Narrator> This program is dedicated to E.B.

White, an American writer.

Although he'd been warned that children would not care for unlikely animal characters, White nevertheless created an improbable mouse boy in "Stuart Little" and the incredible Charlotte and Wilbur in "Charlotte's Web".

Mr.

White, once wrote, ♪ ♪ Oh I can believe ♪ ♪ in everything I read.

♪ ♪ Little boy blue.

♪ ♪ A lady ♪ with a shoe ♪ ♪ and a dish ran off ♪ with a spoon.

♪ ♪ Well, hickory dickory dock.

♪ ♪ A scholar he's ♪ late to school.

♪ ♪ And I like a cow.

♪ ♪ I jump over the moon.

♪ ♪ (monkey chatter) Rick Sebak> Animals capture our attention easily.

Human beings seem to be naturally fascinated by other species.

And at least from the time of the cave paintings, animals have been favorite subjects for artists.

Animals have figured largely in many of the world's religions, and man's earliest attempts at written communication proved that humans have known stories about animals for eons.

Today, most animal stories are written primarily for children who are fascinated by all kinds of bugs, birds, fish, and other creatures.

Thousands of children's books include a variety of animal characters, many of whom seem more human than bestial.

We're going to look at a selection of animal books today, concentrating on picture books, which feature memorable animal characters who have proven to be so popular that they've appeared in a number of books.

A classic example of such a memorable character is Babar, the elephant, who first appeared in a French picture book written and illustrated by Jean de Brunhoff in 1931.

Merle S. Haas translated the work into English and "The Story of Babar" was first printed in America in 1933.

From the very first page, it's apparent that this is no ordinary run of the jungle pachyderm.

After a wicked hunter kills Babar, its mother, the terrified elephant runs away and after several days, very tired indeed, he comes to a large town.

A very rich old lady comes to Babar's assistance and helps him to get established in the city.

Eventually, he's joined by his cousins Arthur and Celeste, and after the three drive back to the jungle, Babar and Celeste are married and then crowned King and Queen of the elephants.

The royal couple returns in a sequel, "The Travels of Babar", first published in English in 1934.

Jean de Brunhoff presents the large gray monarchs in a whimsical world, an odd place where sometimes they are treated as humans, and at other times they are treated simply as elephants.

De Brunhoff's simple illustrations have an amusing sort of grandeur.

During the war with the rhinoceroses, the elephants paint their rear ends to look like monsters, and they terrify the rhinos.

Animal characters like Babar, who speak and act as humans, are not a recent literary phenomenon.

Although there is no definite evidence that Aesop ever lived.

Legend has it that a hunchbacked Greek slave 600 years before Christ won great fame for his clever stories about animals who spoke and acted in short fables, which usually included a lesson or moral.

A body of animal stories, now known as "Aesop's Fables", has been retold, rewritten and reprinted many times over the centuries.

William Caxton first printed them in English in 1484, after translating them from a French collection in the 19th century.

The British artist Randolph Caldecott was one of many artists who interpreted the fables.

The Caldecott Aesop has been reprinted recently with an introduction by Michael Patrick Hearn.

In 1971, Edward Gorey illustrated a collection of Aesop's Fables, as they were retold in verse by Agnes Reese.

The Gorey and Reese book, titled "Lions and Lobsters and Foxes and Frogs", proves how timeless and beguiling the animal fables can be.

The animals and fables, while often amusing, seldom become characters in a full sense.

In the fable form, teaching a lesson usually takes precedence over creating characters.

In a book titled "Animal Land", the creatures of children's fiction, author Margaret Blount points out that In addition to fables, animals have also traditionally played major roles in folktales around the world, from bears who eat porridge to wolves who try to pass as grandmothers, to cats who wear boots.

In the 20th century, countless animal characters have come to life in picture books.

Consider the work of Beatrix Potter, who published her first book, "The Tale of Peter Rabbit", in 1902.

As artist and author, she invented many memorable animal characters, most of whom dressed in human clothing, even though they inhabit a world which includes humans.

Jemima Puddle Duck, for example, is quite ordinary and simply fine feathered at first.

