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袩褉懈泻邪蟹泻懈: 啸邪薪褋 袣褉懈褋褌懈邪薪 袗薪写械褉褋械薪
C 谢械泻芯褌a褌a 懈 屑a泄c褌芯pc褌胁芯褌芯, c 泻芯懈褌芯 懈蟹p褟蟹胁a 褌褍 c屑械褕薪懈, 褌褍 c褌pax芯胁懈褌懈, 薪械胁械p芯褟褌薪芯 锌p械锌谢械褌械薪懈 褎懈谐褍p泻懈 芯褌 xap褌懈褟, A薪写械pc械薪 锌p械胁p褗褖a 胁c褟泻a 写褍屑a 懈谢懈 懈c褌芯p懈褟 胁 锌p懈泻a蟹泻a. 袩p械写屑械褌懈, 褑胁械褌褟, 卸懈胁芯褌薪懈 懈 x芯pa c械 pa卸写a褌, 谐芯胁芯p褟褌, 卸械谢a褟褌, 胁谢褞斜胁a褌 c械, c褌pa写a褌, 懈蟹胁褗p褕胁a褌 锌芯写胁懈蟹懈, 褍屑懈pa褌 褖ac褌谢懈胁懈 c 锌芯c褌懈谐薪a褌懈褌械 c懈 屑械褔褌懈 (锌芯薪褟泻芯谐a 褌褗泄 薪械蟹薪a褔懈褌械谢薪懈 懈 c屑械褕薪懈) 懈谢懈 锌褗泻 芯斜pa褌薪芯 - 薪a屑懈pa褌 c屑懈c褗谢 写a 卸懈胁械褟褌 ca屑芯 c 褌a泻懈胁a 锌p芯c褌懈 薪械褖a 泻a褌芯 谢褞斜芯胁, c褗c褌pa写a薪懈械, 泻pac芯褌a, 写褗谢谐. O褌 pa薪薪芯 写械褌c褌胁芯 褍 胁c械泻懈 芯褌 薪ac 卸懈胁械褟褌 袩a谢械褔泻a, 袦a谢泻a褌a p褍ca谢泻a, 袚p芯蟹薪芯褌芯 锌a褌械薪褑械, 袣a泄 懈 袚械p写a... 袣芯谢泻芯 屑褗写p芯c褌 懈 懈p芯薪懈褟 薪芯c褟褌 斜褗谢xa褌a c 屑薪芯谐芯 写芯斜p懈 芯斜薪芯c泻懈, 蟹a褖芯褌芯 械 锌懈谢a 泻p褗胁 芯褌 蟹薪a褌薪a 谐芯c锌芯卸懈褑a; 谐褗c芯泻褗褌, 泻芯泄褌芯 锌pa胁懈 薪a泄-胁懈c芯泻懈褟 c泻芯泻, 蟹a褖芯褌芯 c械 懈c泻a a泻褗谢 写a c械 锌p懈蟹械屑懈褕 胁 c泻褍褌a 薪a 锌p懈薪褑械ca; ca屑芯胁谢褞斜械薪懈褟褌 褌芯p械薪 斜p褗屑斜ap 懈谢懈 锌褗泻 锌褗谢薪懈褟褌 c 薪a屑械p械薪懈褟 写a 锌p芯屑械薪懈 c胁械褌a 芯x谢褞胁, 泻芯泄褌芯 褌a泻a 懈 薪械 褍c锌褟胁a 写芯p懈 写a c械 锌p懈写胁懈卸懈 锌芯-写a谢械褔 芯褌 p芯蟹芯胁懈褟 xpac褌. 袙械褔械 褌p械褌芯 c褌芯谢械褌懈械 锌p懈泻a蟹泻懈褌械 薪a 谐芯谢械屑懈褟 写a褌c泻懈 锌懈ca褌械谢 Xa薪c 袣p懈c褌懈a薪 A薪写械pc械薪 锌p懈薪a写谢械卸a褌 薪a 胁c懈褔泻懈 薪ap芯写懈 懈 薪a 胁c懈褔泻懈 胁褗蟹pac褌懈.
Xa薪c 袣p懈c褌懈a薪 A薪写械pc械薪 (1805 - 1875) 械 p芯写械薪 胁 谐pa写 O写械薪c械, 袛a薪懈褟. 袩懈褕械 p芯屑a薪懈, 锌褗褌械锌懈c懈, pa蟹泻a蟹懈 懈 c褌懈x芯胁械, 薪芯 c胁械褌芯胁薪a c谢a胁a 屑褍 写芯薪ac褟褌 锌p懈泻a蟹泻懈褌械. Ca屑芯 12 芯褌 胁c懈褔泻懈褌械 156 ca 懈蟹谐pa写械薪懈 胁褗px褍 薪ap芯写薪懈 锌p械写a薪懈褟. Oc褌a薪a谢懈褌械 薪械 ca屑芯 ca a胁褌芯pc泻懈, 薪芯 懈 ca c懈谢薪芯 锌芯胁谢懈褟薪懈 芯褌 谢懈褔薪懈褟 屑褍 芯锌懈褌. 袛芯 泻pa褟 薪a 写薪懈褌械 c懈 褌芯泄 薪械 蟹a谐褍斜胁a c锌芯c芯斜薪芯c褌褌a "写a 芯褌泻p懈胁a 懈 胁懈卸写a 斜懈c械p懈 胁 泻芯褟 写a 械 泻a薪a胁泻a", 泻a泻褌芯 泻a蟹胁a 蟹a 薪械谐芯 锌械褌褗褌 袠薪谐械屑a薪, 写a pa蟹泻a蟹胁a 锌p芯c褌芯 懈 褟c薪芯 锌芯 写械褌c泻懈 懈 写a p懈c褍胁a 谢械泻懈 懈 写芯c褌褗锌薪懈 芯斜pa蟹懈 懈 泻ap褌懈薪懈. 袛薪械c 袩p懈泻a蟹泻懈褌械 屑褍 ca 锌p械胁械写械薪懈 薪a 锌芯胁械褔械 芯褌 60 械蟹懈泻a.
Xa薪c 袣p懈c褌懈a薪 A薪写械pc械薪 (1805 - 1875) 械 p芯写械薪 胁 谐pa写 O写械薪c械, 袛a薪懈褟. 袩懈褕械 p芯屑a薪懈, 锌褗褌械锌懈c懈, pa蟹泻a蟹懈 懈 c褌懈x芯胁械, 薪芯 c胁械褌芯胁薪a c谢a胁a 屑褍 写芯薪ac褟褌 锌p懈泻a蟹泻懈褌械. Ca屑芯 12 芯褌 胁c懈褔泻懈褌械 156 ca 懈蟹谐pa写械薪懈 胁褗px褍 薪ap芯写薪懈 锌p械写a薪懈褟. Oc褌a薪a谢懈褌械 薪械 ca屑芯 ca a胁褌芯pc泻懈, 薪芯 懈 ca c懈谢薪芯 锌芯胁谢懈褟薪懈 芯褌 谢懈褔薪懈褟 屑褍 芯锌懈褌. 袛芯 泻pa褟 薪a 写薪懈褌械 c懈 褌芯泄 薪械 蟹a谐褍斜胁a c锌芯c芯斜薪芯c褌褌a "写a 芯褌泻p懈胁a 懈 胁懈卸写a 斜懈c械p懈 胁 泻芯褟 写a 械 泻a薪a胁泻a", 泻a泻褌芯 泻a蟹胁a 蟹a 薪械谐芯 锌械褌褗褌 袠薪谐械屑a薪, 写a pa蟹泻a蟹胁a 锌p芯c褌芯 懈 褟c薪芯 锌芯 写械褌c泻懈 懈 写a p懈c褍胁a 谢械泻懈 懈 写芯c褌褗锌薪懈 芯斜pa蟹懈 懈 泻ap褌懈薪懈. 袛薪械c 袩p懈泻a蟹泻懈褌械 屑褍 ca 锌p械胁械写械薪懈 薪a 锌芯胁械褔械 芯褌 60 械蟹懈泻a.
528 pages, Hardcover
First published January 1, 1835
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14.3k people want to read
About the author
Hans Christian Andersen
7,428听books3,453听followersHans Christian Andersen (often referred to in Scandinavia as H.C. Andersen) was a Danish author and poet. Although a prolific writer of plays, travelogues, novels, and poems, Andersen is best remembered for his fairy tales. Andersen's popularity is not limited to children; his stories 鈥� called eventyr, or "fairy-tales" 鈥� express themes that transcend age and nationality.
Andersen's fairy tales, which have been translated into more than 125 languages, have become culturally embedded in the West's collective consciousness, readily accessible to children, but presenting lessons of virtue and resilience in the face of adversity for mature readers as well. Some of his most famous fairy tales include "The Little Mermaid", "The Ugly Duckling", "The Nightingale", "The Emperor's New Clothes" and many more. His stories have inspired plays, ballets, and both live-action and animated films.
Andersen's fairy tales, which have been translated into more than 125 languages, have become culturally embedded in the West's collective consciousness, readily accessible to children, but presenting lessons of virtue and resilience in the face of adversity for mature readers as well. Some of his most famous fairy tales include "The Little Mermaid", "The Ugly Duckling", "The Nightingale", "The Emperor's New Clothes" and many more. His stories have inspired plays, ballets, and both live-action and animated films.
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Displaying 1 - 30 of 904 reviews
August 21, 2024
Kinda Boring.
Many of the stories in this book are too long and dull. Fairy tales should be fanciful and exciting.
Thank goodness for The Little Match Girl. Pleasantly mysterious and fascinating. But also sad.
Many of the stories are too boring to be read in the fairy tale genre. The story is long and redundant.
I don鈥檛 remember these stories being such when I was a child. Maybe I read different versions or editions.
Two stars. 鉁ㄢ湪
Many of the stories in this book are too long and dull. Fairy tales should be fanciful and exciting.
Thank goodness for The Little Match Girl. Pleasantly mysterious and fascinating. But also sad.
Many of the stories are too boring to be read in the fairy tale genre. The story is long and redundant.
I don鈥檛 remember these stories being such when I was a child. Maybe I read different versions or editions.
Two stars. 鉁ㄢ湪
December 8, 2024
Hans Christian Andersen once said, "Life itself is the most wonderful fairy tale." And his life certainly was an extraordinary rags to riches story.
In all Hans Christian Andersen wrote 156 fairy tales, of which forty are in this luxury, large format edition, to represent the cream of the crop. It is a beautiful, sumptuous book, the semi-matt purple cover slightly textured and embossed, giving almost a "padded" feel. It has a feature reminiscent of medallions in old books; in this case an inset glossy illustration of a mermaid. The paper throughout is glossy, and most pages are bordered with patterns and old gold surrounds. Three gold colours are used; the spine is a slightly brighter gold, and the page edges are shiny and gilt-edged, plus there is a gold ribbon bookmark attached. There is an interesting introduction by the translator, Neil Philip, plus copious, carefully drawn illustrations by Isabelle Brent. These are mostly in gouache, and the illustrator makes much use of jewel colours, patterning and many magnificent gold highlights. It is a book which simply begs to be picked up.
The choice of purple and gold is perhaps significant, since it is clear that Hans Christian Andersen believed himself to be a member of the royal family. Not only that, but he tortured himself with the belief that he was unacknowledged royalty, who had been cast out, and this conviction plagued him all his life. Interestingly, although there will probably never be any proof of Hans Christian Andersen's true birth, it is not simply an idle dream, but a genuine possibility.
Hans Christian Andersen may have been the illegitimate son of Crown Prince Christian Frederik, later Christian VIII, and the teenage countess Elise Ahlefeldt-Laurvig. He was born in 1805 at Broholm Castle near Odense. Both Hans Christian Andersen's official parents worked at the castle, his "mother" as a nursemaid, and his "father", a cobbler for the family. There had also been a precedent for an illegitimate daughter (Fanny) to have been adopted by another servant of the Royal family a year earlier.
Hans Christian Andersen seems to have had a privileged position with this family. Rather than play with the other poor children, he was allowed to play with Prince Christian Frederik's son, Prince Fritz, who was three years younger than him. When this prince later died, Hans Christian Andersen was the only person, not in the family, who was allowed to view the body privately.
When he was seven years of age, Hans Christian Andersen's official father was paid to serve in the Napoleonic wars, in place of a local landowner. He returned four years later, a broken man, and died in the Spring. Hans's mother was now destitute, with few choices as she was illiterate, so she took in washing, standing waist deep for hours in the icy river, trying to stay warm by taking nips of schnapps. Two years later she married another shoemaker, who took no interest in the young Hans.
Hence Hans Christian Andersen grew up in heartbreaking poverty, and all his life remained self-conscious about his lower class background, despite his success. Perhaps it is because he was born poor that he was obsessed with social class, and always trying to claw his way to the top. He seemed to both worship the nobility but also resent them for holding him at arm's length. He was of course dependent on the patronage of the wealthy to create his art. Whatever the cause, Hans Christian Andersen's stories portray everyone from invented royalty, to the truly destitute. He believed, "Every man's life is a fairy tale written by God's fingers."
Hans Christian Andersen was awkward and earnest; gawky, ill-at-ease, and always feeling he was picked on by all and sundry. Many of his protagonists are obvious depictions of himself; caring a lot what other people thought of them and worried about fitting in. "The Emperor's New Clothes" and "The Ugly Duckling" are clear examples. Yet even battling all his worries, Hans Christian Andersen managed to find his voice and write his stories. In many of his stories he seems to explore ideas about wealth, self-worth, and the meaning of life.
Many other aspects of the author's life feed into his stories, which were quite an eye-opener to read. If you think that he wrote "nice" stories for children, then perhaps think again. Some of them are very dark in tone, and most are quite depressing. He has been called a "poet of human suffering". Story after story ends in rejection, humiliation or disappointment. Many of the stories feature a downtrodden protagonist. Sometimes the main character will work hard, and then have a wonderful "fairytale" ending. Perhaps they are lucky, becoming rich, or famous, or falling in love, or a combination of these. Sometimes our downtrodden protagonist works hard, and is just about to achieve fulfilment in one of these ways ... but then suddenly dies for no particular reason. Sometimes there is no change at all, and the downtrodden protagonist remains downtrodden. (And then probably dies.)
The downtrodden protagonist is not always "he". Sometimes it is a "she". Or equally often it may be a household object, or a flower, a tree, or an animal. Hans Christian Andersen's stories are fantasies, like dreams or visions. The object or creature will have a personality of its own, often showing a boastful or arrogant side; it will talk to other creatures or objects ... and then die. Sometimes the story does not even seem to be a moral fable; perhaps the object does not seem to have a bad side (but it will probably die nonetheless).
His stories often feature children鈥攗sually a perfect vision of children who are like miniature adults doing various good things. Sometimes they die too. Sometimes the protagonists do not themselves die, but lose a loved one, and must accept that God is in charge of everything鈥攅ven when they do not understand the reason. And in this way, through every single story, there seems to be a common thread.
Hans Christian Andersen's tales are full of ideas about God, angels, faith, the Bible, the afterlife, and sin. He constantly reflects on what it takes to get into heaven, the various wicked things people do, and the nature of God, love, and forgiveness. Considering that the author himself said the stories were for children, it seems remarkable that they are so preoccupied with the darker side of being human. People sin, he says, and darkness often lives in our hearts and souls. He clearly thinks that all humans are sinners and should live in fear of God, but he also keeps reinforcing the redemptive power of love and faith. Many of Hans Christian Andersen's stories end up with the characters in heaven. Although not exactly a Catholic, his views and expressed beliefs certainly inclined that way.
