Part 6 (1/2)

In reading Andersen's collected works one is particularly impressed with the fact that what he did outside of his chosen field is of inferior quality--inferior, I mean, judged by his own high standard, though in itself often highly valuable and interesting. ”The Improvisatore,” upon which, next to ”The Wonder-Tales,” his fame rests, is a kind of disguised autobiography which exhibits the author's morbid sensibility and what I should call the unmasculine character of his mind,[19] To appeal to the reader's pity in your hero's behalf is a daring experiment, and it cannot, except in brief scenes, be successful. A prolonged strain of compa.s.sion soon becomes wearisome, and not the worthiest object in the world can keep one's charity interested through four hundred pages. Antonio, in ”The Improvisatore,” is a milksop whom the author, with a lavish expenditure of sympathy, parades as a hero. He is positively ludicrous in his pitiful softness, vanity, and humility.

That the book nevertheless remains unfailingly popular, and is even yet found in the satchel of every Roman tourist, is chiefly due to the poetic intensity with which the author absorbed and portrayed every Roman sight and sound. Italy throbs and glows in the pages of ”The Improvisatore”--the old vagabond Italy of pre-Garibaldian days, when priests and bandits and pretty women divided the power of Church and State. Story's ”Roba di Roma,” Augustus Hare's ”Walks in Rome,” and all the other descriptions of the Eternal City, are but disguised guide-books, feeble and pale performances, when compared with Andersen's beautiful romance.

[19] R. L. Stevenson in speaking of the ”Character of Dogs” makes the following cruel observation: ”Hans Christian Andersen, as we behold him in his startling memoirs, thrilling from top to toe with an excruciating vanity and scouting even along the streets for the shadows of offence--here was the talking dog.”--Memories and Portraits, p. 196.

The same feminine sentimentality which, in spite of its picturesqueness, makes ”The Improvisatore” unpalatable to many readers, is still more glaringly exhibited in ”O. T.” and ”The Two Baronesses.” In ”The Story of My Life” the same quality a.s.serts itself on every page in the most unpleasant manner. The author makes no effort to excite the reader's admiration, but he makes constant appeals to his sympathy. Nevertheless this autobiography rivals in historic and poetic worth Rousseau's ”Confessions” and Benvenuto Cellini's ”Life.” The absolute candor with which Andersen lays bare his soul, the complete intentional or unintentional self-revelation, gives a psychological value to the book which no mere literary graces could bestow. I confess, until I had the pleasure of making Andersen's acquaintance, ”The Fairy Tale of My Life”

impressed me unpleasantly. After I had by personal intercourse possessed myself of the clew to the man's character, I judged differently.

Andersen remained, until the day of his death, a child. His innocence was more than virginal; his unworldliness simply inconceivable. He carried his heart on his sleeve, and invited you to observe what a soft, tender, and sensitive heart it was. He had the harmless vanity of a child who has a new frock on. He was fidgety and unhappy if anybody but himself was the centre of attraction; and guilelessly happy when he could talk and be admired and sympathized with. His conversation was nearly always about himself, or about the kings and princes and lofty personages who had graciously deigned to take notice of him. He was a tuft-hunter of a rare and curious sort; not because he valued the glory reflected upon himself by royal acquaintances, but because the pomp and splendor of a court satisfied his thirst for the marvellous. A king seemed to him, as to the boy who reads his fairy-tales, something grand and remote; and in invading this charmed sphere he seemed to have invaded his own fairy-tales, and to live actually in the fabulous region of wonders in which his fancy revelled. He conceived of his life as a fairy-tale, and delighted in living up to his own ideal of living. The very t.i.tle of his autobiography in Danish (_Mit Livs Eventyr_) shows this conclusively; and it ought to have been rendered in English ”The Fairy-Tale of My Life.” ”The Story of My Life,” as Mr. Scudder has translated it, would have been in the original ”Mit Livs Historie,” a very common t.i.tle, by the way, for an autobiography, while _Mit Livs Eventyr_ is entirely unique.

The feeling of the marvellous pervades the book from beginning to end.

