Lists of Stories and Programs for Story Hours

In Short

This book acts as a curated bibliography and programmatic manual, designed to help adults organize meaningful storytelling sessions for children of various ages. By grouping classic fairy tales, myths, hero legends, and historical narratives into thematic "cycles," it provides a structured approach to fostering an early love of literature. The book has endured as a primary resource because it reflects the professional standards of early 20th-century library science, offering not just a list of titles, but a thoughtful methodology for keeping young audiences engaged through carefully paced and sequenced oral traditions.

The Story

The progression of this work mirrors the developmental journey of a child’s literary life. It opens with the simplest material: rhythmic, repetitive folk tales for children aged three and four, such as "The Three Bears" or "The Wolf and the Seven Little Goats." Here, the focus is on brevity, with sessions designed to last no longer than twenty to thirty minutes, emphasizing the comfort of repetition and the joy of hearing a story told well.

As the child matures, the book shifts its focus toward complex "cycle stories." These are not merely isolated tales but connected narratives that build an understanding of heritage and character. The reader is guided through the ancient Greek myths—Persephone and the labors of heroes—before advancing into the Norse sagas and the medieval tapestry of King Arthur’s court. The narrative arc continues through the legendary history of Charlemagne, the chivalric code of the Cid, and the epic scope of the Nibelungen Lied.

For the older child, the focus broadens to include the intricate language and themes of Shakespeare, the moral gravity of Old Testament stories, and the spirited adventures found in traditional ballads. The progression concludes by expanding into the wider world of literature, suggesting long-form prose and narrative poetry suitable for reading aloud, such as selections from The Jungle Book or the humor found in The Prince and the Pauper. By the end, the book has mapped a complete evolution from the nursery floor to the broader horizons of world literature, providing the storyteller with the tools to guide a young listener through this intellectual landscape.

How It Unfolds

The foundation of simplicity The book begins by establishing the necessity of keeping sessions short for the youngest listeners, focusing on folk tales like "Titty Mouse and Tatty Mouse." It insists that the best versions of these tales be repeated until they become familiar friends to the child.

The shift to epic cycles The middle sections move away from individual stories to interconnected cycles, such as the Norse myths or the legends of King Arthur. These lists teach the storyteller how to maintain interest over multiple sessions by following a linear, thematic progression.

The introduction of history and character The focus transitions to historical and literary figures, exploring the lives of Roland, Joan of Arc, and Bayard. These sections provide detailed outlines for dramatic storytelling, showing how to balance historical context with the mythic quality of the events.

The broadening of literary horizons The final beats move into the realm of Shakespearean plays and classic prose. The book concludes with a comprehensive bibliography, categorizing every source by title and author to ensure the storyteller has access to the best available editions.

The People

While the book is a guide rather than a work of fiction, it centers on the roles of the Storyteller and the Child. The Storyteller is the primary actor, tasked with the responsibility of adapting complex texts—such as Kingsley’s Water Babies or the plays of Shakespeare—into a form that preserves the original spirit while remaining accessible to young ears. This person must exercise judgment, knowing when to omit excessive detail or when to lean into the "rugged strength" of a Norse myth.

The Child is the silent, central beneficiary. The book treats the child as a developing mind capable of engaging with profound themes of courage, humility, and adventure. Whether they are toddlers listening to "The Straw, the Coal, and the Bean" or older students grappling with the moral choices in the tales of King Arthur, the child is viewed as an active participant in an educational process. By the end of the journey, the relationship between these two figures is transformed; the storyteller ceases to be a mere reader and becomes a mediator between the child and the great, enduring literature of the world.

In Its Own Voice

"The little children should never be held longer than half an hour, and twenty minutes is better."

This instruction appears in the suggestions for managing the attention spans of the youngest listeners.

"Since library story-telling is directed primarily toward inspirational reading, the selections listed are chiefly from literary sources."

This explains the compiler's rigorous choice to prioritize high-quality editions of myths and legends over less substantial material.

"It is desirable that the best folk tales be repeated as often as the children desire, and that poems should be read or recited in connection with the stories where there is a response."

This emphasizes the importance of reading the audience's needs rather than adhering strictly to a rigid schedule.

What It's Really About

At its core, this book is an argument for the transformative power of the spoken word. It suggests that storytelling is not merely entertainment but a systematic way to build a child’s cultural and ethical foundation. By curating stories from specific traditions—Greek, Norse, Christian, and English—the author argues that a shared literary heritage is essential for growth. The underlying question is how to introduce complex, often "rugged" or archaic material to a modern child without stripping away its beauty. The book assumes that children are naturally drawn to the heroic and the mythic, and that the duty of the adult is to provide a bridge to these classic narratives through a blend of preparation, standard-setting, and patience.

Why Read It Today

Readers today will find this book a fascinating window into the history of library work and the evolution of children’s education. Those who appreciate the charm of old-fashioned pedagogy or who are interested in the history of storytelling will find the lists of editions and the advice on adaptation to be both quaint and surprisingly relevant.

However, a modern reader must be prepared for the realities of its 1921 publication date. The book contains period-specific attitudes, including a reliance on colonial-era sources and a Eurocentric focus that excludes many diverse perspectives now standard in modern children's literature. The language is formal, reflecting the professional, somewhat detached tone of early 20th-century librarianship. It is not a book to be read for a modern story, but rather a historical artifact of how we once taught children to value literature. It remains a poignant reminder of a time when the library was the primary gateway to a world of myth and history, and the voice of the storyteller was the most vital tool in an educator’s kit. You will walk away with a deep appreciation for the effort required to make the "great stories" accessible, as well as a realization of how far our approaches to cultural inclusivity have traveled in the last century.