Hans Christian Andersen did not start out by writing fairy tales, although that is what we remember him for. Even as a child he had artistic leanings, becoming swept up by the "Tales from the Arabian Nights" which his father told him, and the toy theatre his father had made. The young Hans played with this, and made clothes for his dolls, dreaming of becoming an actor, a singer or a dancer. After his father died he left home to seek his fortune in Copenhagen, committed to an artistic life. He attached himself to various well-to-do families, successfully courted the attention of wealthy and influential people, one after another, and even had his fees at the Ballet School of the Royal Theatre paid.
However this attendance was a short-lived experience. His teachers there crushed him by saying that he "lacked both the appearance and the talent necessary for the stage." Hans Christian Andersen was incredibly sensitive to slights all his life. Every cruel remark, or casual, careless comment would be taken to heart and never forgotten. So his wealthy patrons transferred their money to educating him at a private school for gentlemen. But he found this experience a torment too, saying, "it will destroy my soul". It led to him writing a sentimental, maudlin poem called "The Dying Child". But with a stroke of luck, the poem was published in the newspaper "The Copenhagen Post" in 1827, and the young man's future was assured.
Hans Christian Andersen's first writing projects included a play, a book of poetry and a travelogue. The promising young author then won a grant from the king, and this enabled him to travel across Europe and work on being an author. He wrote a novel about his time in Italy, which was published in 1835, the same year as he began writing his stories鈥攃alled "eventyr", or "fairy tales"鈥攁nd often based on ideas from folk tales that he had heard or read as a child.
Another of his preoccupations was to try out new places. He had a wanderlust, and an urge to flee from what he considered to be provincial life. There are echoes of this in his works. In "Five Peas in the Same Pod" all the peas are happy until one needs to explore the world outside. In "The Shepherdess and the Chimney Sweep", the couple brave all kinds of adventures, in search of something better. There are many instances of someone "trying out their wings". Hans Christian Andersen himself travelled relentlessly, but had a morbid fear of death. Wherever he laid his head, there next to him was a coil of rope which he took everywhere with him, and a handwritten notice, saying, "I only seem dead". He was obsessed with the thought that he might lapse into a coma, and be buried before he could come round. In fact he kept this strange morbid dread of being buried alive through to the very day he died.
Over the next few decades, until his death in 1875, he continued to write for both children and adults. He wrote several autobiographies, and also travel narratives and poetry about the Scandinavian people. In 1845, English translations of Hans Christian Andersen's fairy tales and stories began to gain the attention of foreign audiences. He became a friend of Charles Dickens, who was already enormously popular, although this friendship ended in failure after Hans Christian Andersen had overstayed his welcome at the great author's home. Charles Dickens rather spitefully put up a notice on the wall of his bedroom, after Hans Christian Andersen had left. It read, "Hans Christian Andersen slept in this room for five weeks鈥攚hich seemed to the family AGES!" It was in England that Hans Christian Andersen's stories first became classics, despite originally being written in Danish. They had a strong influence on subsequent British children's authors, including George MacDonald, Oscar Wilde, A.A. Milne and Beatrix Potter. Over time, Scandinavian audiences then discovered his stories, and now of course they are known world-wide.
Hans Christian Andersen's tales seem to have universal appeal, no matter what language they are read in. His stories express themes that transcend age and nationality鈥攐ften presenting lessons of virtue and resilience in the face of adversity. They are written in a very chatty intimate style, which won him no favours from his original literary critics, who considered this tone inappropriate. But once he found his voice, he found he could not stop writing them, saying, "They forced themselves from me". A friend once expostulated, "You're capable of writing about anything - even a darning needle!" And sure enough, the author rose to the challenge, in his story entitled "The Darning Needle". The stories are clearly cathartic, but also full of beauty, tragedy, nature, religion, artfulness, deception, betrayal, love, death, judgement and penance. And鈥攙ery occasionally鈥攐ne has a happy ending.
The author called his autobiography "The Fairy Tale of my Life", and indeed his life reads like a traditional fairy tale. Think what the blurb might be:
"The son of an illiterate washerwoman and a poor cobbler, who may secretly be a royal prince, who, through sheer persistence and influential help from an unlikely source, becomes a world-famous author, in a privileged position, hobnobbing with royalty"
perhaps? Ironically, at the age of fourteen, when he left home, he had predicted this outcome, "First you go through terrible suffering and then you become famous."
Charles Perrault had collected fairy tales from many cultural traditions in 1697, and just over a century later in 1808 Jacob and Wilhelm Grimm collected German folk and fairy tales. Later still, Hans Christian Andersen's first fairy tales followed this template of rewriting a traditional story, but in fact only eight out of a total of 156 are direct retellings of Danish folk tales. He quickly moved on to writing his own鈥攁nd you can certainly tell. Every single one seems to be about an aspect of himself, and he freely admitted, "I was always the chief person", the gawky ugly duckling who didn't quite fit in. His friend H.C. Orsted had said to him, "[Your novel] will make you famous, but the fairy tales will make you immortal".
I have rarely felt such ambivalence towards an author. These fairy stories are probably by the only author for whom my personal rating of works varies between one and five stars. He is an extraordinary writer, but I cannot say that I have enjoyed very many of his tales; many of them I have had to steel myself to read. It will certainly be a while before I read another big book of fairy stories, after ploughing through two collections of "Tales from the Arabian Nights" and now this one. The stories vary in standard and taste so much, that I have given this volume my default rating of three stars. And because of this, I have felt it necessary to review nearly all鈥�(in fact thirty-five)鈥攐f the stories in this collection separately, whenever they have been published as individual books. Please see my shelves for links, if you wish to read my review of a particular story.
The 40 stories in this volume are:
The Princess and the Pea
Thumbelina
The Swineherd
The Buckwheat
The Wild Swans
The Darning Needle
The Nightingale
The Teapot
The Ugly Duckling
The Snow Queen
The Shepherdess and the Chimney Sweep
The Last Dream of the Old Oak Tree
The Shadow
It's Perfectly True
Grief
Father's Always Right
The Snowman
The Snail and the Rose Tree
"Something'
The Fir Tree
The Tinderbox
Little Ida's Flowers
The Little Mermaid
The Emperor's New Clothes
The Steadfast Tin Soldier
The Flying Trunk
The Sweethearts
"She Was No Good'
The Bell
The Little Match Girl
The Collar
The Goblin at the Grocer's
In a Thousand Years' Time
Five Peas from the Same Pod
The Beetle
The Toad
Dance, Dance, Dolly Mine!
The Flax
The Gardener and his Master
The Book of Fairy Tales
In all Hans Christian Andersen wrote 156 fairy tales, of which forty are in this luxury, large format edition, to represent the cream of the crop. It is a beautiful, sumptuous book, the semi-matt purple cover slightly textured and embossed, giving almost a "padded" feel. It has a feature reminiscent of medallions in old books; in this case an inset glossy illustration of a mermaid. The paper throughout is glossy, and most pages are bordered with patterns and old gold surrounds. Three gold colours are used; the spine is a slightly brighter gold, and the page edges are shiny and gilt-edged, plus there is a gold ribbon bookmark attached. There is an interesting introduction by the translator, Neil Philip, plus copious, carefully drawn illustrations by Isabelle Brent. These are mostly in gouache, and the illustrator makes much use of jewel colours, patterning and many magnificent gold highlights. It is a book which simply begs to be picked up.
The choice of purple and gold is perhaps significant, since it is clear that Hans Christian Andersen believed himself to be a member of the royal family. Not only that, but he tortured himself with the belief that he was unacknowledged royalty, who had been cast out, and this conviction plagued him all his life. Interestingly, although there will probably never be any proof of Hans Christian Andersen's true birth, it is not simply an idle dream, but a genuine possibility.
Hans Christian Andersen may have been the illegitimate son of Crown Prince Christian Frederik, later Christian VIII, and the teenage countess Elise Ahlefeldt-Laurvig. He was born in 1805 at Broholm Castle near Odense. Both Hans Christian Andersen's official parents worked at the castle, his "mother" as a nursemaid, and his "father", a cobbler for the family. There had also been a precedent for an illegitimate daughter (Fanny) to have been adopted by another servant of the Royal family a year earlier.
Hans Christian Andersen seems to have had a privileged position with this family. Rather than play with the other poor children, he was allowed to play with Prince Christian Frederik's son, Prince Fritz, who was three years younger than him. When this prince later died, Hans Christian Andersen was the only person, not in the family, who was allowed to view the body privately.
When he was seven years of age, Hans Christian Andersen's official father was paid to serve in the Napoleonic wars, in place of a local landowner. He returned four years later, a broken man, and died in the Spring. Hans's mother was now destitute, with few choices as she was illiterate, so she took in washing, standing waist deep for hours in the icy river, trying to stay warm by taking nips of schnapps. Two years later she married another shoemaker, who took no interest in the young Hans.
Hence Hans Christian Andersen grew up in heartbreaking poverty, and all his life remained self-conscious about his lower class background, despite his success. Perhaps it is because he was born poor that he was obsessed with social class, and always trying to claw his way to the top. He seemed to both worship the nobility but also resent them for holding him at arm's length. He was of course dependent on the patronage of the wealthy to create his art. Whatever the cause, Hans Christian Andersen's stories portray everyone from invented royalty, to the truly destitute. He believed, "Every man's life is a fairy tale written by God's fingers."
Hans Christian Andersen was awkward and earnest; gawky, ill-at-ease, and always feeling he was picked on by all and sundry. Many of his protagonists are obvious depictions of himself; caring a lot what other people thought of them and worried about fitting in. "The Emperor's New Clothes" and "The Ugly Duckling" are clear examples. Yet even battling all his worries, Hans Christian Andersen managed to find his voice and write his stories. In many of his stories he seems to explore ideas about wealth, self-worth, and the meaning of life.
Many other aspects of the author's life feed into his stories, which were quite an eye-opener to read. If you think that he wrote "nice" stories for children, then perhaps think again. Some of them are very dark in tone, and most are quite depressing. He has been called a "poet of human suffering". Story after story ends in rejection, humiliation or disappointment. Many of the stories feature a downtrodden protagonist. Sometimes the main character will work hard, and then have a wonderful "fairytale" ending. Perhaps they are lucky, becoming rich, or famous, or falling in love, or a combination of these. Sometimes our downtrodden protagonist works hard, and is just about to achieve fulfilment in one of these ways ... but then suddenly dies for no particular reason. Sometimes there is no change at all, and the downtrodden protagonist remains downtrodden. (And then probably dies.)
The downtrodden protagonist is not always "he". Sometimes it is a "she". Or equally often it may be a household object, or a flower, a tree, or an animal. Hans Christian Andersen's stories are fantasies, like dreams or visions. The object or creature will have a personality of its own, often showing a boastful or arrogant side; it will talk to other creatures or objects ... and then die. Sometimes the story does not even seem to be a moral fable; perhaps the object does not seem to have a bad side (but it will probably die nonetheless).
His stories often feature children鈥攗sually a perfect vision of children who are like miniature adults doing various good things. Sometimes they die too. Sometimes the protagonists do not themselves die, but lose a loved one, and must accept that God is in charge of everything鈥攅ven when they do not understand the reason. And in this way, through every single story, there seems to be a common thread.
Hans Christian Andersen's tales are full of ideas about God, angels, faith, the Bible, the afterlife, and sin. He constantly reflects on what it takes to get into heaven, the various wicked things people do, and the nature of God, love, and forgiveness. Considering that the author himself said the stories were for children, it seems remarkable that they are so preoccupied with the darker side of being human. People sin, he says, and darkness often lives in our hearts and souls. He clearly thinks that all humans are sinners and should live in fear of God, but he also keeps reinforcing the redemptive power of love and faith. Many of Hans Christian Andersen's stories end up with the characters in heaven. Although not exactly a Catholic, his views and expressed beliefs certainly inclined that way.
Hans Christian Andersen did not start out by writing fairy tales, although that is what we remember him for. Even as a child he had artistic leanings, becoming swept up by the "Tales from the Arabian Nights" which his father told him, and the toy theatre his father had made. The young Hans played with this, and made clothes for his dolls, dreaming of becoming an actor, a singer or a dancer. After his father died he left home to seek his fortune in Copenhagen, committed to an artistic life. He attached himself to various well-to-do families, successfully courted the attention of wealthy and influential people, one after another, and even had his fees at the Ballet School of the Royal Theatre paid.
However this attendance was a short-lived experience. His teachers there crushed him by saying that he "lacked both the appearance and the talent necessary for the stage." Hans Christian Andersen was incredibly sensitive to slights all his life. Every cruel remark, or casual, careless comment would be taken to heart and never forgotten. So his wealthy patrons transferred their money to educating him at a private school for gentlemen. But he found this experience a torment too, saying, "it will destroy my soul". It led to him writing a sentimental, maudlin poem called "The Dying Child". But with a stroke of luck, the poem was published in the newspaper "The Copenhagen Post" in 1827, and the young man's future was assured.
Hans Christian Andersen's first writing projects included a play, a book of poetry and a travelogue. The promising young author then won a grant from the king, and this enabled him to travel across Europe and work on being an author. He wrote a novel about his time in Italy, which was published in 1835, the same year as he began writing his stories鈥攃alled "eventyr", or "fairy tales"鈥攁nd often based on ideas from folk tales that he had heard or read as a child.
Another of his preoccupations was to try out new places. He had a wanderlust, and an urge to flee from what he considered to be provincial life. There are echoes of this in his works. In "Five Peas in the Same Pod" all the peas are happy until one needs to explore the world outside. In "The Shepherdess and the Chimney Sweep", the couple brave all kinds of adventures, in search of something better. There are many instances of someone "trying out their wings". Hans Christian Andersen himself travelled relentlessly, but had a morbid fear of death. Wherever he laid his head, there next to him was a coil of rope which he took everywhere with him, and a handwritten notice, saying, "I only seem dead". He was obsessed with the thought that he might lapse into a coma, and be buried before he could come round. In fact he kept this strange morbid dread of being buried alive through to the very day he died.
Over the next few decades, until his death in 1875, he continued to write for both children and adults. He wrote several autobiographies, and also travel narratives and poetry about the Scandinavian people. In 1845, English translations of Hans Christian Andersen's fairy tales and stories began to gain the attention of foreign audiences. He became a friend of Charles Dickens, who was already enormously popular, although this friendship ended in failure after Hans Christian Andersen had overstayed his welcome at the great author's home. Charles Dickens rather spitefully put up a notice on the wall of his bedroom, after Hans Christian Andersen had left. It read, "Hans Christian Andersen slept in this room for five weeks鈥攚hich seemed to the family AGES!" It was in England that Hans Christian Andersen's stories first became classics, despite originally being written in Danish. They had a strong influence on subsequent British children's authors, including George MacDonald, Oscar Wilde, A.A. Milne and Beatrix Potter. Over time, Scandinavian audiences then discovered his stories, and now of course they are known world-wide.
Hans Christian Andersen's tales seem to have universal appeal, no matter what language they are read in. His stories express themes that transcend age and nationality鈥攐ften presenting lessons of virtue and resilience in the face of adversity. They are written in a very chatty intimate style, which won him no favours from his original literary critics, who considered this tone inappropriate. But once he found his voice, he found he could not stop writing them, saying, "They forced themselves from me". A friend once expostulated, "You're capable of writing about anything - even a darning needle!" And sure enough, the author rose to the challenge, in his story entitled "The Darning Needle". The stories are clearly cathartic, but also full of beauty, tragedy, nature, religion, artfulness, deception, betrayal, love, death, judgement and penance. And鈥攙ery occasionally鈥攐ne has a happy ending.