The prose facts of life had but a remote and indistinct existence to the poet, and he blundered along miserably in his youth, supported and upheld by a dim but unquenchable aspiration. He commiserated himself, and yet felt that there was something great in store for him because of his exceptional endowment. Every incident in his career he treated as if it were a miracle, which required the suspension of the laws of the universe for its performance. G.o.d was a benevolent old man with a long beard (just as he was depicted in old Dr. Luther's Catechism) who sat up in the skies and spent his time chiefly in managing the affairs of Hans Christian Andersen as pleasantly as possible; and Hans Christian was duly grateful, and cried on every third or fourth page at the thought of the goodness of G.o.d and man. Sometimes, for a change, he cried at the wickedness of the latter, and marvelled, with the _navete_ of a spoiled child, that there should be such dreadful people in the world, who should persist in misunderstanding and misrepresenting him. Those who were good to him he exalted and lauded to the skies, no matter how they conducted themselves toward the rest of humanity. Some of the most mediocre princes, who had paid him compliments, he embalmed in prose and verse. Frederick VII. of Denmark, whose immorality was notorious, was, according to Andersen, ”a good, amiable king,” ”sent by G.o.d to Danish land and folk,” than whom ”no truer man the Danish language spoke.” And this case was by no means exceptional. The same uncritical partiality toward the great and mighty is perceptible in every chapter of ”The Fairy-Tale of My Life.” It was not, however, toward the great and mighty alone that he a.s.sumed this att.i.tude; he was uncritical by nature, and had too soft a heart to find fault with anybody--except those who did not like his books. Heine's jocose description of heaven as a place where he could eat cakes and sweets, and drink punch _ad libitum_, and where the angels sat around raving about his poetry, was probably not so very remote from Andersen's actual conception. His world was the child's world, in which there is but one grand division into good and bad, and the innumerable host that occupies the middle-ground between these poles is ignored. Those who praised what he wrote were good people; those who ridiculed him were a malignant and black-hearted lot whom he was very sorry for and would include in his prayers, in the hope that G.o.d might make them better.

We may smile at this simple system; but we all remember the time when we were addicted to a similar cla.s.sification. That it is a sign of immaturity of intellect is undeniable; and in Andersen's case it is one of the many indications that intellectually he never outgrew his childhood. He never possessed the power of judgment that we expect in a grown-up man. His opinions on social and political questions were _nave_ and quite worthless. And yet, in spite of all these limitations, he was a poet of rare power; nay, I may say in consequence of them. The vitality which in other authors goes toward intellectual development, produced in him strength and intensity of imagination. Everything which his fancy touched it invested with life and beauty. It divined the secret soul of bird and beast and inanimate things. His hens and ducks and donkeys speak as hens and ducks and donkeys would speak if they could speak. Their temperaments and characters are scrupulously respected. Even s.h.i.+rt-collars, gingerbread men, darning-needles, flowers, and sunbeams, he endowed with physiognomies and speech, fairly consistent with their ruling characteristics. This personification, especially of inanimate objects, may at first appear arbitrary; but it is part of the beautiful consistency of Andersen's genius that it never stoops to mere amusing and fantastic trickery. The character of the darning-needle is the character which a child would naturally attribute to a darning-needle, and the whole mult.i.tude of vivid personifications which fills his tales is governed by the same consistent but dimly apprehended instinct. Of course, I do not pretend that he was conscious of any such consistency; creative processes rarely are conscious. But he needed no reflection in order to discover the child's view of its own world. He never ceased to regard the world from the child's point of view, and his personification of an old clothes-press or a darning-needle was therefore as natural as that of a child who beats the chair against which it b.u.mped its head. In the works of more ambitious scope, where this code of conduct would be out of place, Andersen was never wholly at his ease. As lovers, his heroes usually cut a sorry figure; their milk-and-water pa.s.sion is described, but it is never felt.

