the wise beast; as the story proceeds the foolish beast de

feats himself in his pride; the wise beast merits the reward of wisdom and virtue. Sometimes these fables contain more than one parallel

incident, as The LiQn and .:tb.sl Mpyse. This fable tetJs first how the mouse is caught. From the two situations the wisdom of the mouse and the foolishness of the lion In his pride are well illustrated.

SUGGESTED PROCEDURES~

~Lt teratyre .P..r.es.en.:tat ion

I. The Wind and the Sun

A. It might be a good idea to use the fable ~ ~ind ~ th~ Syn on a windy day. The children may be able to feel the strength and note the characteristics of the wtnd.

B. The teacher may read a few lines from William Harwitt 1s,

~~ ----"··-- - --~---·------·----· ------·------···----···------·······-·· 52 THE WIND IN A FROLIC The Wind one morning sprang up from sleep, Saying, "Now for a frolic! now for a leap!

Now for a madcap galloping chase!

I'll make a commotion in every place!" C. Introduce the fable to the children by telling them that

there Is an old, old tale about a battle that the wind and the sun had one day.

D. Read the fable through showing the beautiful illustrations the artist painted.

E. Dl scuss ion may follow after reading the fable.

1. Today when you went outside, how did the wind make you feel?

2. How do you suppose the \tli nd made the traveler fee 1? 3. How do you usually feel on a very hot day?

II. 11The lion and the Mouseu

A. Talk about different kinds of animals, tame and wild.

B. Tell the chi tdren that you are going to read them a

story about two anfmals.

C. Read the story through and use the pictures if possible

from the book: Go..QQ. .T.Lm~s .1!:1 The .c.L~ (California State Series, Sacramento, 1969)

Use the original fable, however, as 1t1rftten by Joseph Jacobs. This story lends itself well for a good class discussion. 1. let the children interpret the feelings of the Mouse 53 and the Lion.

2. Discuss the type of trap Jaid by the hunters. E. Caution-- The teacher should never require the application of a moral with the kindergarten children.

Composition Activiti~Ji

11 Encourage the children to te 11 about tricks and frolics they have seen the wind play. Activities for The Wind and the Sun.

' D. I. They may also ta Jk about the wonderfu 1 things the sun does for us. Activities for The Wind and the Sun.

Ill. The children may suggest names of various animals. List the names on the board as they are given. Then discuss with the children some characteristics of animals, such as timidness, quietness, bold, fierce. Activities for The Lion and the Mouse. IV. Let the children choose some animal they would like to imitate or dramatize. Activities for The Lion and the Mouse.

Language Exp Joxat L9.!12. I • Phono 1ogy

A. Work on words that rhyme for key t'>fords:

a.Y.l1 mt~~ mrul. run rlce ran fun dice can

bun twice pan

hum nice fan

B. To Increase sensory imagery, make a 11Fee1 11 box. Cut, fft and glue to a bottom of a box, such objects as a bit of 54 fur, cotton, sandpaper, a small pine cone, a cloth button, and other objects varying tn texture. Securely seal the box, then cut an opening fn one end large

enough to fit a child's hand. Cover the opening with a sma11 curtain to prevent the chfld from seeing in

side it. l.et each child reach into the box. and feel the objects.. Record on the chalkboard the descriptive

~Jords and phrases which chi 1dren use in te 1 1 i ng about what they feel, such as: furry feels like a kitten warm and soft eold prickly rough

co 1d I i l

Exte.nded hillY..~

I. Make paper~bag masks for characters in the story: the lion. the mouse, etc., and allow children to make hats for the hunters.

II. Have the children dramatize the fable •

.Musi.k "The North Wind'' from Making Music Your Own (Cal ifornla State Series, p. 11 o). After the children have learned this song, divide the class into two groups. One group sings the story parts, and the other group sings the ''Windil part. 55 POETRY:

Rose Tyleman, 11Miee 11 Time for Po~

A beautiful poem using many descriptive works.

Robert louis Stevenson, "The Wlnd 11 ...fi Ch! 1d 1 ~ Garden of ~rses This poem 1ends itself well to the type of wind found in the fable. Ynlt 2: Other lands enq People

PELLE•rs NE~~ SUIT OTHER LANDS AND PEOPLE: PELLE'S NEW SUIT

CORE TEXT:

Elsa Beskow, Pelle's New Suit (New York: Harper and Rowt 1929)

ALTERNATE TEXT:

Marcia Brown. The ~Jttle Carousel (New York: Charles Scribner's Soils, 1946).