The author called his autobiography "The Fairy Tale of my Life", and indeed his life reads like a traditional fairy tale. Think what the blurb might be:
"The son of an illiterate washerwoman and a poor cobbler, who may secretly be a royal prince, who, through sheer persistence and influential help from an unlikely source, becomes a world-famous author, in a privileged position, hobnobbing with royalty"
perhaps? Ironically, at the age of fourteen, when he left home, he had predicted this outcome, "First you go through terrible suffering and then you become famous."
Charles Perrault had collected fairy tales from many cultural traditions in 1697, and just over a century later in 1808 Jacob and Wilhelm Grimm collected German folk and fairy tales. Later still, Hans Christian Andersen's first fairy tales followed this template of rewriting a traditional story, but in fact only eight out of a total of 156 are direct retellings of Danish folk tales. He quickly moved on to writing his own鈥攁nd you can certainly tell. Every single one seems to be about an aspect of himself, and he freely admitted, "I was always the chief person", the gawky ugly duckling who didn't quite fit in. His friend H.C. Orsted had said to him, "[Your novel] will make you famous, but the fairy tales will make you immortal".
I have rarely felt such ambivalence towards an author. These fairy stories are probably by the only author for whom my personal rating of works varies between one and five stars. He is an extraordinary writer, but I cannot say that I have enjoyed very many of his tales; many of them I have had to steel myself to read. It will certainly be a while before I read another big book of fairy stories, after ploughing through two collections of "Tales from the Arabian Nights" and now this one. The stories vary in standard and taste so much, that I have given this volume my default rating of three stars. And because of this, I have felt it necessary to review nearly all鈥�(in fact thirty-five)鈥攐f the stories in this collection separately, whenever they have been published as individual books. Please see my shelves for links, if you wish to read my review of a particular story.
The 40 stories in this volume are:
The Princess and the Pea
Thumbelina
The Swineherd
The Buckwheat
The Wild Swans
The Darning Needle
The Nightingale
The Teapot
The Ugly Duckling
The Snow Queen
The Shepherdess and the Chimney Sweep
The Last Dream of the Old Oak Tree
The Shadow
It's Perfectly True
Grief
Father's Always Right
The Snowman
The Snail and the Rose Tree
"Something'
The Fir Tree
The Tinderbox
Little Ida's Flowers
The Little Mermaid
The Emperor's New Clothes
The Steadfast Tin Soldier
The Flying Trunk
The Sweethearts
"She Was No Good'
The Bell
The Little Match Girl
The Collar
The Goblin at the Grocer's
In a Thousand Years' Time
Five Peas from the Same Pod
The Beetle
The Toad
Dance, Dance, Dolly Mine!
The Flax
The Gardener and his Master
The Book of Fairy Tales
July 12, 2021
A beautiful collection of some of the greatest fairy tales in history. I enjoy Andersen more than Grimm or Aesop's fables. They seem to have more of a magical quality to them.
June 24, 2022
馃鬲賱賰 丕賱亘胤丞 丕賱爻賵丿丕亍 丕賱卮賰丕亍丞
賵 賴匕賴 丕賱亘噩毓丞 丕賱亘乇賷丞 丕賱賲鬲丨賵賱丞
賻賵 賴匕丕 丕賱賮鬲賷 丕賱賻賲賮毓賵氐 賮賷 丨噩賲 毓賯賱丞 丕氐亘毓
賵 賲丕 丨賰丕賷丞 丨亘丞 丕賱亘爻賱丞 賲毓 鬲賱賰 丕賱丕賲賷乇丞 丕賱賲丿賱賱賴
賵 丨賵乇賷丞 丕賱亘丨乇 丕賱亘賱賴丕亍
賵 賲賱賰丞 丕賱孬賱噩 賵 賯亘賱丕鬲賴丕
賵 匕賱賰 丕賱丕賲賷乇 丕賱禺亘賷孬 賵 鬲賱賰 丕賱噩賲賷賱丞 丕賱賳丕卅賲丞
賵 鬲賱賰 丕賱卮噩乇丞 賵 匕賱賰 丕賱馗賱 賵 賴匕賴 丕賱丕亘乇丞 賵 匕賱賰 丕賱噩乇爻
賴賱 賳鬲禺賷賱 胤賮賵賱鬲賳丕 賵 賴賷 禺丕賱賷丞 賲賳 匕賱賰 丕賱禺賷丕賱 丕賱匕賷 賲賳丨賳丕 賵賳爻丕賸 禺乇丕賮賷丕貨 賵 爻丕毓丕鬲 爻毓賷丿丞 賳丨賱賯 賮賷賴丕 賲毓 賰鬲亘賳丕 丕賱丕賵賱賷 丕賱亘爻賷胤丞貨 丕賱賲乇爻賵賲丞/丕賱賲氐賵乇丞/丕賵 丕賱賲鬲丨乇賰丞 賱丿賷 丕賱賲丨馗賵馗賷賳 賲賳丕
鬲賱賰 丕賱丨賰丕賷丕 丕賱鬲賷 卮賰賱鬲 賵噩丿丕賳賳丕 賵 鬲丨賵賱鬲 賱孬賵丕亘鬲 乇睾賲 禺賷丕賱賴丕 丕賱噩丕賲丨
丕賳丿乇爻賳 鬲賲賷夭 毓賳 丕賱丕禺賵丞 噩乇賷賲 亘丕賱鬲毓賯賱 賵 丕賱鬲賴匕賷亘 賮賱賲 賷爻乇丨 賰孬賷乇丕 禺賱賮 賯氐氐 賲賳 胤乇丕夭 丕賲賳丕 丕賱睾賵賱丞
賵 賱賲 賷賰賳 賴丿賮賴 丕賱丕賵賱 丕禺丕賮丞 丕賱兀胤賮丕賱貨
亘賱 賰丕賳賻 賵 爻賷馗賱 氐丕丨亘 丕賱賯氐氐 丕賱賲孬賱賷 賱賮鬲乇丞 賲丕 賯亘賱 丕賱賳賵賲 丕賱鬲賷 爻鬲鬲乇賰 賱毓賯賱賰 丕賱亘丕胤賳 毓賽亘乇丞 賲丕貨 賰孬賷乇丕 賲丕 爻鬲毓賵丿 賱賰 賮賷 丕賱毓賯賵丿 丕賱鬲賷 賷卮賰賱賴丕 毓賲乇賰
賵 賴匕賴 丕賱亘噩毓丞 丕賱亘乇賷丞 丕賱賲鬲丨賵賱丞
賻賵 賴匕丕 丕賱賮鬲賷 丕賱賻賲賮毓賵氐 賮賷 丨噩賲 毓賯賱丞 丕氐亘毓
賵 賲丕 丨賰丕賷丞 丨亘丞 丕賱亘爻賱丞 賲毓 鬲賱賰 丕賱丕賲賷乇丞 丕賱賲丿賱賱賴
賵 丨賵乇賷丞 丕賱亘丨乇 丕賱亘賱賴丕亍賵 賲賱賰丞 丕賱孬賱噩 賵 賯亘賱丕鬲賴丕
賵 匕賱賰 丕賱丕賲賷乇 丕賱禺亘賷孬 賵 鬲賱賰 丕賱噩賲賷賱丞 丕賱賳丕卅賲丞
賵 鬲賱賰 丕賱卮噩乇丞 賵 匕賱賰 丕賱馗賱 賵 賴匕賴 丕賱丕亘乇丞 賵 匕賱賰 丕賱噩乇爻
賴賱 賳鬲禺賷賱 胤賮賵賱鬲賳丕 賵 賴賷 禺丕賱賷丞 賲賳 匕賱賰 丕賱禺賷丕賱 丕賱匕賷 賲賳丨賳丕 賵賳爻丕賸 禺乇丕賮賷丕貨 賵 爻丕毓丕鬲 爻毓賷丿丞 賳丨賱賯 賮賷賴丕 賲毓 賰鬲亘賳丕 丕賱丕賵賱賷 丕賱亘爻賷胤丞貨 丕賱賲乇爻賵賲丞/丕賱賲氐賵乇丞/丕賵 丕賱賲鬲丨乇賰丞 賱丿賷 丕賱賲丨馗賵馗賷賳 賲賳丕
鬲賱賰 丕賱丨賰丕賷丕 丕賱鬲賷 卮賰賱鬲 賵噩丿丕賳賳丕 賵 鬲丨賵賱鬲 賱孬賵丕亘鬲 乇睾賲 禺賷丕賱賴丕 丕賱噩丕賲丨
丕賳丿乇爻賳 鬲賲賷夭 毓賳 丕賱丕禺賵丞 噩乇賷賲 亘丕賱鬲毓賯賱 賵 丕賱鬲賴匕賷亘 賮賱賲 賷爻乇丨 賰孬賷乇丕 禺賱賮 賯氐氐 賲賳 胤乇丕夭 丕賲賳丕 丕賱睾賵賱丞
賵 賱賲 賷賰賳 賴丿賮賴 丕賱丕賵賱 丕禺丕賮丞 丕賱兀胤賮丕賱貨
亘賱 賰丕賳賻 賵 爻賷馗賱 氐丕丨亘 丕賱賯氐氐 丕賱賲孬賱賷 賱賮鬲乇丞 賲丕 賯亘賱 丕賱賳賵賲 丕賱鬲賷 爻鬲鬲乇賰 賱毓賯賱賰 丕賱亘丕胤賳 毓賽亘乇丞 賲丕貨 賰孬賷乇丕 賲丕 爻鬲毓賵丿 賱賰 賮賷 丕賱毓賯賵丿 丕賱鬲賷 賷卮賰賱賴丕 毓賲乇賰
February 9, 2023
First of all: that cover. Isn't it exquisite? I think I may have been in a trance when I picked up this book, because as I read the title I was immediately transported to the days where I was read stories before bedtime. If it was my Mum turn, I received something from Hans Christian Andersen, or something very similar, but if it was Dad's turn to read me something, it was something from Tolkien (My lifelong obsession with hobbits) or as an extra, , which was my favourite, and still is today. As one can imagine, bedtime stories with my dad were delightfully long-winded.
This book is full of the stories I remember reading as a child, and it was wonderful to return to them. I do feel a little differently about a few of them now, but years have passed, so I expected it. There are twelve stories here, translated accordingly, and although I know some of them like the back of my hand, some of them I had completely forgotten about.
I enjoyed returning to 'The Wild Swans' and 'The Little Mermaid' as well as 'The Snow Queen'. I think this is a beautiful book to gift to a young reader, just starting out on their adventure into the world of fairytales.
This book is full of the stories I remember reading as a child, and it was wonderful to return to them. I do feel a little differently about a few of them now, but years have passed, so I expected it. There are twelve stories here, translated accordingly, and although I know some of them like the back of my hand, some of them I had completely forgotten about.
I enjoyed returning to 'The Wild Swans' and 'The Little Mermaid' as well as 'The Snow Queen'. I think this is a beautiful book to gift to a young reader, just starting out on their adventure into the world of fairytales.
December 14, 2022
3 stars for The little Mermaid and The Steadfast Tin Soldier. Because other stories are 馃槾
Tiina Nunnally, the star translator of Sigrid Undset and Tove Ditlevsen, did an amazing job updating old unfaithful translations (according to her, I don't know Danish)
Did you know that he once visited Dickens for 5 weeks and D's family couldn't wait for him to leave? Also Dickens once found him prostrate on the lawn sobbing about a bad review.
Tiina Nunnally, the star translator of Sigrid Undset and Tove Ditlevsen, did an amazing job updating old unfaithful translations (according to her, I don't know Danish)
Did you know that he once visited Dickens for 5 weeks and D's family couldn't wait for him to leave? Also Dickens once found him prostrate on the lawn sobbing about a bad review.
July 14, 2020
My parents didn鈥檛 read 鈥渂edtime stories鈥� to me when I went to bed as a child. When it was time to go to bed, it was time to 鈥済o to bed鈥�, period! So with that in mind, many of these tales, in this short book (192 pages), were new to me. As an adult I only read three tales out of the twelve, , and , the other tales in the book were all new to me. The others were somewhat entertaining and probably, my younger self would have enjoyed them more.
April 4, 2016
There are some good stories here, and some that scarred my childhood. Between dead match girls and trashed fir trees not to mention frightening Snow Queens the Thumblinias were sometimes needed. Still they last. Excuse me I didn't get much sleep last night, there was something poking my back under my 20 mattresses.
September 15, 2018
This is an absolutely fantastic collection of Hans Christian Andersen's best work. The translation, by Tiina Nunnally, is sublime and her notes on past translations of Andersen's stories makes it clear just how sublime it is. If you wanted to read a version closer to H.C. Andersen's original, you'd have to read these in Danish.
Jackie Wullschlager's introduction is easily one of the best I've read and an essential lens through which to better understand these tales. Short of reading Wullschlager's biography of Andersen, "Hans Christian Andersen: The Life of a Storyteller", I think you'd be hard pressed to read a more wonderful account of Andersen's life and stories than this 32-page introduction.
And what about the stories themselves? The stories are, of course, phenomenal. This is the first time I've read any of Andersen's stories since I was a child and, if possible, I enjoyed reading them even more as an adult. All the witticisms and references to Andersen's life that you don't pick up on as a child are to be savored as an adult.
Many of these stories I had never read or heard before, so I was also surprised and brought back to what it was like to be a child again - so enrapturing are these tales. There are a total of 30 to be found in this lovely collection, some utterly delightful, others surprisingly dark, and still others that perhaps pale in comparison to the rest. But one thing that is for sure is that these tales are rendered by Tiiny Nunnally to be enjoyed better than ever before in English.
1. The Tinderbox - 5 Stars
Yes, this is a 5-star story to be sure. More folk than fairy, this tale is in fact based on an older Danish folktale that Andersen transformed with his characteristic wit. It features an A+ decapitation and glorious references to sugar-pigs, cake-wives, and social status. It's stupendous.
2. Little Claus and Big Claus - 5 stars
So when I saw the title for some reason I thought that this was going to have something to do with Santa Claus until I realized that, oh yes, Claus is actually a name for ordinary people as well - specifically, Germanic men. But that aside, this is a hilarious story, also based on a Danish folktale, about an awfully clever little fellow who performs some delightful tricks.
3. The Princess on the Pea - 5 stars
This is a simple little story but I liked it all the same. One of Andersen's more famous, it has been at last been rendered into English with the correct title (previously this was widely known in English as "The Princess AND the Pea"). A princess who's able to feel a pea beneath 20 mattresses and 20 quilts?? Why, that's something special indeed! How the pea didn't get squashed is something I would have enjoyed learning.
4. Thumbelina - 5 stars
Another Andersen classic, "Thumbelina" is a delightful tale and at times a bit scary. Inspired by the folktale "Tom Thumb", this one concerns a little thumb-sized lady and her adventures out in the big wide world. You'll never look at moles the same way!
5. The Traveling Companion - 5 stars
This is the first story in the collection that I don't remember having heard before. And it is absolutely fabulous. Quite darker than the ones that preceded it as well. To call it the Danish "Rumplestiltskin" doesn't quite do it justice, and I actually think I liked it better than that famous Grimm Brothers' tale.
6. The Little Mermaid - 5 stars
The most famous of Andersen's stories and, in my opinion, the best. The Disney adaptation, which is almost more famous now than the original, is one of Disney's best films and it is still a terrible adaptation. This has it all, including an almost perfect ending. I saw "almost" because the last page of this feels tacked on.
The Little Mermaid throws herself from the ship into the sea, and her body dissolves into foam. That should have been the end But instead we get a bizarre bit about "daughters of the air" and an obvious plea to children to be good. That tarnishes what would have otherwise been a perfect tale. But, even tarnished, this is still the great writer's best.