They make themselves a trifle ridiculous by their innocence, and are amusing when they themselves least suspect it. Likewise, in his autobiography, he is continually exposing himself to ridicule by his _nave_ candor, and his inability to adapt himself to the etiquette which prevails among grown-up people. Take as an instance his visit to the Brothers Grimm, when he asked the servant girl which of the brothers was the more learned, and when she answered ”Jacob,” he said, ”Then take me to Jacob.” The little love affair, too, which he confides seems to have been of the kind which one is apt to experience during the pinafore period; a little more serious, perhaps, but yet of the same kind. It is in this vague and impersonal style that princes and princesses love each other in the fairy-tales; everything winds up smoothly, and there are never any marital disagreements to darken the honeymoon. It is in this happy, pa.s.sionless realm that Andersen dwells, and here he reigns supreme. For many years to come the fair creatures of his fancy will continue to brighten the childhood of new generations. No rival has ever entered this realm; and even critics are excluded. Nevertheless, Andersen need have no fear of the latter; for even if they had the wish, they would not have the power, to rob him of his laurels.

Hans Christian Andersen was born in the little town of Odense, on the island Funen, April 2, 1805. His father was a poor shoemaker, with some erratic ambitions, or, if his son's word may be trusted, a man of a richly gifted and truly poetic mind. His wife was a few years older and a good deal more ignorant than himself; and when they set up housekeeping together, in a little back room, they rejoiced in being able to nail together a bridal bed out of the scaffolding which had recently supported a dead n.o.bleman's coffin. The black mourning drapery which yet clung to the wood gave them quite a sense of magnificence.

Their first child, Hans Christian, grew up amid these mean surroundings, constantly worried by the street boys, who made a b.u.t.t of him, and tortured him in the thousand ingenious ways known to their species. He had no schooling to speak of; but, for all that, was haunted, like Joseph, by dreams foreshadowing his future greatness. Guided by this premonition he started, at the age of fourteen, for Copenhagen, a tall, ugly, and ungainly lad, but resolved, somehow or other, to conquer fame and honor. He tried himself as a dancer, singer, actor, and failed lamentably in all his _debuts_. He could not himself estimate the extent of his own ignorance, nor could he dream what a figure he was cutting.

Undismayed by all rebuffs, though suffering agony from his wounded vanity, he wrote poems, comedies, and tragedies, in which he plagiarized, more or less unconsciously, the elder Danish poets. Mr.

Jonas Collins, one of the directors of the Royal Theatre, became interested in the youth, whose unusual ambition meant either madness or genius. In order to determine which it might be, Mr. Collins induced King Frederic VI. to pay for his education, and after half a dozen years at school Hans Christian pa.s.sed the entrance examination to the University. Mr. Collins continued to a.s.sist him with counsel and deed; and his hospitable house in Bredgade became a second home to Andersen.

There he met, for the first time, people of refinement and culture on equal terms; and his morbid self-introspection was in a measure cured by kindly a.s.sociation, tempered by wholesome fun and friendly criticism. He now resolved to abandon his University studies and devote his life to literature.

I have no doubt it would have alarmed the gentle poet very much, if he had been told that he belonged to the Romantic School. To be cla.s.sified in literature and be bracketed with a lot of men with whom you are not even on speaking terms, and whom, more than likely, you don't admire, would have seemed to him an unpleasant prospect. That he drew much of his inspiration from the German Romanticists, notably Heine and Hoffmann, he would perhaps have admitted; but he would have thought it unkind of you to comment upon his indebtedness. In his first book, ”A Pedestrian Tour from Holmen Ca.n.a.l to the Eastern Extremity of Amager”

(1829), he a.s.sumed by turns the _blase_ mask of the former and the fantastically eccentric one of the latter; both of which ill became his good-natured, plebeian, Danish countenance. For all that, the book was a success in its day; and no less an authority than the aesthetic Grand Mogul, J. L. Heiberg, hailed it as a work of no mean merit. It strikes us to-day as an exhibition of that mocking smartness of youth which often hides a childish heart. It was because he was so excessively sentimental and feared to betray his real physiognomy that he cut these excruciating capers. His other alternative would have been mawkishness.

His vaudeville, ”Love on the Nicholas Tower,” which satirizes the drama of chivalry, is in the same vein and made a similar hit. A volume of ”Poems” was also well received. But in 1831 he met with his first literary reverse. A second collection of verses, ent.i.tled ”Phantasies and Sketches,” was pitilessly ridiculed by Henrik Hertz, in his ”Letters from the Dead.” Andersen's lack of style and violations of syntax were rather maliciously commented upon. If Gabriel's trump had sounded from the top of the Round Tower, it would not have startled Andersen more.