GENERAL INTRODUCTION:

The story of Pelle's New~ is a particularly good story to use for kindergarten children in the unit on Other Lands and People,

because it presents the characters so directly and unaffectedly, not as examples of Swedish children but just as children. It is a very satisfying realistic picture storybook that tells how Belle's fine blue suit of clothes was made from the wool of his Jamb. The objectives of this unit are:(l) to present to the children a delightful story of children of another land; 2) to illustrate the fact that children of other lands have experiences and problems similar to children of other cultures. Because of Its close attention to realistic, natural detail,

the unit relates closely to other units on Other Lands AndPe~pp·le found in the Nebraska Elementary Program for English.

[______------...... - ..... - -- . 58 BACKGROUND INFORMATION FOR THE TEACHER:

Elsa Beskow a Swedish writer and Illustrator of picture books,

was born in Stockholm. She was the eldest of six children, and as far back as she can remember she was telling stories to her sisters land brother and illustrating them with her drawings. At the age of seven she decided to make picture books when she grew up. Her deci sion has been abundantly fulfilled for today her picture books have

been published in French, Polish, German, Russian, Danish, Norwegian, and English. All her books, with their story-telling pictures, bright colors, and simplicity, appeal to young children.

Style

In the story, Pelle's New Suit the plot Is reduced to Its low est denominator, but what the story lacks in conflict and excitement It makes up In the Intensity of Its realism and the significance of the whole story. A plot for small children, however, need not have

elaboratedcompllcations if it has enough meaning and significance as an explanation of the world in which they find themselves. Every

epIsode is honest Jy chosen to te 1 J an important story as clearly as

1possible. Even if the story Is very spare of ornamentation, it Is still wholesome and nourishing. Mrs. Beskow's bright pictures are as clear and fresh and interesting as her story. The line drawings with brief, simple text have just the right amount of variety, action and characterization to amuse and fascinate small chiidren. The story Is written for thtnkfng children who love new clothes, 59 but who are also reasonably inte1•ested in how things come to be. The story is so well structured that the children will want to follow his experiences with sensible and satisfied absorption, and the story will give them new Insight. Here Is honest writing, an attempt to tell a straightforward narative so that a young child can understand every step in the making of the suit. beginning with the shearing of the wool, the dying and the weaving of the yarn untf1 Pelle secures his beautiful blue suit.

SUGGESTED PROCEDURES:

Li teratur§ PresentatIon

1. Use the poem 11Baa, Baa, Black Sheep" on page 108 of t'llihe Ta 11

Book of Mother Goose, 11 to introduce the story.

The boy f s askIng the sheep for woo 1. How many:·bags does the black sheep have? Yes, three bags full. 161you think a11 sheep are black? Tell the children they are going to hear a story about a little boy, who lives fn Sweden, and who had white sheep of his very own. Locate the country of Sweden on a map.

II. Read the story aloud to the children. Let each chfld enjoy the interesting pictures as the story Is read.

Ill. Discussions and questions may follow from the reading. 1. What color was Pelle's Jamb? 60 3. What did Pelle have made from the wool? 4. Can you think of something that is made from wool?

COJ!Jposftjon Activit}!

1. The children as a group could rete11 the story by recalling a sequence of events. I II. The children may choose to draw a picture of some piece of clothing made from wool and having the teacher act as scribe in writing their own stories.

Language ~p 1orat l ons

I. Diction A. Talk about the meaning of the following new words. Shears card yarn turpentine dye ta f lor

II. Children may cut from magazines pictures of clothing made from wool. The children may find and cut these pil:ctures from magazines, and then label each article on the chart.

Extended Activities

I. Children might either repeat or sing '~.I:IMA Little .Ytm!?.."

II. In winter time we need warmer clothes. Most of our clothes are made from wool.

Sing the 11Mitten Song".