7. The Emperor's New Clothes - 5 stars
After "The Little Mermaid", this is likely my favorite of Andersen's stories, and after "The Little Mermaid" it's also probably his most famous. You all know the story, no need for me to recap it here, but I was surprised to learn that the little boy's famous cry at the end of "But he doesn't have anything on!" was hastily added by Andersen after the story had already been sent off to the printer's. This is a satire as excellent and brilliant today, in the age of Trump, as ever.
8. The Steadfast Tin Soldier - 5 stars
Delightfully poetic. This is the first of Andersen's stories in this collection to feature inanimate objects brought to life. I'd never noticed how clearly Andersen influenced later films like "Toy Story" until I read this story about the quite appropriately named Steadfast Tin Soldier.
9. The Wild Swans - 5 stars
Another classic, albeit one I wasn't too familiar with. This one is also based on a classic European folktale, and it's got all the famous elements we see in other tales like Cinderella. Evil stepmother, a bit of magic, and the transformative power of love.
10. The Flying Trunk - 3 stars
This is a sort of story within a story, one involving matches and some dishware, and the other the titular trunk and a Turkish engagement. If only our rich merchant's son could have resisted the urge to set off those fireworks...
11. The Nightingale - 5 stars
Surprisingly sweet, this story of the Chinese Emperor and his obsession with the nightingale took a number of unexpected turns. Andersen was clearly in high spirits when he wrote this one.
12. The Sweethearts - 4 stars
This thought-provoking tale feels like something Andersen wrote after having become the most famous writer in Denmark (and one of the most famous in all Europe) and thinking back on when a woman he loved rejected him - and, lo and behold, it was! All I can say is, that ball deserved it.
13. The Ugly Duckling - 5 stars
Come on. You know you love this one. Another one with clear allusions to Andersen's life.
14. The Fir Tree - 4 stars
It's only once you've grown up that you realize that all that urgency to grow up was unwarranted. A reminder to slow down and savor life while you can.
15. The Snow Queen - 5 stars
This is one of Andersen's more beloved tales, and it features some beautiful moments and spectacular images. The first part, about the mirror, is haunting, and this more than any of Andersen's other tales seems to deal with the battle between good and evil. Reading it, I was reminded of Philip Pullman's "His Dark Materials" trilogy.
16. The Red Shoes - 3 stars
Behave yourselves, children! Don't you wear red shoes when you ought to be wearing black ones or you'll be forced to dance dance dance!
17. The Shepherdess and the Chimney Sweep - 3 stars
Worth it just for the final line - "and (they) loved each other until they broke".
18. The Shadow - 5 stars
Woah! I was not expecting that! This reads much more like something Franz Kafka would have written than Hans Christian Andersen. Surprisingly dark and spookily strange. There's nothing else quite like it in Andersen's oeuvre.
19. The Old House - 4 stars
There's something surprisingly spooky about this store, reportedly much beloved by Charles Dickens. That poor tin soldier...
20. The Little Match Girl - 5 stars
Speaking of Charles Dickens, this gorgeous and heartwrenching story is H.C. Andersen at his most Dickensian. The image of the Little Match Girl, shuddering with cold while staring into the windows of those whose tables were laden with New Year's feasts is absolutely haunting. One of Andersen's best.
21. The Story of a Mother - 4 stars
Andersen's misery at his repressed bisexuality and societal isolation made for some incredible tales, not least this one. It all begs the question: whose stories are better? Happy Hans or Miserable Hans?
22. The Collar - 3 stars
So I've decided I'm not as big a fan of Andersen's stories that feature inanimate objects as primary characters as much as I am the others. This one I found rather ho-hum. Though it is amusingly self-deprecating.
23. The Bell - 3 stars
This one was pleasant enough, but failed to leave much of an impact.
24. The Marsh King's Daughter - 2 stars
I thought this one was much too long, featured too many religious overtones, and was ultimately quite unmemorable. Overshadowed by many, much better, stories.
25. The Wind Tells of Valdemar Daae and His Daughters - 2 stars
I don't think the wind told it best.
26. The Snowman - 4 stars
One can once again see evidence of Andersen's suppressed desires in the Snowman's desperately wanting to be with the Stove. Something that European society at the time would have certainly found most unnatural.
27. The Ice Maiden - 5 stars
This fantastic story, set in Switzerland, is one of the best in the collection. Two people, stranded on the island in the little lake, until the Ice Maiden calls the other away. An image both beautiful and haunting.
28. The Wood Nymph - 4 stars
Beautiful, uncorrupted nature versus the corrupt hustle and bustle of the city. Andersen as environmentalist, perhaps?
29. The Most Incredible Thing - 5 stars
On art and those who would seek to eradicate it. Used during WWII by the Danish Resistance. Without art, without culture, there is nothing.
30. Auntie Toothache - 4 stars
This was the last story Hans Christian Andersen ever wrote. Andersen suffered from toothaches his entire life (19th-century European dentistry not being what it is today), and here he has his protagonist, a poet, receives a visit from the titular Auntie Toothache, who promises pain unless the poet should give up writing - forever.
Humanity has to be grateful that Andersen himself never made such an agreement.
Jackie Wullschlager's introduction is easily one of the best I've read and an essential lens through which to better understand these tales. Short of reading Wullschlager's biography of Andersen, "Hans Christian Andersen: The Life of a Storyteller", I think you'd be hard pressed to read a more wonderful account of Andersen's life and stories than this 32-page introduction.
And what about the stories themselves? The stories are, of course, phenomenal. This is the first time I've read any of Andersen's stories since I was a child and, if possible, I enjoyed reading them even more as an adult. All the witticisms and references to Andersen's life that you don't pick up on as a child are to be savored as an adult.
Many of these stories I had never read or heard before, so I was also surprised and brought back to what it was like to be a child again - so enrapturing are these tales. There are a total of 30 to be found in this lovely collection, some utterly delightful, others surprisingly dark, and still others that perhaps pale in comparison to the rest. But one thing that is for sure is that these tales are rendered by Tiiny Nunnally to be enjoyed better than ever before in English.
1. The Tinderbox - 5 Stars
Yes, this is a 5-star story to be sure. More folk than fairy, this tale is in fact based on an older Danish folktale that Andersen transformed with his characteristic wit. It features an A+ decapitation and glorious references to sugar-pigs, cake-wives, and social status. It's stupendous.
2. Little Claus and Big Claus - 5 stars
So when I saw the title for some reason I thought that this was going to have something to do with Santa Claus until I realized that, oh yes, Claus is actually a name for ordinary people as well - specifically, Germanic men. But that aside, this is a hilarious story, also based on a Danish folktale, about an awfully clever little fellow who performs some delightful tricks.
3. The Princess on the Pea - 5 stars
This is a simple little story but I liked it all the same. One of Andersen's more famous, it has been at last been rendered into English with the correct title (previously this was widely known in English as "The Princess AND the Pea"). A princess who's able to feel a pea beneath 20 mattresses and 20 quilts?? Why, that's something special indeed! How the pea didn't get squashed is something I would have enjoyed learning.
4. Thumbelina - 5 stars
Another Andersen classic, "Thumbelina" is a delightful tale and at times a bit scary. Inspired by the folktale "Tom Thumb", this one concerns a little thumb-sized lady and her adventures out in the big wide world. You'll never look at moles the same way!
5. The Traveling Companion - 5 stars
This is the first story in the collection that I don't remember having heard before. And it is absolutely fabulous. Quite darker than the ones that preceded it as well. To call it the Danish "Rumplestiltskin" doesn't quite do it justice, and I actually think I liked it better than that famous Grimm Brothers' tale.
6. The Little Mermaid - 5 stars
The most famous of Andersen's stories and, in my opinion, the best. The Disney adaptation, which is almost more famous now than the original, is one of Disney's best films and it is still a terrible adaptation. This has it all, including an almost perfect ending. I saw "almost" because the last page of this feels tacked on.
The Little Mermaid throws herself from the ship into the sea, and her body dissolves into foam. That should have been the end But instead we get a bizarre bit about "daughters of the air" and an obvious plea to children to be good. That tarnishes what would have otherwise been a perfect tale. But, even tarnished, this is still the great writer's best.
7. The Emperor's New Clothes - 5 stars
After "The Little Mermaid", this is likely my favorite of Andersen's stories, and after "The Little Mermaid" it's also probably his most famous. You all know the story, no need for me to recap it here, but I was surprised to learn that the little boy's famous cry at the end of "But he doesn't have anything on!" was hastily added by Andersen after the story had already been sent off to the printer's. This is a satire as excellent and brilliant today, in the age of Trump, as ever.
8. The Steadfast Tin Soldier - 5 stars
Delightfully poetic. This is the first of Andersen's stories in this collection to feature inanimate objects brought to life. I'd never noticed how clearly Andersen influenced later films like "Toy Story" until I read this story about the quite appropriately named Steadfast Tin Soldier.
9. The Wild Swans - 5 stars
Another classic, albeit one I wasn't too familiar with. This one is also based on a classic European folktale, and it's got all the famous elements we see in other tales like Cinderella. Evil stepmother, a bit of magic, and the transformative power of love.
10. The Flying Trunk - 3 stars
This is a sort of story within a story, one involving matches and some dishware, and the other the titular trunk and a Turkish engagement. If only our rich merchant's son could have resisted the urge to set off those fireworks...
11. The Nightingale - 5 stars
Surprisingly sweet, this story of the Chinese Emperor and his obsession with the nightingale took a number of unexpected turns. Andersen was clearly in high spirits when he wrote this one.
12. The Sweethearts - 4 stars
This thought-provoking tale feels like something Andersen wrote after having become the most famous writer in Denmark (and one of the most famous in all Europe) and thinking back on when a woman he loved rejected him - and, lo and behold, it was! All I can say is, that ball deserved it.
13. The Ugly Duckling - 5 stars
Come on. You know you love this one. Another one with clear allusions to Andersen's life.
14. The Fir Tree - 4 stars
It's only once you've grown up that you realize that all that urgency to grow up was unwarranted. A reminder to slow down and savor life while you can.
15. The Snow Queen - 5 stars
This is one of Andersen's more beloved tales, and it features some beautiful moments and spectacular images. The first part, about the mirror, is haunting, and this more than any of Andersen's other tales seems to deal with the battle between good and evil. Reading it, I was reminded of Philip Pullman's "His Dark Materials" trilogy.
16. The Red Shoes - 3 stars
Behave yourselves, children! Don't you wear red shoes when you ought to be wearing black ones or you'll be forced to dance dance dance!
17. The Shepherdess and the Chimney Sweep - 3 stars
Worth it just for the final line - "and (they) loved each other until they broke".
18. The Shadow - 5 stars
Woah! I was not expecting that! This reads much more like something Franz Kafka would have written than Hans Christian Andersen. Surprisingly dark and spookily strange. There's nothing else quite like it in Andersen's oeuvre.
19. The Old House - 4 stars
There's something surprisingly spooky about this store, reportedly much beloved by Charles Dickens. That poor tin soldier...
20. The Little Match Girl - 5 stars
Speaking of Charles Dickens, this gorgeous and heartwrenching story is H.C. Andersen at his most Dickensian. The image of the Little Match Girl, shuddering with cold while staring into the windows of those whose tables were laden with New Year's feasts is absolutely haunting. One of Andersen's best.
21. The Story of a Mother - 4 stars
Andersen's misery at his repressed bisexuality and societal isolation made for some incredible tales, not least this one. It all begs the question: whose stories are better? Happy Hans or Miserable Hans?
22. The Collar - 3 stars
So I've decided I'm not as big a fan of Andersen's stories that feature inanimate objects as primary characters as much as I am the others. This one I found rather ho-hum. Though it is amusingly self-deprecating.
23. The Bell - 3 stars
This one was pleasant enough, but failed to leave much of an impact.
24. The Marsh King's Daughter - 2 stars
I thought this one was much too long, featured too many religious overtones, and was ultimately quite unmemorable. Overshadowed by many, much better, stories.
25. The Wind Tells of Valdemar Daae and His Daughters - 2 stars
I don't think the wind told it best.
26. The Snowman - 4 stars
One can once again see evidence of Andersen's suppressed desires in the Snowman's desperately wanting to be with the Stove. Something that European society at the time would have certainly found most unnatural.
27. The Ice Maiden - 5 stars
This fantastic story, set in Switzerland, is one of the best in the collection. Two people, stranded on the island in the little lake, until the Ice Maiden calls the other away. An image both beautiful and haunting.
28. The Wood Nymph - 4 stars
Beautiful, uncorrupted nature versus the corrupt hustle and bustle of the city. Andersen as environmentalist, perhaps?
29. The Most Incredible Thing - 5 stars
On art and those who would seek to eradicate it. Used during WWII by the Danish Resistance. Without art, without culture, there is nothing.
30. Auntie Toothache - 4 stars
This was the last story Hans Christian Andersen ever wrote. Andersen suffered from toothaches his entire life (19th-century European dentistry not being what it is today), and here he has his protagonist, a poet, receives a visit from the titular Auntie Toothache, who promises pain unless the poet should give up writing - forever.
Humanity has to be grateful that Andersen himself never made such an agreement.
December 26, 2020
袝写懈薪 芯褌 胁械谢懈泻懈褌械 褉邪蟹泻邪蟹胁邪褔懈 蟹邪 胁褋懈褔泻懈 胁褗蟹褉邪褋褌懈 , 懈褋褌芯褉懈懈褌械 屑褍 写芯泻芯褋胁邪褌 褋 写褗谢斜芯褔懈薪邪, 谢懈褉懈褔薪芯褋褌, 锌褉懈泻谢褞褔械薪懈褟.
"袚褉芯蟹薪芯褌芯 锌邪褌械薪褑械 " "袨谢械 蟹邪褌胁芯褉懈 芯褔懈褔泻懈", "小薪械卸薪邪褌邪 泻褉邪谢懈褑邪 ", "啸褉邪斜褉懈褟 芯谢芯胁械薪 胁芯泄薪懈泻" ,"袦邪谢泻邪褌邪 泻懈斜褉懈褌芯锌褉芯写邪胁邪褔泻邪" 锌褉懈泻邪蟹泻懈 泻芯懈褌芯 芯褋褌邪胁邪褌 胁 褋胁械褌芯胁薪邪褌邪 泻谢邪褋懈泻邪 邪泻褌褍邪谢薪懈 懈 写薪械褋 . 小懈谐褍褉械薪 褋褗屑, 褔械 胁褋懈褔泻懈 谐芯谢械屑懈 懈 屑邪谢泻懈 写械褑邪 褋褌邪胁邪褌 锌芯-写芯斜褉懈 写芯泻芯褋胁邪泄泻懈 褋械 写芯 薪械谐芯胁芯褌芯 褌胁芯褉褔械褋褌胁芯 .
"袚褉芯蟹薪芯褌芯 锌邪褌械薪褑械 " "袨谢械 蟹邪褌胁芯褉懈 芯褔懈褔泻懈", "小薪械卸薪邪褌邪 泻褉邪谢懈褑邪 ", "啸褉邪斜褉懈褟 芯谢芯胁械薪 胁芯泄薪懈泻" ,"袦邪谢泻邪褌邪 泻懈斜褉懈褌芯锌褉芯写邪胁邪褔泻邪" 锌褉懈泻邪蟹泻懈 泻芯懈褌芯 芯褋褌邪胁邪褌 胁 褋胁械褌芯胁薪邪褌邪 泻谢邪褋懈泻邪 邪泻褌褍邪谢薪懈 懈 写薪械褋 . 小懈谐褍褉械薪 褋褗屑, 褔械 胁褋懈褔泻懈 谐芯谢械屑懈 懈 屑邪谢泻懈 写械褑邪 褋褌邪胁邪褌 锌芯-写芯斜褉懈 写芯泻芯褋胁邪泄泻懈 褋械 写芯 薪械谐芯胁芯褌芯 褌胁芯褉褔械褋褌胁芯 .
