LITMIR.BIZ

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Bernardin de Saint-Pierre, through his exquisite story "Paul and Virginia," introduces descriptions of nature into French prose, and, what is particularly noteworthy simultaneously with his discovery of the landscape he introduces, as his hero and heroine, two children. Alexander von Humboldt takes "Paul and Virginia" with him on his journey to the tropical regions, admiringly reads the book aloud to his travelling companions in the midst of the nature which it describes, and refers with gratitude to what he owes to Saint-Pierre. Humboldt influences Oersted who in his turn profoundly influences Andersen. The sympathetic contemplation of nature operates on the scientific, which in its turn operates on the poetic. Chateaubriand, in his highly-colored brilliant manner, depicts a nature closely related to the one which Saint-Pierre has received in his peaceful, nature-worshipping soul. Steffens, in his celebrated lectures, first introduces to Denmark the natural system of nature. About the year 1831, at the period, therefore, when Andersen's nursery stories originated, there is founded in England (the land which took the lead in bringing forward the child in literature) the first society for the prevention of cruelty to animals. Branches are established in France and Germany, where societies spring up in Munich, Dresden, Berlin and Leipsic. Kierkegaard in his "Enten – Eller" (Either – Or) turns the establishment of these societies into ridicule; he sees in it but a phenomenon of the tendency to form associations, which in his eyes is a proof of the lamentable condition of individual personality. If we return now to Denmark, we will observe that the national landscape painting, with its literal imitation of nature, takes its decisive upward soaring flight at precisely the time when nursery stories are devised. Skovgaard paints the lake in which "the ugly duckling" went splashing about, and at the same time – as by a miracle – the large city becomes too small for the citizen of Copenhagen. He finds it wearisome to gaze the whole summer long on its paving-stones, its many houses and roofs, he longs to see a larger bit of the sky, he repairs to the country, lays out gardens, learns to distinguish barley from rye, becomes a rustic for the summer months. One and the same idea, the recovered idea of nature, extends its influence through all the spheres of life, just as the water of an upland stream flowing downward is distributed through a series of different basins. Could an idea produce a more singular effect, or a more suggestive one for contemplation? During the past century there has been nothing similar. We may, as has been wittily remarked, rummage through Voltaire's "Henriade," without finding a single blade of grass; there is no fodder for the horses in it. We may turn over the leaves of Baggesen's poems, without stumbling on a single description of nature, used even as an accessory. What a leap from this poetry to such poetry as that of Christian Winther, in which the human figures are merely used as accessories and the landscape is almost universally the main point of interest, and how far removed was the world, even in his day, from so much as dreaming of a poetry like that of Andersen, in which animals and plants fill the place of man, indeed, almost make man superfluous!27