[_ ------... - - -- - ..... - ..•. ····-·- .. --- .. ,~- ·-·-····-~--- ··---·-····--·-·--·------~·--·------~·-·-·-···-~----···------·- ... ---~----·· -·-- ..... 61 pqetry WINTER CLOTHES Under my hood I have a hat And under that My ha J r i s f l at •

Under my Coat My sweater's blue My sweater •s red 11m wearing two. My muffler muffles to my chin And round my neck And then tucks ln. My gloves were knitted By my aunts. I've mittens too And pants And pants And boots And shoes With socks inside red and wide. The boots are rubber And when I walk I must not fall. Because I can't Get up at a 11. By -- Karla Kuskin

BIBLIOGRAPHY:

Marjorie Flack, .I.h§. S,tory About !Ln9. (New York: Viking Press, 1933).

Maj Lindman, SnJQp ~ Snurt And the Red~ (Racine. Wis: Whitman Publishing Co., 1932). lbJ.Lt. .8.: HJstorlca1 Efctfoo

S~M THE MINUTEMAN HISTORICAL FICTION: SAM THE MINUTEMAN iCORE TEXTS: I

Nathaniel Benchley, ~ Iht Minuteman and Arnold Label (Illustrator) (New York: Harper and Row, 1969).

GENERAL INFORMATION:

The selection for this unit, AAm Jh& Mlnuteroan, is an histor ical fiction story which seeks to reconstruct the life and thoughts of an early period of time tn our American history. Sam The Minuteman is about a small boy who accompanies his father to the first battle that marked the beginning of the American Revolution. The objectives of this Unit are: 1) to give to the children, through imaginative response, an experience of living in other times~ 2) to give the children a pleasurable acquaintance with historical fiction.

BACKGROUND INFORMATION FOR THE TEACHER:

Author Nathaniel Benth1ey was born In Newton, Massachusetts. He !attended Phillips Exeter Academy and graduated from Harvard University in 1938. He had held various editorial jobs and since 1947 had been a writer of articles, stories, novels and plays. He has spent a great deal of time dofng research for his writings.

Illustrator Arnold Label was born in Los Angeles, California, but grew up 64 in Schenectady, New York and was graduated from Pratt Institute In New York City. He is the well known author and artfst of Martha The

i Genre

11 ff the living of an adventure story can be a joyful experience

Ito a child, it is an experience which can be deepened and broadened by the knowledge that idng before he was born the world was full of

I eventful happenings, sttrrlng, and portentous, a world which he can enter through the pages of a story book. In historical fiction there Is first of all the story the writer is telling, which must adhere to all the general rules of a good story, and It must be historically

accu~ate authentic In enough deta I 1s so that what Is f i ct I ona 1 Is believable and digestible. To catch the essence of an experience through the characters who Jive in the story, to savor the particular

s r gn if t cance and fee 11 ng of a past age, fs poss rb 1e on 1y when an historical story is written out of an author steeped in the past. Only when an author has become sufficiently saturated with a period

to move freely in it with a full awareness of the conditions and

Issues inherent In it and sees his characters with sympathy and under standing as the products of those conditions, does a historical

story of first quality emerge. 11 (35:93)

Chsracter

~Jn The Minuteman Is truly a book full of action as the author 'recreates what it must have been like for a small boy, trying to

follow in his father's footsteps, and how the small boy ~fghts right 65 along wJth his father, his friends and his neighbors in the Battle of Lexington. A ltttle boy In 1970 and a little boy In 1775 will behave very much the same. especially when there is adventure and plenty of /action. Through the boy's thoughts and actions we see the spirit of patriotism arising in the minds and actions of the Minutemen ready to defend their rights and liberties.

Structure The story structure Is rather slmpleo The dialogue fs Inter esting and easily understood by children. Presented as fiction but strengthened and enriched by historical events, the story makes clear the Importance of the Issues of the period.

Style

The author makes his characters 1i ve • but does not 1ose s J ght of the fact that he is writing an historical story. Sp carefully he weaves the heroe's life and adventures Into the historical background of the time. The story is told in a straightforward and simple manner. It moves rather fast. and reaches a quick and eventful climax. The beautiful Illustrations add greatly to the story.

SUGGESTED PROCEDURES:

literature Prf#Senj:§tfon I. It is recommended that the children have some historical background before the story Is presented.

Locate Concord on the map~

T~e teacher might prepare the children by telling them that I I. ------~ ---~~---. -~------~------·-····------~------66 this Is a story about a little boy who lived many J•ars ago when our country was still quite small and very new.

11. Reading the story and showing the pictures should be taken rather slowly so that the children can thoroughly enjoy them.

I Ill. or scuss ion A. What does the word Minutemen mean?