Later, she waddles off wearing a shawl and a poke bonnet.

Many of the Potter characters reappear in other volumes besides the ones which bear their names.

Peter Rabbit Benjamin Bunny appear briefly in "The Tale of Mrs.

Tiggy Winkle" and Jemima Puddle Duck and some of her relatives show up in The Tale of Tom Kitten.

In effect, Beatrix Potter created a whole world for these creatures to live in, one in which it's completely plausible for animals to act as humans.

Anthropomorphism, the attributing of human characteristics to non-human beings or things, is a common practice in children's books, even in books for older kids.

In 1908, after many rejections, Kenneth Graham found a publisher for a long story he'd written about a mole, rat, a badger, and a toad, all of whom seem distinctly human at times.

Graham called the book "The Wind in the Willows".

It has become a classic.

These familiar pictures of the Graham characters were drawn in 1931 by E.H.

Shepard, an important 20th century illustrator of animal characters.

In 1926, Shepard had created the unforgettable illustrations for A.A.

Milne's "Winnie the Pooh".

Edward Bear as Pooh is more formally known, returned in 1928 in a sequel titled "The House at Pooh Corner", he's definitely a memorable animal character, although actually he's not specifically an animal, but a toy, a stuffed bear come to life.

For a supposedly real bear, you may want to check out the Paddington books written by Michael Bond.

This Paddington, as drawn by Peggy Fortnum, is an extraordinary bear born in darkest Peru, who now lives in London with the Brown family.

Some anthropomorphic animals inhabit a world without humans.

Take a look at "George and Martha", created by James Marshall.

These hippos are very human, but they never encounter human beings and their stories.

Theirs is a hippo world.

Their friendship has been the subject of several funny books, each divided into short stories, somewhat like chapters in "George and Martha Encore", Marshall shows how their world includes other animals, but apparently no humans.

He's established a wry tone in the book's text.

His stories are satisfyingly silly, his pictures outrageous.

Marshall often includes signs in his pictures like this marquee for Vincent Creepo "In The Mummy's Toe", The Scary Movie, in "George and Martha Rise and Shine".

Believing in Hippo is at the cinema should be no problem for readers who can conceive of movie tickets that cost only a nickel.

Marshall obviously has an uncontrolled imagination in "George and Martha: One Fine Day", the two big gray chums continue to find out about the complexities of being friends.

Although these books have no clearly stated morals, they obviously contain much to learn.

The absurd charm of animal characters apparently allows their creators to comment on human nature without seeming too pompous or overbearing.

What might be just tastefully didactic in a human context can be made palatable when seasoned with the frivolity and silliness of talking animals dressed in clothes.

Just as in the George and Martha books.

There's much to learn about friendship in the Frog and Toad books of Arnold Lobel.

In The first "Frog and Toad Are Friends", Lobel's clever drawings of the anthropomorphic amphibians led to its being named a Caldecott Honor Book in 1971.

Frog, the tall green one is generally a wiser and more well-adjusted character than the often troubled and tired toad, but together they make an appealing set of friends.

The five separate stories in "Frog and Toad Are Friends" each offer an amusing depiction of human nature at work in a not exactly natural world.

Arnold Lobel brought back the two playful pals in "Frog and Toad Together", which features five more revealing short tales about being buddies.

The outstanding quality of his writing was recognized when this volume was named a Newberry Honor Book for 1973.

The Newberry Award honors distinguished contributions to children's literature by authors, in much the same way that the Caldecott Honors work by artists.

Lobel's double honor of both Caldecott and Newberry recognitions for the Frog and Toad books is a rare achievement, and Lobel maintains the high quality in "Days with Frog and Toad", first published in 1979.

The text in these books is laid out on the pages, with large print and ample space between the lines.

Most publishers of children's books now print many books like these, written with a simple vocabulary and a large print format designed to accommodate beginning readers.

The stories are usually told with lots of dialogue and repetition of words and phrases, often called controlled vocabulary books, they may be welcome relief for many kids who tire quickly of school primers with their dull, repetitious stories.

In her textbook Children's Literature in the Elementary School, Charlotte Huck points out some of the advantages of these controlled vocabulary books.