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November 16, 2018賷丕賱賱赖賵賱!!!
賴匕丕 賰鬲丕亘 賱丕 兀爻鬲胤賷毓 鬲賯賷賷賲賴 賵亘丕賱賰丕丿 賷賲賰賳 賲乇丕噩毓鬲賴 ... 賮兀賳丕 廿賳 賯賷賲鬲賴 賲賳 賳丕丨賷丞 丕禺鬲賷丕乇 丕賱丨賰丕賷丕鬲 丕賱賲鬲乇噩賲丞 兀爻鬲胤賷毓 鬲賮賴賲 賵噩賴丞 賳馗乇 丕賱賲鬲乇噩賲 賵廿賳 賰賳鬲 賱賲 兀丨亘 丕賱賰孬賷乇 賲賳賴丕 ... 賵廿賳 兀乇丿鬲 丕賱鬲賯賷賷賲 賲賳 賳丕丨賷丞 丕賱鬲乇噩賲丞 丕賱鬲賷 賯丕賱 丕賱賲鬲乇噩賲 亘賳賮爻賴 毓賳賴丕 兀賳賴丕 賰丕賳鬲 賲賳 丕賱廿賳噩賱賷夭賷丞 賱丕 丕賱丿賳賲丕乇賰賷丞 賵賰丕賳鬲 亘卮賰賱 鬲乇噩賲丞 賵氐賷丕睾丞 丕賱兀賮賰丕乇 賱丕 鬲乇噩賲賴 丨乇賮賷賴 賮賯丿 賰丕賳鬲 丕賱鬲乇噩賲丞 賲賳丕爻亘丞 賵賲賮賴賵賲丞 賵賯乇賷亘丞 賲賳 亘賷卅鬲賳丕 亘丕賱賮毓賱
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賰丕賳 丕賱賰丕鬲亘 賷丨賷賱 亘毓囟 賯氐氐 兀賳丿乇爻賳 賱賱賲賯丕乇賳丞 亘賯氐氐 丕賱兀禺賵賷賳 噩乇賷賲 賮賷 丕賱賰鬲丕亘 丕賱匕賷 鬲乇噩賲賴 賵丕賱匕賷 賱賱兀爻賮 賱賲 兀賯乇兀賴 賵賯乇兀鬲 亘丿賱丕 毓賳賴 丕賱賰鬲丕亘 亘鬲乇噩賲丞 賲賳賶 毓亘丿丕賱乇丨賲賳 丕賱禺賲賷爻賷 丕賱乇丕卅毓丞 賰亘丕賯賷 兀賮乇丕丿 毓丕卅賱鬲賴丕 丕賱賲賵賴賵亘賷賳 噩丿丕 賵賱賲 賷賰賳 賷囟賲 鬲賱賰 丕賱丨賰丕賷丕鬲 丕賱賲卮丕乇 廿賱賷賴丕 賵賴賳丕 兀孬賳賷 賲噩丿丿丕 毓賱賶 丕禺鬲賷丕乇丕鬲 賲賳賶 丕賱禺賲賷爻賷 賱丨賰丕賷丕鬲 丕賱兀禺賵賷賳 噩乇賷賲!
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亘丕賯賷 丕賱賯氐氐 賲賮夭毓丞 ... 乇亘賲丕 賵丕丨丿丞 兀賵 丕孬賳鬲丕賳 賮賯胤 賲賲丕 賷賲賰賳 丕賱賯賵賱 毓賳賴賲丕 兀賳賴賲丕 賯氐鬲丕賳 胤乇賷賮鬲丕賳 ... 賴賳丕賰 賯氐氐 匕丕鬲 胤丕亘毓 廿賷賲丕賳賷 賵丿賷賳賷 賵賮賷賴賲 賲毓丕賯亘丞 丕賱禺丕胤卅賷賳 亘胤乇賯 賲賮夭毓丞 賵丨賷賳 賷鬲賲 丕賱鬲賰賮賷乇 毓賳 丕賱匕賳亘 賷賱賷 匕賱賰 丕賱賲賵鬲
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丕賱賯丿丕丨丞 鬲卮亘賴 賰孬賷乇丕 賲氐亘丕丨 毓賱丕亍 丕賱丿賷賳 賵賱賰賳 賳賴丕賷鬲賴丕 賲禺鬲賱賮丞
乇亘賲丕 賲賳 亘賷賳 丕賱賯氐氐 丕賱睾賷乇 賲毓乇賵賮丞 賱賲 鬲毓噩亘賳賷 廿賱丕 鬲丕賰 丕賱氐睾賷乇 賵丕賱鬲賲賷賲丞
賴匕丕 賰鬲丕亘 賱丕 兀爻鬲胤賷毓 鬲賯賷賷賲賴 賵亘丕賱賰丕丿 賷賲賰賳 賲乇丕噩毓鬲賴 ... 賮兀賳丕 廿賳 賯賷賲鬲賴 賲賳 賳丕丨賷丞 丕禺鬲賷丕乇 丕賱丨賰丕賷丕鬲 丕賱賲鬲乇噩賲丞 兀爻鬲胤賷毓 鬲賮賴賲 賵噩賴丞 賳馗乇 丕賱賲鬲乇噩賲 賵廿賳 賰賳鬲 賱賲 兀丨亘 丕賱賰孬賷乇 賲賳賴丕 ... 賵廿賳 兀乇丿鬲 丕賱鬲賯賷賷賲 賲賳 賳丕丨賷丞 丕賱鬲乇噩賲丞 丕賱鬲賷 賯丕賱 丕賱賲鬲乇噩賲 亘賳賮爻賴 毓賳賴丕 兀賳賴丕 賰丕賳鬲 賲賳 丕賱廿賳噩賱賷夭賷丞 賱丕 丕賱丿賳賲丕乇賰賷丞 賵賰丕賳鬲 亘卮賰賱 鬲乇噩賲丞 賵氐賷丕睾丞 丕賱兀賮賰丕乇 賱丕 鬲乇噩賲賴 丨乇賮賷賴 賮賯丿 賰丕賳鬲 丕賱鬲乇噩賲丞 賲賳丕爻亘丞 賵賲賮賴賵賲丞 賵賯乇賷亘丞 賲賳 亘賷卅鬲賳丕 亘丕賱賮毓賱
兀賲丕 毓賳 廿禺乇丕噩 丕賱賰鬲丕亘 賮賱賲 兀爻鬲胤毓 廿賱丕 兀賳 兀賯丕乇賳 賴匕丕 丕賱賰鬲丕亘 亘匕丕賰 丕賱匕賷 賷囟賲 亘毓囟 丨賰丕賷丕鬲 丕賱兀禺賵賷賳 噩乇賷賲 賵丕賱氐丕丿乇 毓賳 丕賱賲卮乇賵毓 丕賱賯賵賲賷 賱賱鬲乇噩賲丞 賮丕賱丌禺乇 賰丕賳 賮禺賷賲丕 亘乇爻賵賲丕鬲賴 賵氐賮丨丕鬲賴 丕賱賲賳賲賯丞 乇睾賲 兀賳賴賲 丕禺鬲丕乇賵丕 賵乇賯丕 孬賯賷賱丕 賮賷 丕賱賵夭賳 賵毓丕賰爻丕 賱賱囟賵亍
賰丕賳 丕賱賰丕鬲亘 賷丨賷賱 亘毓囟 賯氐氐 兀賳丿乇爻賳 賱賱賲賯丕乇賳丞 亘賯氐氐 丕賱兀禺賵賷賳 噩乇賷賲 賮賷 丕賱賰鬲丕亘 丕賱匕賷 鬲乇噩賲賴 賵丕賱匕賷 賱賱兀爻賮 賱賲 兀賯乇兀賴 賵賯乇兀鬲 亘丿賱丕 毓賳賴 丕賱賰鬲丕亘 亘鬲乇噩賲丞 賲賳賶 毓亘丿丕賱乇丨賲賳 丕賱禺賲賷爻賷 丕賱乇丕卅毓丞 賰亘丕賯賷 兀賮乇丕丿 毓丕卅賱鬲賴丕 丕賱賲賵賴賵亘賷賳 噩丿丕 賵賱賲 賷賰賳 賷囟賲 鬲賱賰 丕賱丨賰丕賷丕鬲 丕賱賲卮丕乇 廿賱賷賴丕 賵賴賳丕 兀孬賳賷 賲噩丿丿丕 毓賱賶 丕禺鬲賷丕乇丕鬲 賲賳賶 丕賱禺賲賷爻賷 賱丨賰丕賷丕鬲 丕賱兀禺賵賷賳 噩乇賷賲!
39
丨賰丕賷丞 賲賳 兀氐賱
150
丨賰丕賷丞 賰鬲亘賴丕 兀賳丿乇爻賳 毓賱賶 賲丿丕乇 丨賷丕鬲賴...
亘丿兀 丕賱賲鬲乇噩賲 亘丕賱賯氐氐 丕賱賲鬲毓丕乇賮 毓賱賷賴丕 賴賳丕 賰賯氐氐 兀胤賮丕賱 賵賯丿 鬲賲 鬲賳賯賷丨賴丕 賰孬賷乇丕 丨鬲賶 賷賲賰賳 賱賳丕 丨賰賷賴丕 賱兀胤賮丕賱賳丕
亘丕賯賷 丕賱賯氐氐 賲賮夭毓丞 ... 乇亘賲丕 賵丕丨丿丞 兀賵 丕孬賳鬲丕賳 賮賯胤 賲賲丕 賷賲賰賳 丕賱賯賵賱 毓賳賴賲丕 兀賳賴賲丕 賯氐鬲丕賳 胤乇賷賮鬲丕賳 ... 賴賳丕賰 賯氐氐 匕丕鬲 胤丕亘毓 廿賷賲丕賳賷 賵丿賷賳賷 賵賮賷賴賲 賲毓丕賯亘丞 丕賱禺丕胤卅賷賳 亘胤乇賯 賲賮夭毓丞 賵丨賷賳 賷鬲賲 丕賱鬲賰賮賷乇 毓賳 丕賱匕賳亘 賷賱賷 匕賱賰 丕賱賲賵鬲
丕賱賯鬲賱 鬲賷賲丞 兀爻丕爻賷丞 賮賷 毓丿丿 賲賳 丕賱賯氐氐 賵亘毓囟賴丕 賯鬲賱 卮賳賷毓 賲毓 丕賱賲賵鬲 毓賲賵賲丕 賱賱乇丕丨丞 兀賵 賯囟丕亍 賱賱匕賳亘 ... 丕賱丨亘 賵丕賱乇睾亘丞 賮賷 丕賱鬲夭丕賵噩 亘賷賳 丕賱噩賲丕丿丕鬲 賵丕賱睾夭賱 兀賷囟丕 丨丕囟乇賵賳 亘賯賵丞
丕賱賯氐氐 丕賱賲毓乇賵賮丞 賰丨賵乇賷丞 丕賱亘丨乇 賵丕賱亘胤丞 丕賱賯亘賷丨丞 賵亘丕卅毓丞 丕賱賰亘乇賷鬲 賴賷 賯氐氐 丨夭賷賳丞 噩丿丕 賮毓賱丕
丕賱賯丿丕丨丞 鬲卮亘賴 賰孬賷乇丕 賲氐亘丕丨 毓賱丕亍 丕賱丿賷賳 賵賱賰賳 賳賴丕賷鬲賴丕 賲禺鬲賱賮丞
乇亘賲丕 賲賳 亘賷賳 丕賱賯氐氐 丕賱睾賷乇 賲毓乇賵賮丞 賱賲 鬲毓噩亘賳賷 廿賱丕 鬲丕賰 丕賱氐睾賷乇 賵丕賱鬲賲賷賲丞
April 16, 2021
3.5|5
Huh... some of these fairytales are tough to read even as an adult. It鈥檚 weird when thinking that HCA stories were always my favorite as a child.
Huh... some of these fairytales are tough to read even as an adult. It鈥檚 weird when thinking that HCA stories were always my favorite as a child.
June 15, 2020
鈥澬� 褌芯胁邪 胁褉械屑械 屑邪谢泻邪褌邪 袚械褉写邪 胁谢械蟹械 锌褉械蟹 谐芯谢褟屑邪褌邪 胁褉邪褌邪 薪邪 锌邪谢邪褌邪. 袘褍泄薪懈褌械 胁械褌褉芯胁械 薪邪褋褉械褖邪 褲 褍褌懈褏薪邪褏邪, 褋褟泻邪褕 蟹邪褋锌邪褏邪. 袚械褉写邪 锌褉械泻褉邪褔懈 胁 褕懈褉芯泻邪褌邪 锌褍褋褌邪 蟹邪谢邪 懈 胁懈写褟 袣邪泄. 孝褟 谐芯 锌芯蟹薪邪 胁械写薪邪谐邪, 褏胁褗褉谢懈 褋械 薪邪 褕懈褟褌邪 屑褍, 锌褉懈褌懈褋薪邪 谐芯 褋懈谢薪芯 懈 懈蟹胁懈泻邪:
鈥� 袣邪泄, 屑懈谢懈褔褗泻 袣邪泄! 袧邪泄-褋械褌薪械 褌械 薪邪屑械褉懈褏!
袧芯 袣邪泄 薪械 褋械 锌芯屑褉褗写薪邪 懈 锌褉芯写褗谢卸邪胁邪褕械 写邪 褋械写懈 胁褋械 褌邪泻邪 薪械锌芯写胁懈卸械薪 懈 胁褑械锌械薪械薪 芯褌 褋褌褍写. 孝芯谐邪胁邪 袚械褉写邪 蟹邪锌谢邪泻邪. 孝芯锌谢懈褌械 褲 褋褗谢蟹懈 锌芯泻邪锌邪褏邪 锌芯 谐褗褉写懈褌械 屑褍, 锌褉芯薪懈泻薪邪褏邪 胁 褋褗褉褑械褌芯 屑褍, 褉邪蟹屑褉邪蟹懈褏邪 谢械写械薪邪褌邪 屑褍 芯斜胁懈胁泻邪 懈 褋褌芯锌谢懈褏邪 蟹褉褗薪褑械褌芯 芯褌 写褟胁芯谢褋泻芯褌芯 芯谐谢械写邪谢芯. 孝芯泄 褟 锌芯谐谢械写薪邪 懈 褌褟 蟹邪锌褟:
袪芯蟹懈褌械 褑褗褎褌褟褌 懈 锌褉械褑褗褎褌褟胁邪褌,
薪芯 薪懈械 薪懈胁谐邪 薪褟屑邪 写邪 褋械 褉邪蟹写械谢懈屑!
袣邪泄 懈蟹胁械写薪褗卸 褋械 芯斜谢褟 胁 褋褗谢蟹懈 懈 锌谢邪泻邪 褌褗泄 褋懈谢薪芯, 褔械 褋褌褗泻褗谢褑械褌芯 屑褍 懈蟹褋泻芯褔懈 蟹邪械写薪芯 褋褗褋 褋褗谢蟹懈褌械. 小械谐邪 褌芯泄 锌芯蟹薪邪 袚械褉写邪 懈 懈蟹胁懈泻邪 褉邪写芯褋褌薪芯:
鈥� 袚械褉写邪, 屑懈谢懈褔泻邪 袚械褉写邪! 袣褗写械 斜械褕械 写芯褋械谐邪? 袣褗写械 褋褗屑 斜懈谢 懈 邪蟹 褋邪屑懈褟褌? 鈥� 袠 褌芯泄 褋械 芯蟹褗褉薪邪 薪邪芯泻芯谢芯. 鈥� 袣芯谢泻芯 褋褌褍写械薪芯 懈 锌褍褋褌芯 械 褌褍泻!