B. Why were the Brltlsh soldiers called 11Red Coats"? C. Nave the children close their eyes and pretend that they can hear the tramp, trampmof marching feet coming up the hi 11. Ask them: "How dId it make you fee 1? How do you think Sam felt?" D. How do you suppose Sam knew how to use his musket?

E. Who was it that warned the minutemen?

Composition ~ltles I. Have children suggest words that described the kind of boy Sam was.

II. The class may choose to write a creative story about someone who was very brave or about an animal that was brave.

J&ng~ Exp 1orat i QOS

I. Diction A. Encourage children to discuss the opposite meanings: little - big crying - laughing night • morning brave coward frlends - enemies few - many happy sad good - bad wide narrow 67 II. Vocabulary A. Discuss the new words and their meanings from the story.

~.Pm Ill!! Minutenmn: Tavern, musket, bayonet, glinting, fearless.

Extended Act i vi tl es I. As a fo11ow·up activity, the children may make soldier hats.

II. Music and Rhythms

A. Teach song -- "Soldier Boy 11 and ''The Flag Song".

Poetr~: .IJ.l.TLE GEORGE WASHJNGION

Little George Washington Must have had lots of fun. Prancing down paths that were stony, Then giving a push and jumping a bush On his very own chestnut pony. Little George Washington Must have had lots of fun Playing at being a soldier Do you think he knew then? He would lead grown-up men As a general when he was older?

Little George \vashfngton Must have had lots of fun Climbing trees to look out far away. Someday he would be head of all he could see Mr. President Of the U. S,A.!

I I Ynlt ~: Biography:

THE STORY OF JOHNNY APPLESEED

I BIOGRAPHY: THE STORY OF JOHNNY APPLESEED

i CORE TEXT~

Aliki (Brandenberg), Tbe ~~or~ of Jobnny App)eseed (New Jersey: Pre~tfce Hall, 1963).

GENERAL INTRODUCTION:

The selection for this Unit, "The Story of Johnny AppJeseed, 11 serves as a good introduction to the literary biography for kinder garten children. This form of literature is enjoying a gweat period of popularity. The answer probably lies fn the realfstic approach being taken by most authors. A biographical approach to the study of history lends a personalized touch to this subject. Children are lifted temporarily from their daily routine Into a heroic realm. Like the realistic stortes, biographies provide excellent orientation to problems faced by other people. The objectives for this unft are: 1) to develop within the child a desire to want to know more about historical and biographical literature, 2) to interest the children in a story of a man who lived before the present time.

BACKGROUND INFORMATION FOR THE TEACHER:

A.Ytbor Alikl (Brandenberg) is a very accomplished artist and author. / She was born in New Jersey, and has traveled a great dea 1 in her 1 r fe. L. ···------~-----~---- ··------·-·--· .. ·-· .... ----·-·------~~------. ··---~---·-·-···--· ---·------Along with being a successful artist she has spent time studying historical figures and writing several books for children.

Genre Juvenile biography differs from adult biography tn several important respects: 1) biographies for children are usually not documented, 2) these biographies may not be complete accounts of the individuals, 3) they put sentences into their heroes' mouths and thoughts into their heads for which there is no actual documentary evidence. There are also two hybrids found in biographies for children: 1) the fictionalized biography, in which the facts are documented and only a few liberties are taken, such as occasional dialogue for which there is no actual record. 2) There rs biographical fiction, whh;h takes a historical character as a basis for a story semi-historical In nature. The Story of Johnny App1eseed would fall in this last category. The story does not fit the one qualification of a true bio graphy since it is not the complete story of a person's life. It does however, present a factual history of some of the life, deeds and actions of John Chapman.

Theme The author not only lists some of the details of her subject's ltfe tn chronologfcal order, but she shaped the details into a very meaningful thDrue. This man 1s great love for his fellowmen, for the ct·eatures of nature, for his natural environment, and his great desire 71 to leave a legacy for those who followed after, spurred him on to plant appleseeds wherever he went.