Many animal characters, like Frog and Toad, have been featured in controlled vocabulary books.

"Little Bear", written by Else Homelund Minarik and illustrated by Maurice Sendak, was first printed in 1957.

It also includes several short stories, as many of these easy to read books do.

These Little Bear stories cover a variety of topics, from birthday parties to fantasies about flying to the moon.

Little bear and his mother are loving and believable and, as depicted by Sendak, charming and stately in a 19th century setting.

Minarik and Sendak collaborated on several other easy to read Little Bear books, including "Little Bear's Visit", a Caldecott Honor Book in 1962.

In "Little Bear's Friend", first printed in 1960, the cub meets a girl named Emily, a human being, and they decide to become friends.

They have no trouble talking to each other or to other animals.

Many animal characters, like Little Bear, are child-like creatures whose antics and personalities appeal immediately to children.

One of the most popular childlike animal characters is the mischievous monkey, who appeared in 1941, in a book called "Curious George" by H.A Rey.

George starts out as a good little monkey in Africa, but he's caught by a man in a big yellow hat who takes advantage of George's curiosity.

George gets into lots of trouble, but somehow always wiggles out of bad situations.

He ends up with a smile on his face, even when he's put in the zoo.

George's monkey shines continue in a series of books, including "Curious George Rides a Bike" and "Curious George Gets a Medal", among others, some of which were coauthored by H.A.

Rey and his wife Margaret.

Another popular simian character is this young chimp named Arthur, who first appeared in "Arthur's Christmas Cookies", a controlled vocabulary book by Lillian Hoban.

Compared to Curious George, Arthur is very human.

He's more like a little boy than an ape.

He wears clothes, talks and tackles a number of problems.

His world doesn't seem to include human beings.

In "Arthur's Honey Bear", Arthur decides to try to sell some of his old toys, maybe even his old teddy bear.

It's interesting to note that Arthur has a stuffed chimp, whom he refers to as Baby King Kong, while his sister Violet, who plays an important role in these stories, owns several dolls who are distinctively human looking.

In the volume titled "Arthur's Pen Pal", The little guy writes to a pen pal named Sandy, whom he's never met.

He writes about how annoying Violet can be.

Arthur assumes that Sandy, who is learning karate and who plays the drums, will commiserate with him and will perhaps share his problems.

It turns out that Sandy is a girl who sends a picture of herself and her older brother, whom she's just knocked down with a karate kick.

Lillian Hoban, who created these Arthur books, also worked on many of the books featuring Frances, a precocious little female creature who first appeared in 1960, in "Bedtime for Frances".

Like Arthur, Frances acts very human, even though she's a badger.

All of the Frances books were written by Russell Hoban, and "The First Bedtime for Frances" was illustrated by Garth Williams.

In this book, when it's bedtime, Frances isn't ready to go to sleep, and she badgers her parents with a variety of imaginary problems.

She eventually wears herself out and sleeps till morning.

When Frances returned in a baby sister for Frances, the pictures were drawn by Lillian Hoban rather than Garth Williams.

The style of the artwork is essentially the same, but the whole family has now sprouted tails, and mother has a new baby named Gloria.

Frances cooperates at bedtime, but she feels neglected because her parents must spend so much time with the baby.

Frances decides to pack our bags and run away.

She collects provisions and goes into self-imposed exile under the dining room table.

Russell Hoban makes Frances an appealing and funny little badger girl.

She has a charming poetic streak which causes her to compose many inspired lyrics.

In 1970, The Hobans created "A Bargain for Frances, a Frances book with a controlled vocabulary format designed for young readers.

The simple but ingenious story should interest any child who has ever been hoodwinked by an unfair friend.

Mr.

Hoban tells the story with a limited vocabulary, but makes no significant changes from the style of the earlier books.

Even in simple language.

Frances is a clever badger who learns to deal with predicaments.

Experts have pointed out that most regular picture books are comprehensible to a reader on a third grade reading level, and that most should be read to children rather than by children.

Controlled vocabulary books are an exception.

These books feature stories and topics designed to captivate young readers.

