external resemblance is caught, when the likeness is forced, and the
image created believed in, we have fancy. The contemplative
imagination interprets the past in the tale and relates it to the
future. It shows what is felt by indicating some aspect of what is
seen. Through the exercise of this power the child develops the
capacity to see. This capacity has received a high estimate from
Ruskin, who said, "Hundreds of people can talk for one who can think,
thousands can think for one who can see." For language-training the
capacity to see gives that ability to image words which results in
mental growth.

The labor of the spirit seeking the full message of the fairy tale,
often is rewarded with bits of philosophy which are the essence of its
personal wisdom. Even the Woman Suffragists of our day might be amused
to find, in _The Cat and Mouse in Partnership_, this side-light on one
of their claims. The Mouse said she did not know what to think of the
curious names, Top-off, Half-Out, and All-Out, which the Cat had
chosen. To which the Cat replied, "That is because you always stay at
home. You sit here in your soft gray coat and long tail, and these
foolish whims get into your head. It is always the way when one does
not go out in the daytime." Sometimes the philosophy of the tale is
expressed not at all directly. This is the case in Andersen's _The
Emperor's New Suit_, a gem in story-telling art--more suited to the
second grade--where the purpose of the story is veiled, and the satire
or humor is conveyed through a very telling word or two.--"'I will
send my _old, honest_ minister to the weavers,' thought the Emperor.
And the old, honest minister went to the room where the two swindlers
sat working at empty looms. 'Heaven preserve me!' thought the old
minister, opening his eyes wide. 'Why, I cannot see anything!'--Buthe
did not say so." The entire tale is a concrete representation of one