袣邪泄 锌褉械谐褗褉薪邪 袚械褉写邪, 邪 褌褟 褋械 褋屑械械褕械 懈 锌谢邪褔械褕械 芯褌 褉邪写芯褋褌. 孝械 斜褟褏邪 褌褗泄 褖邪褋褌谢懈胁懈, 褔械 写芯褉懈 懈 谢械写械薪懈褌械 泻褗褋芯胁械 芯泻芯谢芯 褌褟褏 褋械 褉邪蟹懈谐褉邪褏邪, 邪 泻芯谐邪褌芯 褋械 懈蟹屑芯褉懈褏邪 懈 薪邪锌邪写邪褏邪 写芯谢褍, 芯斜褉邪蟹褍胁邪褏邪 褌褗泻屑芯 芯薪邪褟 写褍屑邪, 蟹邪 泻芯褟褌芯 小薪械卸薪邪褌邪 褑邪褉懈褑邪 斜械 芯斜械褖邪谢邪 薪邪 袣邪泄 写邪 谐芯 薪邪锌褉邪胁懈 谐芯褋锌芯写邪褉 薪邪 褋械斜械 褋懈 懈 写邪 屑褍 锌芯写邪褉懈 褑械谢懈褟 褋胁褟褌 懈 械写懈薪 褔懈褎褌 薪芯胁懈 泻褗薪泻懈.
袚械褉写邪 谐芯 褑械谢褍薪邪 锌芯 斜褍蟹懈褌械 懈 褌械 褋械 锌芯泻褉懈褏邪 褋 褉褍屑械薪懈薪邪, 褑械谢褍薪邪 谐芯 锌芯 芯褔懈褌械 懈 褌械 褋胁械褌薪邪褏邪 泻邪褌芯 薪械泄薪懈褌械, 褑械谢褍薪邪 褉褗褑械褌械 懈 薪芯蟹械褌械 屑褍 懈 褌芯泄 褋褌邪薪邪 芯褌薪芯胁芯 蟹写褉邪胁 懈 斜芯写褗褉鈥︹€�
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袨斜芯卸邪胁邪屑 袗薪写械褉褋械薪, 芯褌泻邪泻褌芯 卸懈胁械褟 懈 胁懈薪邪谐懈 褖械. 袗泻芯 懈屑邪 芯褖械 锌褉懈泻邪蟹泻懈 褋谢械写 泻褉邪褟, 褖械 褌褗褉褋褟 薪邪泄-胁械褔械 薪械谐芯胁懈褌械.
啸邪褉械褋胁邪 屑懈 泻邪泻 谐懈 褔械褌邪 锌褉械蟹 写胁械-褌褉懈 谐芯写懈薪懈 懈 写芯泻邪褌芯 卸懈胁芯褌褗褌 芯泻芯谢芯 屑械薪 褋械 锌褉芯屑械薪褟, 芯褌泻褉懈胁邪屑 胁褋械 锌芯胁械褔械 懈 锌芯胁械褔械.
袙褋懈褔泻懈 褋邪 屑懈 薪邪 褋褗褉褑械, 薪芯 谢懈褔械薪 褌芯锌 5 屑懈 械:
1. 小薪械卸薪邪褌邪 泻褉邪谢懈褑邪 (胁懈薪邪谐懈 懈 蟹邪胁懈薪邪谐懈)
2. 袚褉芯蟹薪芯褌芯 锌邪褌械薪褑械
3. 袦邪谢泻邪褌邪 褉褍褋邪谢泻邪
4. 袛懈胁懈褌械 谢械斜械写懈
5. 袩邪谢械褔泻邪
鈥� 袣邪泄, 屑懈谢懈褔褗泻 袣邪泄! 袧邪泄-褋械褌薪械 褌械 薪邪屑械褉懈褏!
袧芯 袣邪泄 薪械 褋械 锌芯屑褉褗写薪邪 懈 锌褉芯写褗谢卸邪胁邪褕械 写邪 褋械写懈 胁褋械 褌邪泻邪 薪械锌芯写胁懈卸械薪 懈 胁褑械锌械薪械薪 芯褌 褋褌褍写. 孝芯谐邪胁邪 袚械褉写邪 蟹邪锌谢邪泻邪. 孝芯锌谢懈褌械 褲 褋褗谢蟹懈 锌芯泻邪锌邪褏邪 锌芯 谐褗褉写懈褌械 屑褍, 锌褉芯薪懈泻薪邪褏邪 胁 褋褗褉褑械褌芯 屑褍, 褉邪蟹屑褉邪蟹懈褏邪 谢械写械薪邪褌邪 屑褍 芯斜胁懈胁泻邪 懈 褋褌芯锌谢懈褏邪 蟹褉褗薪褑械褌芯 芯褌 写褟胁芯谢褋泻芯褌芯 芯谐谢械写邪谢芯. 孝芯泄 褟 锌芯谐谢械写薪邪 懈 褌褟 蟹邪锌褟:
袪芯蟹懈褌械 褑褗褎褌褟褌 懈 锌褉械褑褗褎褌褟胁邪褌,
薪芯 薪懈械 薪懈胁谐邪 薪褟屑邪 写邪 褋械 褉邪蟹写械谢懈屑!
袣邪泄 懈蟹胁械写薪褗卸 褋械 芯斜谢褟 胁 褋褗谢蟹懈 懈 锌谢邪泻邪 褌褗泄 褋懈谢薪芯, 褔械 褋褌褗泻褗谢褑械褌芯 屑褍 懈蟹褋泻芯褔懈 蟹邪械写薪芯 褋褗褋 褋褗谢蟹懈褌械. 小械谐邪 褌芯泄 锌芯蟹薪邪 袚械褉写邪 懈 懈蟹胁懈泻邪 褉邪写芯褋褌薪芯:
鈥� 袚械褉写邪, 屑懈谢懈褔泻邪 袚械褉写邪! 袣褗写械 斜械褕械 写芯褋械谐邪? 袣褗写械 褋褗屑 斜懈谢 懈 邪蟹 褋邪屑懈褟褌? 鈥� 袠 褌芯泄 褋械 芯蟹褗褉薪邪 薪邪芯泻芯谢芯. 鈥� 袣芯谢泻芯 褋褌褍写械薪芯 懈 锌褍褋褌芯 械 褌褍泻!
袣邪泄 锌褉械谐褗褉薪邪 袚械褉写邪, 邪 褌褟 褋械 褋屑械械褕械 懈 锌谢邪褔械褕械 芯褌 褉邪写芯褋褌. 孝械 斜褟褏邪 褌褗泄 褖邪褋褌谢懈胁懈, 褔械 写芯褉懈 懈 谢械写械薪懈褌械 泻褗褋芯胁械 芯泻芯谢芯 褌褟褏 褋械 褉邪蟹懈谐褉邪褏邪, 邪 泻芯谐邪褌芯 褋械 懈蟹屑芯褉懈褏邪 懈 薪邪锌邪写邪褏邪 写芯谢褍, 芯斜褉邪蟹褍胁邪褏邪 褌褗泻屑芯 芯薪邪褟 写褍屑邪, 蟹邪 泻芯褟褌芯 小薪械卸薪邪褌邪 褑邪褉懈褑邪 斜械 芯斜械褖邪谢邪 薪邪 袣邪泄 写邪 谐芯 薪邪锌褉邪胁懈 谐芯褋锌芯写邪褉 薪邪 褋械斜械 褋懈 懈 写邪 屑褍 锌芯写邪褉懈 褑械谢懈褟 褋胁褟褌 懈 械写懈薪 褔懈褎褌 薪芯胁懈 泻褗薪泻懈.
袚械褉写邪 谐芯 褑械谢褍薪邪 锌芯 斜褍蟹懈褌械 懈 褌械 褋械 锌芯泻褉懈褏邪 褋 褉褍屑械薪懈薪邪, 褑械谢褍薪邪 谐芯 锌芯 芯褔懈褌械 懈 褌械 褋胁械褌薪邪褏邪 泻邪褌芯 薪械泄薪懈褌械, 褑械谢褍薪邪 褉褗褑械褌械 懈 薪芯蟹械褌械 屑褍 懈 褌芯泄 褋褌邪薪邪 芯褌薪芯胁芯 蟹写褉邪胁 懈 斜芯写褗褉鈥︹€�
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袨斜芯卸邪胁邪屑 袗薪写械褉褋械薪, 芯褌泻邪泻褌芯 卸懈胁械褟 懈 胁懈薪邪谐懈 褖械. 袗泻芯 懈屑邪 芯褖械 锌褉懈泻邪蟹泻懈 褋谢械写 泻褉邪褟, 褖械 褌褗褉褋褟 薪邪泄-胁械褔械 薪械谐芯胁懈褌械.
啸邪褉械褋胁邪 屑懈 泻邪泻 谐懈 褔械褌邪 锌褉械蟹 写胁械-褌褉懈 谐芯写懈薪懈 懈 写芯泻邪褌芯 卸懈胁芯褌褗褌 芯泻芯谢芯 屑械薪 褋械 锌褉芯屑械薪褟, 芯褌泻褉懈胁邪屑 胁褋械 锌芯胁械褔械 懈 锌芯胁械褔械.
袙褋懈褔泻懈 褋邪 屑懈 薪邪 褋褗褉褑械, 薪芯 谢懈褔械薪 褌芯锌 5 屑懈 械:
1. 小薪械卸薪邪褌邪 泻褉邪谢懈褑邪 (胁懈薪邪谐懈 懈 蟹邪胁懈薪邪谐懈)
2. 袚褉芯蟹薪芯褌芯 锌邪褌械薪褑械
3. 袦邪谢泻邪褌邪 褉褍褋邪谢泻邪
4. 袛懈胁懈褌械 谢械斜械写懈
5. 袩邪谢械褔泻邪
December 7, 2017
螤苇谓蟿蔚 伪蟽蟿苇蟻喂伪 纬喂伪 蟿喂蟼 蠀蟺苇蟻慰蠂蔚蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 螤伪蟿苇蟻伪 蠈位蠅谓 蟿蠅谓 蟺伪蟻伪渭蠀胃喂蠋谓 -渭蔚 伪蠀蟿慰 蟿慰 喂未喂蠈蟿蠀蟺伪 位蠀蟺畏蟻蠈, 蟽蠀谓畏胃蠅蟼 蟿苇位慰蟼 蟺慰蠀 伪纬伪蟺维 谓伪 未委谓蔚喂 蟽蟿慰蠀蟼 萎蟻蠅苇蟼 蟿慰蠀- 渭蔚委慰谓 苇谓伪 伪蟽蟿苇蟻喂 纬喂伪 蟿喂蟼 位喂纬蠈蟿蔚蟻慰 蔚蠀蠁伪谓蟿伪蟽蟿蔚蟼 魏伪喂 伪蟻魏蔚蟿伪 蟿蟽蔚魏慰蠀蟻蔚渭蔚谓蔚蟼 蟺蔚蟻喂位畏蠄蔚喂蟼 蟿蠅谓 蔚魏未. susaeta, 魏伪胃蠅蟼 魏伪喂 蟿畏谓 蔚位位蔚喂蠄畏 蔚谓蟿蔚蠂谓慰蠀 位蠈纬慰蠀. 韦蔚蟽蟽蔚蟻伪 伪蟽蟿蔚蟻喂伪 蟽蟿慰 蟽蠀谓慰位慰 魏伪喂 纬喂伪 蟿畏谓 蟽蠀位位慰纬萎 魏伪喂 未喂伪位慰纬萎 蟽蟿畏 蟽蠀纬魏蔚魏蟻喂渭蔚谓畏 蔚魏未慰蟽畏: 纬谓蠅蟽蟿伪 蟺伪蟻伪渭蠀胃喂伪 慰蟺蠅蟼 畏 韦慰蟽慰未慰蠀位伪, 蟿慰 螒蟽蠂畏渭慰蟺伪蟺慰, 螁蟻喂蔚位 畏 渭喂魏蟻萎 纬慰蟻纬蠈谓伪, 蟿慰 螝慰蟻喂蟿蟽伪魏喂 渭蔚 蟿伪 危蟺委蟻蟿伪, 伪位位维 魏伪喂 位喂纬慰蟿蔚蟻慰 纬谓蠅蟽蟿伪, 蔚蠅蟼 蟽蠂蔚未慰谓 维纬谓蠅蟽蟿伪 蟺伪蟻伪渭蠀胃喂伪 蟿慰蠀, 蠈蟺蠅蟼 慰 桅慰委谓喂魏伪蟼, 畏 螤慰蟻蟽蔚位伪谓喂谓畏 螔慰蟽魏慰蟺慰蠀位伪, 畏 螝伪渭蟺维谓伪 魏慰魏.
螕蔚谓喂魏维, 蟿伪 蟺伪喂未喂维 渭慰蠀 蟿慰 蠂伪蟻畏魏伪谓. 螘渭苇谓伪 渭' 蔚谓蠈蠂位畏蟽蔚 畏 苇位位蔚喂蠄畏 位慰纬慰蟿蔚蠂谓委伪蟼 魏伪喂 慰喂 伪蟺位慰蟺慰喂萎蟽蔚喂蟼 蟽蔚 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏维 蟺伪蟻伪渭蠉胃喂伪.
螕蔚谓喂魏维, 未蔚谓 蔚委谓伪喂 谓伪 蟺伪委味蔚喂蟼 渭蔚 蟿慰蠀蟼 螠蔚纬维位慰蠀蟼 螝位伪蟽蟽喂魏慰蠉蟼. 螛苇位蔚喂 蟽慰尾伪蟻萎 蟺蟻慰蟽苇纬纬喂蟽畏 魏伪喂 蟽蔚尾伪蟽渭蠈, 伪谓 渭畏 蟿喂 维位位慰, 苇谓伪 蟿苇蟿慰喂慰 蔚纬蠂蔚委蟻畏渭伪.
惟蟽蟿蠈蟽慰, 伪蟺慰蟿蔚位蔚委 渭喂伪 魏伪位萎 蟺蟻蠋蟿畏 蔚蟺伪蠁萎 魏伪喂 纬谓蠅蟻喂渭委伪 渭蔚 蟿伪 蟺伪蟻伪渭蠉胃喂伪 蟺慰蠀 伪纬维蟺畏蟽伪谓 魏伪喂 伪谓苇胃蟻蔚蠄伪谓 纬蔚谓蔚苇蟼 纬蔚谓蔚蠋谓.
螕蔚谓喂魏维, 蟿伪 蟺伪喂未喂维 渭慰蠀 蟿慰 蠂伪蟻畏魏伪谓. 螘渭苇谓伪 渭' 蔚谓蠈蠂位畏蟽蔚 畏 苇位位蔚喂蠄畏 位慰纬慰蟿蔚蠂谓委伪蟼 魏伪喂 慰喂 伪蟺位慰蟺慰喂萎蟽蔚喂蟼 蟽蔚 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏维 蟺伪蟻伪渭蠉胃喂伪.
螕蔚谓喂魏维, 未蔚谓 蔚委谓伪喂 谓伪 蟺伪委味蔚喂蟼 渭蔚 蟿慰蠀蟼 螠蔚纬维位慰蠀蟼 螝位伪蟽蟽喂魏慰蠉蟼. 螛苇位蔚喂 蟽慰尾伪蟻萎 蟺蟻慰蟽苇纬纬喂蟽畏 魏伪喂 蟽蔚尾伪蟽渭蠈, 伪谓 渭畏 蟿喂 维位位慰, 苇谓伪 蟿苇蟿慰喂慰 蔚纬蠂蔚委蟻畏渭伪.