The best easy to read books appeal to children's interests without calling attention to the very simple vocabulary being used.

"The Cat in the Hat" by Dr.

Seuss is usually recognized as the first book written, especially with a limited vocabulary for first and second grade readers.

The wild antics of the tall, lean feline have delighted kids since the book was published in 1957.

Dr.

Seuss cleverly puts the simple words into rhyming verse with an infectious rhythm.

The repetition of phrases is barely noticeable when part of silly poetry like look at me, look at me, look at me now!

It's fun to have fun, but you have to know how.

The cat proved to be unforgettable.

And as long as he cleaned up the mess you made, he was welcome to return.

And return he did.

Dr.

Seuss had been creating memorable animal characters for years.

In 1940, he published an incredible tale of unlikely motherhood in "Horton Hatches the Egg", the story of a dedicated elephant who sits atop a bird's egg until it hatches.

Horton showed up again in 1954, in "Horton Hears a Who!"

about a whole little world of people on a speck of dust.

Horton protects the tiny people from the other animals who can't hear the Who people as well.

The fantasy aspect of so many animal stories increases their appeal, and a kind of magic can be created by combining reality and fantasy in a new world.

In "Anatole", a Caldecott Honor book, in 1957, author Eve Titus used a mouse's natural attraction to cheese as the basis for an incredible story about a sensitive mouse who doesn't want to steal from humans.

The Mouse, Anatole becomes an unbeatable cheese taster at the Duvall Cheese Factory.

Throughout the series of books that followed, Anatole never speaks to humans, but he often types or writes memos, as he does in "Anatole and the Poodle".

This talented mouse and his wife Doucet, and their children, all dressed in Gaelic garb, which doesn't seem to surprise the few humans who are quick enough to catch them as Grischuk the Great, the Pied Piper of Paris does in "Anatole and the Pied Piper".

On top of all these unusual anthropomorphic characteristics, Anatole turns out to be a seasoned traveler in one book, a scrupulous detective in another, as well as an outstanding composer and mouse symphony orchestra conductor in "Anatole and the Piano".

He's a regular Renaissance rodent.

The world of anthropomorphic animals has few, if any, rules about how many human qualities can be assigned to a character.

In "Dinner at Albertus", a young crocodile named Arthur is given an unusual set of human characteristics by author Russell Hoban, who wrote the Francis books, and illustrator James Marshall, who created George and Martha.

Arthur has terrible table manners, which are a shame and an embarrassment to his family in their very funny, part human, part animal world.

When Arthur's father tells his colleague John Hippopotamus about Arthur's bad manners, the hippo understands "One way or another, boys are trouble", said John.

Take my sons, for instance.

They seem to think that just because we live at the bottom of the river, they can track mud all over the living room.

The unusual mixture of human with animal traits creates a special sort of absurdity.

Consider the image of crocodiles eating ravioli and worrying about the correct way to eat fondue.

Russell Hoban brought Arthur back, in another book titled "Arthur's New Power", this one illustrated by Byron Barton.

The absurdity continues when Arthur starts spending a lot of time reading and going to the library.

There's an anthropomorphic reversal of sorts.

Arthur's mother says it's starting to make me nervous to see Arthur coming home with rosy cheeks all the time.

It isn't natural for a crocodile to have rosy cheeks.

Certainly, part of the charm of all these animal books lies in the unexpected twisting of reality.

In 1962, in "The House on East 88th Street", author illustrator Bernard Waber introduced another crocodile character, this one named Lyle, who just happened to be in the bathtub of the house on East 88th Street when the Primm family moved in.

Throughout the Lyle books, the crocodile seems most happy when he's with humans, and although most people seem to accept the reptile's presence, there are a few unusual folks who objected to having such a beast in the neighborhood.

Some animal books don't include such a large amount of fantasy.

Louise Fatio and her husband, Roger Duvoisin collaborated on several picture books featuring the adventures of a tame and reasonable beast known as the Happy Lion.

The first book, titled "The Happy Lion", was first printed in 1954.

The title character lives in a lovely French town in the town zoo, and his best friend is Francois, the zookeeper's son.

