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The right beginning of the answer depends on a right conception of the
thing the question is about； and that naturally reverts to an earlier
discussion of the real nature of a story。 In that discussion it was stated that
a story is a work of art；a message； as all works of art are。
To tell a story； then； is to pass on the message； to share the work of art。
The message may be merely one of humour；of nonsense； even； works of
art range all the way from the 〃Victory〃 to a 〃Dresden Shepherdess；〃 from
an 〃Assumption〃 to a 〃Broken Pitcher；〃 and farther。 Each has its own
place。 But whatever its quality； the story…teller is the passer…on； the
interpreter； the transmitter。 He comes bringing a gift。 Always he gives；
always he bears a message。
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This granted； the first demand of the story… teller is not far to seek。 No
one can repeat a message he has not heard； or interpret what he does not
understand。 You cannot give； unless you first possess。 The first demand of
the story… teller is that he possess。 He must FEEL the story。 Whatever the
particular quality and appeal of the work of art； from the lightest to the
grandest emotion or thought； he must have responded to it； grasped it； felt
it intimately； before he can give it out again。 Listen； humbly； for the
message。
I realise that this has an incongruous sound； when applied to such
stories as that of the little pig at the stile or of the greedy cat who ate up
man and beast。 But； believe me； it does apply even to those。 For the
transmittable thing in a story is the identifying essence； the characterising
savour； the peculiar quality and point of view of the humour； pathos； or
interest。 Every tale which claims a place in good fiction has this
identifying savour and quality； each different from every other。 The laugh
which echoes one of Seumas McManus's rigmaroles is not the chuckle
which follows one of Joel Chandler Harris's anecdotes； the gentle sadness
of an Andersen allegory is not the heart searching tragedy of a tale from
the Greek； nor is any one story of an author just like any other of the same
making。 Each has its personal likeness； its facial expression； as it were。
And the mind must be sensitised to these differences。 No one can tell
stories well who has not a keen and just feeling of such emotional values。
A positive and a negative injunction depend on this premise；the
positive； cultivate your feeling； striving toward increasingly just
appreciation； the negative； never tell a story you do not feel。
Fortunately； the number and range of stories one can appreciate grow
with cultivation； but it is the part of wisdom not to step outside the range
at any stage of its growth。
I feel the more inclined to emphasise this caution because I once had a
rather embarrassing and pointed proof of its desirability；which I relate
for the enlightening of the reader。
There is a certain nonsense tale which a friend used to tell with such
effect that her hearers became helpless with laughter； but which for some
reason never seemed funny to me。 I could not laugh at it。 But my friend
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constantly urged me to use it； quoting her own success。 At last； with much
curiosity and some trepidation； I included it in a programme before people
with whom I was so closely in sympathy that no chill was likely to
emanate from their side。 I told the story as well as I knew how； putting
into it more genuine effort than most stories can claim。 The audience
smiled politely； laughed gently once or twice； relapsed into the mildest of
amusement。 The most one could say was that the story was not a hopeless
failure； I tried it again； after study； and yet again； but the audiences were
all alike。 And in my heart I should have been startled if they had behaved
otherwise； for all the time I was telling it I was conscious in my soul that it
was a stupid story！ At last I owned my defeat to myself； and put the thing
out of mind。
Some time afterward； I happened to take out the notes of the story； and
idly looked them over； and suddenly； I do not know how； I got the point of
view！ The salt of the humour was all at once on my lips； I felt the tickle of
the pure folly of it； it WAS funny。
The next afternoon I told the story to a hundred or so children and as
many mothers； and the battle was won。 Chuckles punctuated my periods；
helpless laughter ran like an under… current below my narrative； it was a
struggle for me to keep sober； myself。 The nonsense tale had found its own
atmosphere。
Now of course I had known all along that the humour of the story
emanated from its very exaggeration； its absurdly illogical smoothness。
But I had not FELT it。 I did not really 〃see the joke。〃 And that was why I
could not tell the story。 I undoubtedly impressed my own sense of its
fatuity on every audience to which I gave it。 The case is very clear。
Equally clear have been some happy instances where I have found
audiences responding to a story I myself greatly liked； but which common
appreciation usually ignored。 This is an experience even more persuasive
than the other； certainly more to be desired。
Every story…teller has lines of limitation； certain types of story will
always remain his or her best effort。 There is no reason why any type of
story should be told really ill； and of course the number of kinds one tells
well increases with the growth of the appreciative capacity。 But none the
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less； it is wise to recognise the limits at each stage； and not try to tell any
story to which the honest inner consciousness says； 〃I do not like you。〃
Let us then set down as a prerequisite for good story…telling； A
GENUINE APPRECIATION OF THE STORY。
Now； we may suppose this genuine appreciation to be your portion。
You have chosen a story； have felt its charm； and identified the quality of
its appeal。
You are now to tell it in such wise that your hearers will get the same
kind o