惟蟽蟿蠈蟽慰, 伪蟺慰蟿蔚位蔚委 渭喂伪 魏伪位萎 蟺蟻蠋蟿畏 蔚蟺伪蠁萎 魏伪喂 纬谓蠅蟻喂渭委伪 渭蔚 蟿伪 蟺伪蟻伪渭蠉胃喂伪 蟺慰蠀 伪纬维蟺畏蟽伪谓 魏伪喂 伪谓苇胃蟻蔚蠄伪谓 纬蔚谓蔚苇蟼 纬蔚谓蔚蠋谓.
November 20, 2020
U autopoeti膷kom iskazu iz pisma Ingemanu (1843) Andersen spo膷etka progovara o osloba膽anju sopstvenog prosedea od svetonazora i obrazaca narodnih bajki - jer je, kako sam bez zazora obja拧njava, ranije izdavao stare bajke, prera膽uju膰i ih na svoj na膷in- da bi u iskazu koji se na ovaj spomenuti naslanja o膷itovao stvarala膷ki credo. Sada, naime, crpe膰i slobodnije iz vlastite imaginativnosti, hvata ideju za odrasle a pri膷a je deci.
Iako je prvopomenuto u flaneriji kroz si啪ee transparentno - treba samo pratiti trajektoriju od "Kresiva", "Divljih labudova", "Svinjara" ili pak "Pal膷ice" do, primerice, "Male sirene" - to ipak ne zna膷i da i njegove ranije bajkovit(ij)e proze pribli啪nije usmenim kalupima umnogome ne ba拧tine ne拧to od ingenioznosti poznijeg Ansersena. Jasni su ve膰 tu: 1)izuzetan smisao da se 膷udesno pospe realisti膷kim, ponekad i izrazito zabavnim, bizarnim, odnosno apsurdno-humornim detaljem: kralj potpe膰uje svoju obu膰u/vojnik se ne mo啪e suzdr啪ati da ne poljubi princezu, jer ga to jedino i 膷ini pravim vojnikom/do p谩sa pomaga膷a koji na svadbenoj proslavi groteskno kolutaju preuveli膷anim o膷ima; 2) efektno (iz busije dijegeze) ozra膷ivanje bilo satiri膷no-ironi膷nim bilo refleksivnim komentarom - za拧to kvariti iznena膽enjca!; 3)odstupanje od (upisanog) maskulinizma kolektivnih gatki, budu膰i da je fabulativni prostor ustupljen delatnim juna膷icama - ne Pal膷i膰, nego Pal膷ica!; 4)neizbrisivim horori膷nim sekvencama - 啪anrovski gledano, prema Muniti膰u, horor upravo i proizlazi iz bajke - ne bi li nabrala koprivu, heroina "Divljih labudova" 膰e svaki put morati pro膰i kroz stravi膷no grobljansko uprizorenje, dok je Pal膷icino bu膽enje iz u拧u拧kanog sna u primoravaju膰u udadbu za 啪abu krasta膷u i obe膰ani 啪ivot u re膷nom mulju, egzistencijalno grozomorno, sa istovetnom silinom prilikom svakog narednog 膷itanja... U najkra膰em: i kod ranijeg Andersena odavno smo u zabranu autorske bajke, 膷iji je ovaj - ne dr啪ite me ba拧 strogo za re膷, mada za mene jeste, iako nije! - rodona膷elnik.
U naslanjaju膰em iskazu - vratimo se pismu Ingemanu -听 Andersen ne samo da eksplicira vlastitu intencioznost, nego ujedno pru啪a ekstrakt onoga 膷ime bi se mogao obuhvatiti Klasik knji啪evnosti (za decu): istovremena prijem膷ivost i izazovnost narativa svestima na razli膷itim razinama. I plitka i duboka voda istodobno, ovisno o verziranosti i dohvatima pliva膷a! Neporecivo je, razume se, da Andersen jeste u jatu onih koji "uranjaju" dva pliva膷a jednim udarcem. Zato bi se najra膽e i dalo zbrisati ono u zagradi dopisano pored Klasika, jer je sobom protivre膷no!
A sve drugo - i to da su, recimo, "Slavuj" i "Ru啪no pa膷e" vrhunske alegorije o lepom, umetnosti i umetniku!, ili to da je Andersen variraju膰i lajtmotiv labuda, uvek nov i uvek sve啪!, ili i to da je "Princeza na zrnu gra拧ka" komprimovana komedija karaktera dobrano problematizovane kona膷nice, jer to, veli se na kraju, ne mo啪' biti bajka!; a mo啪da i to da je "Carevo novo odelo" oduvek aktuelna dru拧tvena parabola, dubinski promi拧ljaj odnosa (de膷ije) istine, la啪i (odraslih) i pristanka da se la啪e i kada se zna istina!, eventualno i to da su mi re膷i nedelje pu膰purikanje i zapu膷ak!; sasvim sigurno i to kako se u (tobo啪nje) storije za decu znala膷ki utkivaju smrtonosnice ("Saputnik", "Mala Sirena", "Ole Luk貌je", "Slavuj"), auh!; kao i to sadr啪ano u svim onim nazovi-nenazovi neprimerenostima i skarednostima (Zlatni wtf! ide "Malom i Velikom Klausu" zato 拧to i dalje ne mogu da se opasuljim nad crnom komikom u sceni s mrtvim babama!); svakako ba拧 to i to (sic!) u "Ru啪inom Vilovnjaku", "Rodama" "Susedima",...; onda i to听koje povezuje "Sne啪nu Kraljicu" sa Isidorom Sekuli膰 i Crnjanskim; zatim i to kao madlena na deku i baku u "Olovnom Vojniku" i "Devoj膷ici sa 拧ibicama"!; sledi i to koje vaskrsava imperfekat!, potom i to i to i to...; naposletku i to koje se H. K. A. zapravo vrlo malo ti膷e, a vi拧e svih onih njemu su膷eljenih, ki膷oliko-diznijevskih pojednostavljivanja, sumanutih kasapljenja i听 za拧e膰erenih "hepiendiranj膩" koji se svi odreda kose sa onim geslom o "ideji za odrasle a pri膷i za decu" (na拧iroko se mo啪e, a ni vreme ni mesto!) - mu do膽e kao plivanje umesto nekog drugog, a to se ne ra膷una. Priru膷imo se za(to) labudovima!
Fusnota prva: Kako postoji silesija izdanja, Andersenove "Bajke i pri膷e" 膷itao sam u Nolitovom izdanju iz 1992, edicija "Moja knjiga", u izboru, prevodu i predgovoru Petra Vuja膷i膰a. Dodu拧e, neke od narativa dosipao sam sa strane, prema osobitom naho膽enju, odnosno, rekao bi Brodolomi, prema 膰udima 膷itala膷kog erosa. Ina膷e, postoji i 拧estoknji啪je sabranih proza, H.K.A. ih je otprilike napisao 160. Trebalo bi i za tim posegnuti ponekad, po sistemu: jedna dnevno. Mo啪da nedostaje mise en abyme, ali je novelisti膷kih osobenosti koliko vam du拧a i拧te.
Fusnota druga: Pozitivistu u meni raduje intrigantna reljefnost bajkopri膷a拧evog 啪ivotopisa. Valjalo bi i nad time probdeti - eto, i Crnjanski se njegove biografije doti膷e, ako me ve膰 pam膰enje ne zavitlava, u "Hiperborejcima" - stoga i prila啪em jedan biografski "艩ta?!". Na putovanju po Nema膷koj Andersena je razo膷arao Jakob Grim, jer ovaj brajkan za Andersena nikad ne 膷u拧e, priupitav拧i, 拧tavi拧e, kakvu to prozu ubogi Danac pi拧e! Ooo, sudija, sudija!
Iako je prvopomenuto u flaneriji kroz si啪ee transparentno - treba samo pratiti trajektoriju od "Kresiva", "Divljih labudova", "Svinjara" ili pak "Pal膷ice" do, primerice, "Male sirene" - to ipak ne zna膷i da i njegove ranije bajkovit(ij)e proze pribli啪nije usmenim kalupima umnogome ne ba拧tine ne拧to od ingenioznosti poznijeg Ansersena. Jasni su ve膰 tu: 1)izuzetan smisao da se 膷udesno pospe realisti膷kim, ponekad i izrazito zabavnim, bizarnim, odnosno apsurdno-humornim detaljem: kralj potpe膰uje svoju obu膰u/vojnik se ne mo啪e suzdr啪ati da ne poljubi princezu, jer ga to jedino i 膷ini pravim vojnikom/do p谩sa pomaga膷a koji na svadbenoj proslavi groteskno kolutaju preuveli膷anim o膷ima; 2) efektno (iz busije dijegeze) ozra膷ivanje bilo satiri膷no-ironi膷nim bilo refleksivnim komentarom - za拧to kvariti iznena膽enjca!; 3)odstupanje od (upisanog) maskulinizma kolektivnih gatki, budu膰i da je fabulativni prostor ustupljen delatnim juna膷icama - ne Pal膷i膰, nego Pal膷ica!; 4)neizbrisivim horori膷nim sekvencama - 啪anrovski gledano, prema Muniti膰u, horor upravo i proizlazi iz bajke - ne bi li nabrala koprivu, heroina "Divljih labudova" 膰e svaki put morati pro膰i kroz stravi膷no grobljansko uprizorenje, dok je Pal膷icino bu膽enje iz u拧u拧kanog sna u primoravaju膰u udadbu za 啪abu krasta膷u i obe膰ani 啪ivot u re膷nom mulju, egzistencijalno grozomorno, sa istovetnom silinom prilikom svakog narednog 膷itanja... U najkra膰em: i kod ranijeg Andersena odavno smo u zabranu autorske bajke, 膷iji je ovaj - ne dr啪ite me ba拧 strogo za re膷, mada za mene jeste, iako nije! - rodona膷elnik.
U naslanjaju膰em iskazu - vratimo se pismu Ingemanu -听 Andersen ne samo da eksplicira vlastitu intencioznost, nego ujedno pru啪a ekstrakt onoga 膷ime bi se mogao obuhvatiti Klasik knji啪evnosti (za decu): istovremena prijem膷ivost i izazovnost narativa svestima na razli膷itim razinama. I plitka i duboka voda istodobno, ovisno o verziranosti i dohvatima pliva膷a! Neporecivo je, razume se, da Andersen jeste u jatu onih koji "uranjaju" dva pliva膷a jednim udarcem. Zato bi se najra膽e i dalo zbrisati ono u zagradi dopisano pored Klasika, jer je sobom protivre膷no!
A sve drugo - i to da su, recimo, "Slavuj" i "Ru啪no pa膷e" vrhunske alegorije o lepom, umetnosti i umetniku!, ili to da je Andersen variraju膰i lajtmotiv labuda, uvek nov i uvek sve啪!, ili i to da je "Princeza na zrnu gra拧ka" komprimovana komedija karaktera dobrano problematizovane kona膷nice, jer to, veli se na kraju, ne mo啪' biti bajka!; a mo啪da i to da je "Carevo novo odelo" oduvek aktuelna dru拧tvena parabola, dubinski promi拧ljaj odnosa (de膷ije) istine, la啪i (odraslih) i pristanka da se la啪e i kada se zna istina!, eventualno i to da su mi re膷i nedelje pu膰purikanje i zapu膷ak!; sasvim sigurno i to kako se u (tobo啪nje) storije za decu znala膷ki utkivaju smrtonosnice ("Saputnik", "Mala Sirena", "Ole Luk貌je", "Slavuj"), auh!; kao i to sadr啪ano u svim onim nazovi-nenazovi neprimerenostima i skarednostima (Zlatni wtf! ide "Malom i Velikom Klausu" zato 拧to i dalje ne mogu da se opasuljim nad crnom komikom u sceni s mrtvim babama!); svakako ba拧 to i to (sic!) u "Ru啪inom Vilovnjaku", "Rodama" "Susedima",...; onda i to听koje povezuje "Sne啪nu Kraljicu" sa Isidorom Sekuli膰 i Crnjanskim; zatim i to kao madlena na deku i baku u "Olovnom Vojniku" i "Devoj膷ici sa 拧ibicama"!; sledi i to koje vaskrsava imperfekat!, potom i to i to i to...; naposletku i to koje se H. K. A. zapravo vrlo malo ti膷e, a vi拧e svih onih njemu su膷eljenih, ki膷oliko-diznijevskih pojednostavljivanja, sumanutih kasapljenja i听 za拧e膰erenih "hepiendiranj膩" koji se svi odreda kose sa onim geslom o "ideji za odrasle a pri膷i za decu" (na拧iroko se mo啪e, a ni vreme ni mesto!) - mu do膽e kao plivanje umesto nekog drugog, a to se ne ra膷una. Priru膷imo se za(to) labudovima!
Fusnota prva: Kako postoji silesija izdanja, Andersenove "Bajke i pri膷e" 膷itao sam u Nolitovom izdanju iz 1992, edicija "Moja knjiga", u izboru, prevodu i predgovoru Petra Vuja膷i膰a. Dodu拧e, neke od narativa dosipao sam sa strane, prema osobitom naho膽enju, odnosno, rekao bi Brodolomi, prema 膰udima 膷itala膷kog erosa. Ina膷e, postoji i 拧estoknji啪je sabranih proza, H.K.A. ih je otprilike napisao 160. Trebalo bi i za tim posegnuti ponekad, po sistemu: jedna dnevno. Mo啪da nedostaje mise en abyme, ali je novelisti膷kih osobenosti koliko vam du拧a i拧te.
Fusnota druga: Pozitivistu u meni raduje intrigantna reljefnost bajkopri膷a拧evog 啪ivotopisa. Valjalo bi i nad time probdeti - eto, i Crnjanski se njegove biografije doti膷e, ako me ve膰 pam膰enje ne zavitlava, u "Hiperborejcima" - stoga i prila啪em jedan biografski "艩ta?!". Na putovanju po Nema膷koj Andersena je razo膷arao Jakob Grim, jer ovaj brajkan za Andersena nikad ne 膷u拧e, priupitav拧i, 拧tavi拧e, kakvu to prozu ubogi Danac pi拧e! Ooo, sudija, sudija!
April 13, 2024
Review of another similar read, from some years ago:
---
I have to record this read, April 2024, as a reread. But I read a different edition (), which included a few plates by Rackham & other more contemporary artists, and lots of old line drawings. This Wordsworth edition does have typos, and is not lavishly illustrated, and is very heavy. It has about 40 stories, not all of which are child-friendly. I still only recommend Emperor's New Clothes, Snow Queen, and Nightingale to modern audiences. The others are too pious, or too focused on equating the beautiful with the good, or are otherwise problematic/ dated.
But even the weakest or oddest stories have good lines. From *The Elf-Hill* - "the elf maidens had already begun to dance, and they danced a scarf dance, with scarves woven of mist and moonshine; these have a lovely effect to those who care for that kind of thing."
From *The Naughty Boy* (re' Cupid) - "Never have anything to do with him! He waylays everyone alike, and even your poor old grandmother did not escape his dart. It was a long time ago, and the effect has passed away, but that kind of thing is never forgotten. Fie, fie! wicked little Cupid! But now you know all about him, so beware!"
*The Galoshes of Fortune* is an interesting story. Long and odd for children, but I'm glad that I had this chance to read it, and, if you're interested, maybe you can find it online.
Oh, and the historical (to us) setting crops up in bits. In *The Bronze Boar* we have " a little ragged boy.... A boy who might have stood for typical Italy; he was so handsome, so merry, and yet so suffering." (not the only reference to Italy being poor in the collection; I'll have to look for more info.) In the same story I'm prompted to look for a painting by Angiolo (research reveals there was a typo here, it's Agnolo) Bronzino, of Christ descending to the nether regions, and the children in the painting being so filled with joy that they are going to Heaven. Again, in the same moderately interesting story, Andersen pays brief homage to Galileo, by describing his grave.