One day, when someone forgets to close the door on the lion's house, the happy Lion goes out for a walk around town.

Then, unusual as it may seem in a picture book, people react somewhat realistically.

Men faint, women flee.

Everyone is scared of the lion except Francois, who leads him back to the town zoo.

No problems.

In some of the later volumes, like the Happy Lion and the bear and the Happy Lions treasure, a bit more fantasy is involved.

The little boy, Francois in inexplicably acquires the ability to talk to the animals in the zoo.

Communication between species is a fantasy that figures prominently in many books about animals.

Roger Duvoisin, whose pictures fill those Happy Lion books, also created Petunia, a silly goose who first strolled onto the printed page in 1950.

In her first book, titled "Petunia", she discovers a red book lying in a meadow.

Once, she had heard her owner, the farmer Mr.

Pumpkin, telling his son Bill, that he who owns books and loves them is wise, so she tucks the book under her wing and saunters off, assuming that she's suddenly wiser.

Her neck actually stretches because she's so proud.

Unfortunately, Petunia can't read, and her pride eventually blows up the whole barnyard.

She then notices the pages inside the book, and comes to the understanding that it was not enough to carry wisdom under my wing.

I must put it in my mind and in my heart, and to do that I must learn to read.

Petunia picks up other insights in several additional books, including "Petunia's Treasure", and "Petunia, I Love You".

Petunia talks often to the other animals in Mr.

Pumpkins barnyard, but never to human beings.

The same sort of rules seem to apply in the books featuring Veronica, an ambitious hippo who starred in her first book in 1961.

Veronica craves attention more than anything else because no one seemed to notice her when she was with the other hippos.

Veronica walks away from the cool, muddy riverbank, and very much as Babar once did.

She comes upon a large city.

In the city, she is gloriously conspicuous, but the people don't react as realistically as they did in "The Happy Lion".

They make allowances for Veronica and let her sleep in a parking lot.

When she becomes too forward, the people try to lock her in jail.

But a nice old lady, very much like the old lady in Babar, comes to Veronica's rescue and ships her back to the riverbank, where Veronica becomes famous at last among the hippos.

In the sequel, "Lonely Veronica", the hippos home is disturbed by a construction crew, and the Americans somehow recognize the famous Veronica.

The foreman, Joe, has her shipped to America, where she ultimately finds happiness on a farm.

Once Duvoisin had Veronica situated on a farm, it must have seemed logical to produce a new work like "Our Veronica Goes to Petunias Farm", where she apparently stays for a while, living a somewhat ordinary animal life.

There are a few memorable animal characters who live in a world that might be considered realistic.

Harry, for example, the hero of "Harry, the Dirty Dog, written by Gene Zion and illustrated by Margaret Bloy Graham, first published in 1956.

Harry is an ordinary dog with no apparent human traits.

In this first book, he gets so dirty that his masters don't recognize him when he gets home, and he quickly overcomes his aversion to taking a bath.

In later volumes, he's still just a dog.

When he doesn't like the sweater he's given, in "No Roses for Harry," he can only bark and sulk to express his unhappiness.

He apparently can't talk with other animals either.

In "Harry by the Sea", he's mistaken for a seaweed monster and can't explain the problem until he shakes off the seaweed.

Perhaps because dogs are so familiar, unlike elephants and crocodiles and hippos, realistic stories about them seem appropriate.

This little Scottish Terrier named Angus is a pup whose exploits have entertained children for over 50 years.

"Angus and the Ducks", told and pictured by Marjorie Flack, was first published in 1930.

The story is simple and believable.

Like Harry, Angus has no fantastic talents.

He's a dog.

He merely woofs at some ducks who hiss back at him and snap at his tail, killing his curiosity, at least for a while.

Angus reappears, in "Angus and the Cat" and "Angus Lost", two more very simple stories about everyday adventures of a little dog with a very large head.

Whether the animal characters in these books are realistic or outrageous, seems to make little difference in the end.

When the illustrations and the text combine and create a world that comes to life in a child's imagination, that's all that really matters.

Because one of the few things that makes humans different from all other animals is the fact that we can create, preserve, and share all these imaginary worlds in books.

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