starting-point of simplicity; then the same complexity and mass resolving
itself as it were miraculously back into simplicity, this is an
intellectual joy. It does not differ materially, whether found in the
study of counterpoint, at thirty, or in the story of the old woman and her
pig, at five. It is perfectly natural and wholesome, and it may perhaps be
a more powerful developing force for the budding intellect than we are
aware.

For these reasons let me urge you, when you are looking for stories to
tell little children, to apply this threefold test as a kind of touchstone
to their quality of fitness: Are they full of action, in close natural
sequence? Are their images simple without being humdrum? Are they
repetitive? The last quality is not an absolute requisite; but it is at
least very often an attribute of a good child-story.

Having this touchstone in mind for general selection, we can now pass to
the matter of specific choices for different ages of children. No one can
speak with absolute conviction in this matter, so greatly do the taste and
capacity of children of the same age vary. Any approach to an exact
classification of juvenile books according to their suitability for
different ages will be found impossible. The same book in the hands of a
skilful narrator may be made to afford delight to children both of five
and ten. The following are merely the inferences drawn from my own
experience. They must be modified by each teacher according to the
conditions of her small audience. In general, I believe it to be wise to
plan the choice of stories much as indicated in the table given on page 64.

At a later stage, varying with the standard of capacity of different
classes, we find the temper of mind which asks continually, "Is that
true?" To meet this demand, one draws on historical and scientific