      Now what is there in plants, in animals, in the child, so attractive to Andersen? He loves the child because his affectionate heart draws him to the little ones, the weak and helpless ones, of whom it is allowable to speak with compassion, with tender sympathy, and because when he devotes such sentiments to a hero, – as in "Only a Fiddler," – he is derided for it (compare with Kierkegaard's criticism),28 but when he dedicates them to a child, he finds the natural resting-place for his mood. It is owing to his genuine democratic feeling for the lowly and neglected that Andersen, himself a child of the people, continually introduces into his nursery stories (as Dickens, in his novels), forms from the poorer classes of society, "simple folk," yet endowed with the true nobility of the soul. As examples of this may be mentioned the washerwoman in "Little Tuk" and in "Good-for-Nothing," the old maid in "From a Window in Vartou," the watchman and his wife in "The Old Street-Lamp," the poor apprentice boy in "Under the Willow-Tree," and the poor tutor in "Everything in its Right Place." The poor are as defenseless as the child. Furthermore, Andersen loves the child, because he is able to portray it, not so much in the direct psychologic way of the romance, – he is by no means a direct psychologist, – as indirectly, by transporting himself with a bound into the child's world, and he acts as though no other course were possible. Rarely, therefore, has charge been more unjust than that of Kierkegaard when he accused Andersen of being unable to depict children; but when Kierkegaard, who, moreover, as a literary critic combines extraordinary merits with great lacks (especially in point of historic survey), takes occasion, in making this criticism, to remark that in Andersen's romances the child is always described "through another," what he says is true. It is no longer true, however, the moment Andersen, in the nursery story, puts himself in the place of the child and ceases to recognize "another." He seldom introduces the child into his nursery stories as taking part in the action and conversation. He does it most frequently in the charming little collection "A Picture-Book without Pictures," where more than anywhere else he permits the child to speak with the entire simplicity of its nature. In such brief, naïve child-utterances as those cited in it there is much pleasure and entertainment. Every one can recall anecdotes of a similar character. I remember once taking a little girl to a place of amusement, in order to hear the Tyrolese Alpine singers. She listened very attentively to their songs. Afterward, when we were walking in the garden in front of the pavilion, we met some of the singers in their costumes. The little maiden clung timidly to me, and asked in astonishment: "Are they allowed to go about free?" Andersen has no equal in the narration of anecdotes of this kind.29 in his nursery stories we find sundry illustrations of the fact, as in the charming words of the child in "The Old House," when it gives the man the pewter soldiers that he might not be "so very, very lonely," and a few kind answers in "Little Ida's Flowers." Yet his child forms are comparatively rare. The most noteworthy ones are little Hjalmar, little Tuk, Kay and Gerda, the unhappy, vain Karen in "The Red Shoes," a dismal but well-written story, the little girl with the matches and the little girl in "A Great Sorrow," finally Ib and Christine, the children in "Under the Willow-Tree." Besides these real children there are some ideal ones, the little fairy-like Thumbling and the little wild robber-maiden, undoubtedly Andersen's freshest child creation, the masterly portrayal of whose wild nature forms a most felicitous contrast to the many good, fair-haired and tame children of fiction. We see her before us as she really is, fantastic and true, her and her reindeer, whose neck she "tickles every evening with her sharp knife."

      We have seen how sympathy with child-nature led to sympathy with the animal which is doubly a child, and to sympathy with the plants, the clouds, the winds, which are doubly nature. What attracts Andersen to the impersonal being is the impersonal element in his own nature, what leads him to the wholly unconscious is merely the direct consequence of his sympathy. The child, young though it may be, is born old; each child is a whole generation older than its father, a civilization of ages has stamped its inherited impress on the little four-year-old child of the metropolis. How many conflicts, how many endeavors, how many sorrows have refined the countenance of such a child, making the features sensitive and precocious! It is different with animals. Look at the swan, the hen, the cat! They eat, sleep, live, and dream undisturbed, as in ages gone by. The child already begins to display evil instincts. We, who are seeking what is unconscious, what is naïve, are glad to descend the ladder that leads to the regions where there is no more guilt, no more crime, where responsibility, repentance, restless striving and passion cease, where nothing of an evil nature exists except through a substitution of which we are but partially conscious, and which, therefore, robs our sympathy of half its sting. An author like Andersen, who has so great a repugnance to beholding what is cruel and coarse in its nakedness, who is so deeply impressed by anything of the kind that he dare not relate it, but recoils a hundred times in his works from some wanton or outrageous deed with the maidenly expression, "We cannot bear to think of it!" Such an author feels content and at home in a world where everything that appears like egotism, violence, coarseness, vileness, and persecution, can only be called so in a figurative way. It is highly characteristic that almost all the animals which appear in Andersen's nursery stories are tame animals, domestic animals. This is, in the first place, a symptom of the same gentle and idyllic tendency which results in making almost all Andersen's children so well-behaved. It is, furthermore, a proof of his fidelity to nature, in consequence of which he is so reluctant to describe anything with which he is not thoroughly familiar. It is, finally, an interesting phenomenon with reference to the use he makes of the animals, for domestic

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