He was in despair. Like the great child he was, he went about craving sympathy, and weeping when he failed to find it.

”I could say nothing,” he writes in ”the Fairy-Tale of My Life,” ”I could only let the big, heavy waves roll over me; and it was the common opinion that I was to be totally washed away. I felt deeply the wound of the sharp knife; and was on the point of giving myself up, as I was already given up by others.”

This is one of the numerous exhibitions of that over-sensitiveness to criticism which caused him such long and continued suffering. His mind was like a bared nerve, quivering with delight or contracting with violent pain. Utterly devoid, as he was, of self-criticism, he regarded his authors.h.i.+p as something miraculous, and held G.o.d (who apparently supervised each chapter) responsible for the fate of his books. ”If the Lord,” he writes in solemn earnest to a friend, ”will take as good care of the remainder as he has of the first chapters, you will like it.”[20]

There was to him no difference between his best and his worst. It was all part of himself, and he could scarcely conceive of any motive for finding fault with it, except personal malice, envy, animosity.[21] This did not, however, always prevent him from a.s.sociating with the malevolent critic, as for instance in the case of Hertz, with whom he presently established pleasant relations.

[20] P. Hansen: Ill.u.s.treret Dansk Litteratur Historic, vol. ii., p.

477.

[21] I derive this impression not only from the Autobiography, but from many conversations. An account of My Acquaintance with Hans Christian Andersen will be found in The Century Magazine, March, 1892.

In 1831 Andersen made his first trip abroad. ”By industry and frugality,” he says, ”I had saved up a little sum of money, so I resolved to spend a couple of weeks in North Germany.”

The result of this journey was the book ”Shadow Pictures,” which was followed in 1833 by ”Vignettes on Danish Poets,” and a chaplet of verse ent.i.tled ”The Twelve Months of the Year.” It is quite true, as he affirms, that in his ”Vignettes,” he ”only spoke of that which was good in them” [the poets]; but in consequence there is a great lack of Attic salt in the book. In 1833 he went abroad once more, visited Germany, France, Switzerland, and Italy, and sent home the dramatic poem ”Agnete and the Merman,” the comparative failure of which was a fresh grief to him. After his return from Rome (1835) he published his ”Improvisatore,”

which slowly won its way. It was the reputation this novel gained abroad which changed public opinion in Denmark in its favor. A second novel, ”Only a Fiddler” (1837), is a fresh variation of his autobiography, and the lachrymose and a trifle chaotic story, ”O. T.” (being the brand of the Odense penitentiary) scarcely deserved any better reception than was accorded it.

It is a curious thing that misconception and adversity never hardened Andersen or toughened the fibre of his personality. The same lamentable lack of robustness--not to say manliness--which marked his youth remained his prevailing characteristic to the end of his life. And I fancy, if he had ever reached intellectual maturity, both he himself and the world would have been losers. For it is his unique distinction to have expressed a simplicity of soul which is usually dumb--which has, at all events, nowhere else recorded itself in literature. We all have a dim recollection of how the world looked from the nursery window; but no book has preserved so vivid and accurate a negative of that marvellous panorama as Andersen's ”Wonder Tales for Children,” the first collection of which appeared in 1835. All the jumbled, distorted proportions of things (like the reflection of a landscape in a crystal ball) is capitally reproduced. The fantastically personifying fancy of childhood, where does it have more delightful play? The radiance of an enchanted fairy realm that bursts like an iridescent soap-bubble at the touch of the finger of reason, where does it linger in more alluring beauty than in ”Ole LukOie” (”The Sandman”), ”The Little Mermaid,” or ”The Ice-Maiden”? There is a bloom, an indefinable, dewy freshness about the gra.s.s, the flowers, the very light, and the children's sweet faces. And so vivid--so marvellously vivid--as it all is. Listen to this from ”Five in a Pea-Pod:”

”There were five peas in one pod. They were green, and the pod was green; and so they thought that the whole world was green. And that was just as it should be. The pod grew and the peas grew; they accommodated themselves to circ.u.mstances, sitting all in a row.”

Or take this from ”Little Tuk:”