Character

Children judge a man not so much by what bg lA as by what hi does. They do not judge him by hts motives, his psychological reac tions, his moral Intentions; they judge a man by hfs actions and only by those virtues and vices that he exhibits in his actions. Imagine the picture Johnny Appleseed made as he traveled out west, a cooking pan on his head, carrying a sack of appleseeds on his back and a Bible in hfs hand. Everywhere he went he made friends with the settlers, the indians, and the small animals of the forest. The author selects only those Items which reveal the true characteristics of this hero. The children can judge for themselves the type of

man Johnny App lesead po~·t rayed.

fuucture The author achIeved her dramatic and thematic effects more through the process of selection than through the process of arrangew ment. Biography and history are very well blended in this story. The children know that the man they heard about actually did exist, and the fact that he was once alive adds Immeasurably to the sense of pathos, and excitement. Since time is frozen in most children's stories, one of the values of reading biography to children at this I early age is the development of the historical sense of time. I

The style Is very simple, matter-of-fact, and very interesting. L -- ...... -· ·········--··-·--"···--·-- -·-····--- ··---····--·-·-··-·-· ------··--- ··--···-· - .. -· .. ·-····---·------·--- -·- 72 Al iki 1 s rich warm Golot·s and lively drawings make this a book to be jcherished by the young children as it sings of the fullness; the richness of the deeds accomplished by the man who is called "Johnny

11 Appleseed • To the children it is a story , but it fs also a .t..t:.wt story.

SUGGESTED PROCEDURES:

Literature Pn~sentatJgn I. Have several pictures of apples. Ask the children if they know where apples come from. Have they ever picked apples? What is Inside an apple? A. Cut an apple and let the chtldren discover the seeds. Cutting the apple cross-section the children may discover the pattern of a star. B. Tell the children that they are going to hear a story about a man who loved apples more than anything else. He also wanted to help other people to be able to enjoy eating apples as he did.

II. Read the beautiful story in one setting.

I II. Discussion should follow:

A. What new name did John Chapman 1 s friends call him? B. Why do you think they gave hlm that name? C. Who were Johnny Appleseeds friends? D. r;;rect the children into talking about how the pioneers traveled, and how Johnny Appleseed traveled. 73 E. Let the children talk about the gift he gave to his country.

~gmpositfon Activities I Have the children suggest different ways mother uses apples. !write the tdeas on the chalkboard. I The children may make a chart by drawing pictures of all the I Items listed above and then writing the words by the pictures,

Langyage Exglorattonf:i

I. Vocabulary A. The following words are suggested for specific study. frontier pioneers herbs wl Jderness unselfish B. The children may suggest words that tell the kind of man Johnpy Appleseed was. For Instance: brave kind strong happy friendly

II. Phonology A. Children may suggest words that rhyme Jfke seed and bake: seed bake need cake feed rake weed make deed take freed shake

I Extended 8ct I y i ties I I. A good tlme to present this story would be at harvest time. A. The children could aid in makl'ng a bulletin board depicting 74 harvest time and bring in the idea of gathering apples, etc. B. Bring in apple sauce and dried apples for the children to enjoy while they are drinking their milk.

II. Arrangements might be made for the children to use the film,

"Legend of Johnny Appleseed11 , No. 2279 (Los Angeles, Department of Education Media Superintendent of Schools, Los Angeles, California.)

Ill. Let the children make stick puppets and use them fn a puppet show.

IV. Children may pantomine making an apple pie. Tell the children you have a little poem you would like to say for them: l\PPLE lli Apple pie Apple pie Steaming on a dish! We can see We can eat Everything we Wish, wish, wfsh. BIBLIOGRAPHY BIBLIOGRAPHY

Boolss

1. Arbuthnot, May HJI t. CbiJdren and Bools,s. New York: Scott, Foresman and Co., 1957.

2. Arbuthnot, May Hfll. Time for Fairy·Tales Old and New. New Jersey: Scott, Foresman ana Co,. I revf sed. 1961 •. '

3. Bacrneister, Rhoda W. "The Boy and His Goats." Stories IQ B@gin Qn. Columbus. Onto: E. Ps Dutton and Co., 1940.

4. Bench1ey, Nathanielt and Arnold Lobel. Sam the Minuteman. New York: Harper and Row, 1969.

5. Beskow, Elsa. PelJ.§..'s New Suit. New York: Harper and Row, 1929. 6. Bianco. Margery Wt 11 lams. The \l.@Jveteen Rabbit. New York: Doubleday, 1926.

/.. Brandenberg, Aliki. The Story of Johnn}! Appleseed. New Jersey: Prentice Halt, 1963.

