we are all limited by circumstances to a somewhat narrow sphere and
like to enter into all that we are not. The child, meeting in his tale
the shoemaker, the woodcutter, the soldier, the fisherman, the hunter,
the poor traveler, the carpenter, the prince, the princess, and a host
of others, gets a view of the industrial and social conditions that
man in simple life had to face. This could not fail to interest; and
it not only broadens his experience and deepens his sympathy, but is
the best means for acquiring a foundation upon which to build his own
vocational training. This acquisition is one contribution of
literature to industrial work. Those characters will appeal to the
child which present what the child has noticed or can notice. They
should appear as they do in life, by what they say and by what they
do. This, in harmony with the needs of the young child, makes the
tales which answer to the test of suitability, largely dramatic.

(2) Plot. The characters of the tales can be observed only in action.
Plot is the synthesis of the actions, all the incidents which happen
to the characters. The plot gives the picture of experience and allows
us to see others through the events which come to them. According to
Professor Bliss Perry, the plot should be entertaining, comical,
novel, or thrilling. It should present images that are clear-cut and
not of too great variety. It should easily separate itself into large,
leading episodes that stand out distinctly. The sequence of events
should be orderly and proceed without interruption. The general
structure should easily be discerned into the beginning, the middle,
and the end. Various writers of tales have their particular ways of
beginning. Andersen loses no time in getting started, while Kipling
begins by stating his theme. The old tales frequently began with the
words, "Once upon a time," which Kipling modified to "In the High and
Far-Off times, O Best Beloved," etc. Hawthorne begins variously with