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thus see his individual production grow up under our eyes. One day, in turning over the leaves of Don Manuel's "Count Lucanor," Andersen became charmed by the homely wisdom, of the old Spanish story, with the delicate flavor of the Middle Ages pervading it, and he lingered over Chapter VII., which treats of how a king was served by three rogues.

      "Count Lucanor spoke one day with Patronio, his counsellor, and said to him, There is a man who has come to me and addressed me on a very important subject. He gives me to understand that it would conduce in the highest degree to my advantage. But he says that no man in the world, however highly I may esteem him, must be allowed to know anything about it, and he so earnestly enjoins upon me to keep the secret that he even assures me all my possessions and my life itself will be imperilled if I reveal it to any one. And as I know that nothing can come to your knowledge that you cannot determine whether it be meant for a blessing or with deceitful intent, I beg of you to tell me how this matter strikes you. Sir Count, replied Patronio, in order that you may be able to comprehend what should, in my opinion, be done in this matter, I beg of you to hearken unto how a king was served by three rogues, who sought his presence. The count asked what it was that took place." This introduction resembles a programme; we first learn the bold question to which the story following is to be the answer, and we feel that the story owes its existence solely to the question. We are not permitted to draw for ourselves from the narrative the moral that it seems to us to contain; it must be directed with a violent effort to the question concerning the amount of confidence that is due people who are shrouded in mystery. Such a method of telling a story is the practical, not the poetic one; it places undue limits on the pleasure the reader takes in discovering the hidden moral for himself. True, the fancy is gratified to find its work made easy, for it does not really desire to exert itself; but neither does it like to have its easy activity anticipated; like old people who are permitted to keep up a semblance of work, it does not wish to be reminded that its work is mere play. Nature pleases when it resembles art, says Kant; art, when it resembles nature. Why? Because the veiled purpose gives pleasure. But no matter, let us read further in the book.

      "Sir Count, said Patronio, there once came three rogues to a king and stated that they were most superior masters in the manufacture of cloth, and that they especially understood how to weave a certain stuff which was visible to everyone who was actually the son of the father whom all the world supposed to be his, but which was invisible to him who was not the son of his supposed father. This pleased the king greatly, for he thought that with the aid of this fabric he could learn which men in his kingdom were the sons of those who were legally accredited to be their fathers, and which were not, and that in this way he could adjust many things in his kingdom; for the Moors do not inherit from their fathers if they be not truly their children. So he gave orders to have the men conducted to his palace in which they could work."

      The beginning is delightful, there is humor in the story; but Andersen thinks that if it is to be rendered available for Denmark, another pretext must be chosen, one better adapted to children, and to the well-known northern innocence. And, besides, this king in the story is merely like a figure on the chess-board. Why was it that the rogues came to him? What sort of character does he possess? Is he fond of show? Is he vain? He does not stand out distinctly before the reader's eye. It would be better if he were an absolute fool of a king. He ought in some way to be characterized, to be stamped by a word, a phrase.

      "And they told him that, in order to be sure they were not deceiving him, he might lock them up in the palace until the fabric was finished, and this pleased the king vastly!" They now receive gifts of gold, silver, and silk, spread abroad the tidings that the weaving has begun, and through their bold indication of pattern and colors cause the king's messengers to declare the fabric admirable, and thus succeed in obtaining a visit from the king, who, as he sees nothing, "is overcome by a deathly terror, for he believes that he cannot be the son of the king whom he has considered his father." He therefore praises the fabric beyond measure, and every one follows his example, until one day on the occasion of a great festival he puts on the invisible garment; he rides through the city, "and it was well for him that it was summer." No one could see the fabric, although every one feared to confess his inability to do so, lest he should be ruined and dishonored. "Thus this secret was preserved, and no one dared reveal it, until a negro who tended the king's horse, and had nothing to lose, went to the king" and affirmed the truth.

      "Who bids you keep a secret from a faithful friend,

      Will cheat you too as surely as he has a chance."

      The moral to this neat little story is most ludicrous and at the same time but poorly indicated. Andersen forgets the moral, puts aside, with a sparing hand, the clumsy precept which causes the story to deviate from the point which is its true centre, and then tells, with dramatic vivacity, in the form of a dialogue, his admirable story about the vain emperor, of whom it was said in the city, "The Emperor is in the wardrobe." He brings the narrative quite home to us. There is nothing whose existence people are afraid to deny for fear of passing for a bastard, but there is much concerning which people dare not speak the truth, through cowardice, through fear of acting otherwise than "all the world," through anxiety lest they should appear stupid. And this story is eternally new and it never ends. It has its grave side, but just because of its endlessness it has also its humorous side. "'But he has nothing on!' said the whole people at length. That touched the Emperor, for it seemed to him that they were right; but he thought within himself, 'I must go through with the procession.' And so he held himself a little higher, and the chamberlains held on tighter than ever, and carried the train which did not exist at all." It was Andersen who made the narrative comic.

      But we can enter still more closely into relation with Andersen's method of story-telling; we have seen him place before us in a new form a foreign tale; we can now also see how he remodels his own attempts. In the year 1830 Andersen published in a volume of poetry, "The Dead Man, a Folk-lore Tale from Fünen," the same which he remoulded later under the tide of "The Travelling Companion." The narrative, in its original form, is aristocratic and dignified; it begins in the following way: "About a mile from Bogensee may be found, on the field in the vicinity of Elvedgaard, a hawthorn so remarkable for its size that it can even be seen from the coast of Jutland." Here there are pretty, rural descriptions of nature, here may be detected the masterly hand of a skilful author. "The first night he quartered on a haystack in the field, and slept there like a Persian prince in his resplendent chamber." A Persian prince! This is an idea quite foreign to little children. Suppose we put in its place: "The first night he slept on a haystack, out in the fields, for there was no other bed for him; but it seemed to him so nice and comfortable that even a king need not wish for a better." This is intelligible. "The moon hung, like an Argantine lamp, from the vaulted ceiling, and burned with a perpetual flame." Is not the tone a more familiar one when we say: "The moon, like a large lamp, hung high up in the blue ceiling, and he had no fear of its setting fire to his curtains." The story of the doll's comedy is rewritten; it is sufficient when we know that the piece treats of a king and a queen; Ahasuerus, Esther, Mordecai, who were named in the original, are too learned names for children. If we hit upon a life-like stroke, we hold fast to it. "The queen threw herself on her knees, took off her beautiful crown, and, holding it in her hand, cried: 'Take this from me, but do rub (with healing ointment) my husband and his courtiers.'" Such a passage is one of those in which the nursery story tone penetrates the polished form; one of those in which the style that says "thou" to the reader thrusts aside the one that says "you." In illustration, a whole swarm of comparisons throng upon us. "From the host our travellers learned that they were in the realm of the King of Hearts, an excellent ruler, and nearly related to the King of Diamonds, Silvio, who is sufficiently well known through Carlo Gozzi's dramatic folk-lore tale, 'The Three Pomegranates.'" The princess is compared with Turandot, and of John it is said: "It would seem as though he had recently read Werther and Siegwart; he could only love and die." A shrill discord for the nursery tale style. The words are not those of the child's treasury of language; the tone is elegant, and the illustrations are abstract. "John spake, but he knew not himself what he was saying, for the princess bestowed on him so blessed a smile, and graciously extended her white hand for him to kiss; his lips burned, an electric current ran through him; he could enjoy nothing of the refreshments the pages offered him, he saw only the beautiful vision of his dreams." Let us once hearken to this in the style so familiar

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