8. Bryant, Sara. l:fow to TQ1.l...SJ;ories to Children. Boston: Houghton Mifflin and Co., 1925.

9. Burton, VIrginia Lee. The LittJi House. Boston: Houghton t-tifflin and Co., 1942.

10. Dalg~ltsh, Alice. Elt§thand~ ...Experiences With Literature. New York: Charles Scribner's, Sons, 1932. ll. Daugherty. James. Andy and tb~ J,.fon. Eau Claire, Wis: E. M. Hale and Co. 1938.

12. Dawson, Mildred A. Teaching Language. Jn the ,Grades. New Yorio World Book Co., 1955.

13. Delafield, C1elra. Mrs. Mal]arsfls Ducls,lings. New York: latha-op Lee and' ·Shephe'rd Co., 1946.

14. Dolch, E. w. HH<:»J the Elephant Got Hts Trunk11 and 11Why the Sea Is Salt", OldWor}d Stories. Champaign, Ill: The Gerrard Press, 1952.

15. Fatlo, Louise. Ibe Happy Lion. New York: McGraw Ht11 Book Co., 1954.

16. Felt, Sue. Rosa-Too-Little. New York: Doubleday and Co., 1950. 17. Fenner, Phyll f s. Ybat Cbi ldr:e.n Resd. New York: The John Day Co., 1957.

18. Flack, Marjorie. Ask Mr. Bear. New York: Macmi 11an Co., 1932.

191 Flack, Marj orl e. Angus iand tl:!e Dyck~. New York: Doubleday, 1943. 20.

21. Foster, E. t1. A$pects .Q.f_thg; Noye). New York: Harcourt Co,, !1:948. 22.

23,

24. Gesell, Arnold. lhe Chi )d Erom. ..Ftve to Ten. New York: Harper and Row, 1946. . .

25. Jacobs, Joseph. 11The L f on and the Mouse, 11 The Fab 1es of [email protected] ~ New York: Macmi 11an Co., 19,50.

26. Johnson, Edna, Evelyn Sickels, and Francis Sayers. Antbolo.9.'t. of Children's Literature. Boston; Houghton Mifflin Co., 1959.

27. Kuski n, Karla. The BeAr Who Saw ,the Sprj ng. New York: Harper and Row- 1961.

28. Langstaff, John, ed. and Feodor Roj ankovsky, i 11. Tbe Ta 11 Book Qf Nursecy Ta)~. New York: Harper and Row. 1944.

29. Lindmant Maj. Snlpp $.napp Snurr and the Rg;g ,§hoes.. Racfne, Wls: 1 Whitman Publishing Co., 1932.

30. lowe, Orton. ~ature Wf.th ~JdrgiJ. New York: Macmf 1tan Co, 1924.

31. McCloskey, Robert. ~lsi WSt~ foL Ducklings. New York: VIking Press, 1941.

32. McCloskey) Robert. B)yeberries For S§l. New York: Viking Press, 1943. ·

33. Piper, Watty. Ill~ Little Engln@ That. ~ot.tld., New York: Platt and Munk Co., 1930.

34. Sawyer, Ruth. Journey Cake Ho! New York: VIking Press, 1953. 78 35. Smfth, Li 11 ian H. Th~ Unreluctant Years. Chicago: American Library Association, 1953.

36. Smfth, Nita Banton. Readfng Instruction .For Ioda¥ 1S Ch.i ldren.. New Jersey: Prentice Hallt 1965.

37. Taylort Barbara J. A Chi Jd Goes forth. Brigham Young Unfversity Press, 1965.

38. The Nebraska Curriculum Development Center. 8 Curri~ylym Fgr .~ng1 I J.P... Univers tty of Nebraska Rress, 1966 ..

39. Thompson, Mary. Ialls_l.:t QytJ!f tb Yoyr Chi Jd. New York: McGraw Hill Co., 1953. 40. Wagner, Joseph A. Chf.1dren. 1s .\.I terat.ure Tbrgugh St,Ot'itelll ng. Dubuque, Iowa: WJ111am C. Brown Co., 1970.

41. Ward, Lynd. Ihe Biggest Bear. Boston: Houghton Mifflin Co., 1952.

42. Wlldsmfth, Brian. The Wind and the Sun. New York: Frankl in Watts, 1964.

43. Willcox, Isabel. Re§lding Aloud with EJementar¥ School t;hildren. New Jersey: Teacher 1 s Pract I ca J Press, 1963-.

44. Wi 11s, Clarice Dechant, and Luci 11e Lindberg.. Kindergarten for !oday's Chi ldreo. Chicago: Follett Education Corp. 1967.

Article$

11 45. Durham, Mae. Books For Storyte 11 i ng~' T,be I ostructoc. Vo J. 66, 1 November 1966. I 46. Larrick, Nancy. "Making Books Come Alfve For Chi1dren,11 ChllghoQd Ed~catLQn. Mareht 1962.

47. Morris, Effie Lee. 11 Choosfng Books fbr the Deprived," I.tlg lnstrys;:tQt:. Vol. 66. November 1966.

48. Reid, Virginia M. ,.Language Opportunities~' Cbt )dhood Education. January 1962.

P,petry

49. Arbuthnot, May Hi 1J. Jtme For Poetr'i Chlcagc: Scott, Foresman and Co. Poem· titles follow: 79i PQet ry (Cont. ) I Tf t Jes In: "(trne .FQt: Poetry

49. a. Bangs, John K~ndrlck. "The Little Elf."

b. Fylemanl Rose. 11MJ ce. 11

c. Lear, Edwarld. HA Was Once an Apple Pie.u

1:1. Rossetti, Christina. "Mix a Pancake"

e. Stern. Evaleen. 'lWi td Beasts."

f. Stevenson, Robert L. 11The Wind."

g. Totten, Eliza Lea. 11The Little Kittens .. '

h. Walter, De La Mare. 11Some One. 11 50. Kuskin, Karla. ''Winter Clothes" and "Little George Washington," Thi Rose On My CAke. New York: Harper and Row Co., 1964. 51. Mf1 ne, A. A. "Furry Bearu NCM W§ Are S Jx. New York: E. P. Dutton and Co., 1955.

52. Langstaff, John. ed.and Feodor Rojankowsky, ill. T'h.!* Tall Book of Make Believe. New York: Harper and Row. WJddemar, Margaret. 11The Bear Hunt, 11 p. 63.

53. talif. State Dept, of Edq Calrf. State Serles. Good Times in .t.il§....k.Lt¥,. Sacramento: State of California~ 1967. Howitts, William. 11The Wind fn a Frolic." p. 48.

Music; 54. Calif. State Dept. of Ed., Calif. State Series. M§klng Music Yqyr Own. Sacramento: Statelof California, 1967. Titles:

11 HThe North Wf nd .. p. no.

11Six Ltttle Ducks,.- P~ 148.

'%agents Park"

55. Marse11, James. Music Tbroygh the Qau, Book One. Morristown: Silver Burdett Co.~ 1962. Listed titles:

11 "Mitten Song - p.l6. soi Music (Cont.) I 11 "Soldier Boy - p.29.

11Mary Had a LJ tt le Lamb"- p.6.

"Yankee Doodle" - p.31.

Recordings l The following Audio-VIsual (A~V) materials are available I to teachers of the Lancaster School District, Lancaste~ Calif. The code num.bers refer to the listings taken from the Multi- I Media Center Catalog:

BOL 51 56. "Animals and Circus" Bowmar (music) Catalog No. "Marches 11 Bowma r (mus i c) BOL 52

"Chicken Llcken" (1 iterature ~ readings) LRS 25

''Henny Penny'' LRS 28

11 01d Mother Hubbard" (1 iterature) LT l1

1101d Woman and· Her Pig" LT 11.

fJJmstriRS (A-V Catalog, LSD MuJti .. Medfa Center, Cont.)

57. "Little Ducks" (Literature) LT 21 "Chicken Llcken11 LT 47

HFables for Chi 1drentt LT 142

"81 lly and Nanny Two Little Goats" LT 15

Fr 1ms (Coronet Fi Jms, 65 East South \-later Street, Chicago, Illinois 60601) Cataiog listings:

58. Blow Wind Blow 59. Seven Little Ducks 60. Live Teddy Bears 61. Make ~lay for Duck I i ngs 81 Ftlms (Cont.) 62. The following fllms are available from the Superintendent of Schools, Los Angeles County, Division of Educational Media, 155 West Washington Blvd., Los Angeles, California 90015: Bear Country Catalog No. 02219 Lioms At Home 04574 Little Black Lamb 01592 Legend of Johnny Appleseed 02279