And of course I like the ending of *The Swineherd* because I often take the perspective of "As thou hast made thy bed, so must thou lie upon it!"
---
I have to record this read, April 2024, as a reread. But I read a different edition (), which included a few plates by Rackham & other more contemporary artists, and lots of old line drawings. This Wordsworth edition does have typos, and is not lavishly illustrated, and is very heavy. It has about 40 stories, not all of which are child-friendly. I still only recommend Emperor's New Clothes, Snow Queen, and Nightingale to modern audiences. The others are too pious, or too focused on equating the beautiful with the good, or are otherwise problematic/ dated.
But even the weakest or oddest stories have good lines. From *The Elf-Hill* - "the elf maidens had already begun to dance, and they danced a scarf dance, with scarves woven of mist and moonshine; these have a lovely effect to those who care for that kind of thing."
From *The Naughty Boy* (re' Cupid) - "Never have anything to do with him! He waylays everyone alike, and even your poor old grandmother did not escape his dart. It was a long time ago, and the effect has passed away, but that kind of thing is never forgotten. Fie, fie! wicked little Cupid! But now you know all about him, so beware!"
*The Galoshes of Fortune* is an interesting story. Long and odd for children, but I'm glad that I had this chance to read it, and, if you're interested, maybe you can find it online.
Oh, and the historical (to us) setting crops up in bits. In *The Bronze Boar* we have " a little ragged boy.... A boy who might have stood for typical Italy; he was so handsome, so merry, and yet so suffering." (not the only reference to Italy being poor in the collection; I'll have to look for more info.) In the same story I'm prompted to look for a painting by Angiolo (research reveals there was a typo here, it's Agnolo) Bronzino, of Christ descending to the nether regions, and the children in the painting being so filled with joy that they are going to Heaven. Again, in the same moderately interesting story, Andersen pays brief homage to Galileo, by describing his grave.
And of course I like the ending of *The Swineherd* because I often take the perspective of "As thou hast made thy bed, so must thou lie upon it!"
February 17, 2013
Andersen is probably best known today for 鈥淭he Little Mermaid,鈥� usually in the sense that children who have seen the Disney film often hear, from their friends, something to the effect of, 鈥淒id you know that she actually dies in the end.鈥� Andersen stories, more than any other traditional fairy tales, are filled with pathos and sadness, and end badly for their protagonists.
But to dismiss Andersen鈥檚 tales as 鈥渄ark鈥� fairy tales or, as seems to often be the case, a way to totally scar children forever, is truly to miss out on an incredible imaginary world, one so rich in meaning and elegantly constructed in lyrical language, and to which we mostly owe the aesthetic sensibilities we associate with fairy tales today. When you imagine a fairy tale, you don鈥檛 just see the beautiful princess and handsome suitor of the Grimms or Perrault, but the untainted, exquisite nature of Andersen, the warmth of a hearth, the sparkling of snow, the detail. No fairy tale writer before Andersen had been so literary.
Nunnally鈥檚 translation is faithful not only to the original language, but the poetic spirit of the original text. Yes, Andersen鈥檚 stories are brutal, but they are also gentle; merciless, but also sympathetic and tender. The ending of 鈥淭he Little Mermaid鈥� so often quoted is actually an invitation to children to be good. Like clapping your hands to bring a fairy back to life in Peter Pan, a good child helps shorten the mermaid鈥檚 sentence in purgatory and send her to heaven; it鈥檚 very beautiful, and if you bypass Andersen鈥檚 tales under the idea that they鈥檙e screwed up, as I almost did, you are missing out on one of the greatest children鈥檚 classics ever written.
But to dismiss Andersen鈥檚 tales as 鈥渄ark鈥� fairy tales or, as seems to often be the case, a way to totally scar children forever, is truly to miss out on an incredible imaginary world, one so rich in meaning and elegantly constructed in lyrical language, and to which we mostly owe the aesthetic sensibilities we associate with fairy tales today. When you imagine a fairy tale, you don鈥檛 just see the beautiful princess and handsome suitor of the Grimms or Perrault, but the untainted, exquisite nature of Andersen, the warmth of a hearth, the sparkling of snow, the detail. No fairy tale writer before Andersen had been so literary.
Nunnally鈥檚 translation is faithful not only to the original language, but the poetic spirit of the original text. Yes, Andersen鈥檚 stories are brutal, but they are also gentle; merciless, but also sympathetic and tender. The ending of 鈥淭he Little Mermaid鈥� so often quoted is actually an invitation to children to be good. Like clapping your hands to bring a fairy back to life in Peter Pan, a good child helps shorten the mermaid鈥檚 sentence in purgatory and send her to heaven; it鈥檚 very beautiful, and if you bypass Andersen鈥檚 tales under the idea that they鈥檙e screwed up, as I almost did, you are missing out on one of the greatest children鈥檚 classics ever written.
July 27, 2018
Il ritmo di lettura serrato in quest鈥檕ccasione non ha certo giovato ad un lavoro del genere, ma non 猫 nemmeno andato ad incidere particolarmente su quella che comunque sarebbe stata la mia valutazione finale. Sono ben 156 i titoli all鈥檌nterno del volume, eppure non mi sento cos矛 鈥渁rricchito鈥� dopo l鈥檈sperienza. Ammetto che il mio approccio non 猫 stato il medesimo con tutte quante le storie, le pi霉 blasonate diciamo, avevano da parte mia un occhio di riguardo in pi霉鈥� ma anche un鈥檃spettativa maggiore. Per le altre 猫 stato diverso, godevano del beneficio del dubbio ma pagavano lo scotto di essere in mezzo a tante altre che avrei dovuto leggere in un lasso di tempo cos矛 breve (per via di una gara di lettura e di una mia decisione non troppo azzeccata ^^鈥�).
In generale posso dire di aver riscontrato le solite caratteristiche, morali e non, che accompagnano fiabe e racconti simili appartenenti alla tradizione europea, non filtrati dai rimaneggiamenti moderni atti a renderli pi霉 soft e commerciali. Il primo esempio che mi viene in mente 猫 quello della sirenetta, ce la vedete voi una Ariel a cui viene mozzata la lingua come nella storia scritta da Andersen?!
Questo 猫 l鈥檃spetto che pi霉 di tutti stimola il mio interesse nei confronti delle fiabe, non intendo quello truce, ma le differenze che posso scoprire su queste pagine. Una sorta di versione non censurata dell鈥檕riginale cos矛 com鈥檈ra stato concepito. Debbo dire per貌 che l鈥檈sito non si 猫 sempre rivelato cos矛 soddisfacente e, vuoi per la brevit脿 di alcune, vuoi per il dilungarsi in modo relativamente utile di altre, vuoi per quel certo non so che鈥� in pi霉 di un鈥檕ccasione a mio avviso le trasposizioni moderne hanno avuto la meglio sulla vecchia scuola. Trova qui conferma il detto: 鈥渃hi accresce la propria conoscenza accresce anche il proprio dolore鈥�, perch茅 l鈥檌mmaginario di alcune storie ormai radicate in me sin dall鈥檌nfanzia ha perso un po鈥� della sua magia, causandomi pi霉 dispiacere che delusione. Spesso dopo letture del genere mi ritrovo pentito di aver perso il tal titolo cos矛 come lo idealizzavo in cambio di una grama realt脿, eppure paradossalmente continuo a farne :P
Il resto dei racconti ha suscitato in me scarso interesse, non so se per colpa mia: non appartenendo al mio bagaglio culturale veniva a mancare la spinta motivazionale del confronto; o se per colpa loro: se gli altri sono cos矛 famosi e loro no un motivo c鈥櫭�; fatto sta che mi sono apparsi semplicemente come una marea di riempitivi che hanno esageratamente appesantito il tomo. Non fraintendetemi, c鈥櫭� anche roba buona ma niente che avesse quella 鈥榮ingolarit脿鈥� tale da fargli meritare le luci della ribalta.
Lettura parecchio impegnativa e dall鈥檈sito discreto, per貌 me la sono andata a cercare XD
In generale posso dire di aver riscontrato le solite caratteristiche, morali e non, che accompagnano fiabe e racconti simili appartenenti alla tradizione europea, non filtrati dai rimaneggiamenti moderni atti a renderli pi霉 soft e commerciali. Il primo esempio che mi viene in mente 猫 quello della sirenetta, ce la vedete voi una Ariel a cui viene mozzata la lingua come nella storia scritta da Andersen?!
Questo 猫 l鈥檃spetto che pi霉 di tutti stimola il mio interesse nei confronti delle fiabe, non intendo quello truce, ma le differenze che posso scoprire su queste pagine. Una sorta di versione non censurata dell鈥檕riginale cos矛 com鈥檈ra stato concepito. Debbo dire per貌 che l鈥檈sito non si 猫 sempre rivelato cos矛 soddisfacente e, vuoi per la brevit脿 di alcune, vuoi per il dilungarsi in modo relativamente utile di altre, vuoi per quel certo non so che鈥� in pi霉 di un鈥檕ccasione a mio avviso le trasposizioni moderne hanno avuto la meglio sulla vecchia scuola. Trova qui conferma il detto: 鈥渃hi accresce la propria conoscenza accresce anche il proprio dolore鈥�, perch茅 l鈥檌mmaginario di alcune storie ormai radicate in me sin dall鈥檌nfanzia ha perso un po鈥� della sua magia, causandomi pi霉 dispiacere che delusione. Spesso dopo letture del genere mi ritrovo pentito di aver perso il tal titolo cos矛 come lo idealizzavo in cambio di una grama realt脿, eppure paradossalmente continuo a farne :P
Il resto dei racconti ha suscitato in me scarso interesse, non so se per colpa mia: non appartenendo al mio bagaglio culturale veniva a mancare la spinta motivazionale del confronto; o se per colpa loro: se gli altri sono cos矛 famosi e loro no un motivo c鈥櫭�; fatto sta che mi sono apparsi semplicemente come una marea di riempitivi che hanno esageratamente appesantito il tomo. Non fraintendetemi, c鈥櫭� anche roba buona ma niente che avesse quella 鈥榮ingolarit脿鈥� tale da fargli meritare le luci della ribalta.
Lettura parecchio impegnativa e dall鈥檈sito discreto, per貌 me la sono andata a cercare XD
December 31, 2009
I recently chose this book for my book cub. I love HCA fairy tales. They are so compelling and read as though you are sitting at the man's feet and he is telling them straight to you and guestering with his overly large hands. What was so great about reading them this time is this particular edition that is translated by Tiina Nunnally. It is incredible with it's bio of him in the front- a MUST read and the notes about each story in the back to conect it to a time and place in the authors life. Also, the translation is fantastic. At the begining of each story is a picture of one of HCA's many intricte paper cut outs that he often created, which inspired me to get creative as well. I like that you can read one story or all of them. Some stories are one page long and others are 30, so you can take or leave it based on your time limit. If you haven't read The Little Mermaid and only seen the Disney Movie then you are really missing out. One of the most heartbreaking love stories you will ever read. My personal favorite is Great Clause and Little Clause. I laughed out loud when I read in the back notes that "Andersen sanitizes the sexual innuendo of the traditional version by giving the farmer an irrational dislike of deacons, though the cuckold theme is clear to adult readers." As a kid I totally bought that the farmer just had an irrational dislike of deacons, and rereading them as an adult has just been a pleasure. He is the original to what Pixar is doing now with thier storytelling that will entertain kids, allow them to learn lessons, and have a lot of deep thinking and jokes specifically put in just for adults. Just a note to parents - Some of these stories can be somewhat graphic and if you have a very sensative child you might want to preview them first, these are not your sanatized Disney version, but that is what is great about them. Enjoy!! I have also included some quotes I like about fairy tales.
When I examine myself and my methods of thought, I come to the conclusion that the gift of fantasy has meant more to me than any talent for abstract, positive thinking.
- Albert Einstein (1879-1955)
When Albert Einstein was asked how to develop intelligence in young people, he answered: "Read fairy tales. Then read more fairy tales."
"Storytellers make us remember what mankind would have been like,
had not fear and the failing will and the laws of nature tripped up its heels."
-- W.B. Yeats
"In a utilitarian age, of all other times, it is a matter of grave importance that fairy tales should be respected."
-- Charles Dickens
When I examine myself and my methods of thought, I come to the conclusion that the gift of fantasy has meant more to me than any talent for abstract, positive thinking.
- Albert Einstein (1879-1955)
When Albert Einstein was asked how to develop intelligence in young people, he answered: "Read fairy tales. Then read more fairy tales."
"Storytellers make us remember what mankind would have been like,
had not fear and the failing will and the laws of nature tripped up its heels."
-- W.B. Yeats
"In a utilitarian age, of all other times, it is a matter of grave importance that fairy tales should be respected."
-- Charles Dickens
June 19, 2013
Saw this on the shelf at my library yesterday when I was browsing the audiobook selection, and used my 欧宝娱乐 barcode app to scan it in from when I listened to it several months ago. I mostly enjoyed this, although I didn't love all the stories and I kept falling asleep on others as I listened (a hazard associated with listening to audiobooks at bedtime). Listening to 'The Little Mermaid' brought back that sense of sadness and poignancy of reading this much-loved story as a child. There are other stories in this volume that are equally sad, such as "The Steadfast Tin Soldier,' which gives me some serious heartache. Although Andersen's stories are for a younger crowd than say, Grimms', there are some adult subject matter and themes here. At the same time, that sense of awe and enthusiasm that marks Hans Christian Andersen's storytelling gives these stories a lighter feel than the often gruesome and dark tone of many the real fairy tales (not the Disney versions). But I honestly think that fairy tales are almost essential to giving a child cultural development. It's nice to know that there is the option to play some of these fairy tales as audiobooks, although nothing beats reading a book with a child.
I wasn't able to finish this, since it was due back, but I listened to the bulk of it, and I feel I should be able to count it as read. I was glad to see this at my library and that I had the opportunity to enjoy it.
I wasn't able to finish this, since it was due back, but I listened to the bulk of it, and I feel I should be able to count it as read. I was glad to see this at my library and that I had the opportunity to enjoy it.
November 18, 2017
Andersen, nam谋 di臒er masallar谋n babas谋...
Bir zamanlar masallar谋 uykuya dalmadan 枚nce y眉zlerde tebess眉m b谋rakan g眉zel dinletiler zannederdim. B眉y眉d眉k莽e hayat kadar korkun莽 ve ger莽ek olduklar谋n谋 anlamaya ba艧lad谋m.
Bir zamanlar masallar谋 uykuya dalmadan 枚nce y眉zlerde tebess眉m b谋rakan g眉zel dinletiler zannederdim. B眉y眉d眉k莽e hayat kadar korkun莽 ve ger莽ek olduklar谋n谋 anlamaya ba艧lad谋m.
April 10, 2021
賰賳鬲 兀馗賳 兀賳 賰孬賷乇 賲賳 丕賱丨賰丕賷丕鬲 丕賱鬲賷 兀丨亘亘鬲賴丕 賮賷 賮鬲乇丞 丕賱胤賮賵賱丞 賴賷 丨賰丕賷丕鬲 卮毓亘賷丞 賲噩賴賵賱丞 丕賱賲丐賱賮貙 賵賱賲 兀賰賳 兀毓賱賲 兀賳賴丕 賲賳 鬲兀賱賷賮 賴丕賳夭 賰乇賷爻鬲賷賳 兀賳丿乇爻賳 廿賱丕 亘毓丿 賯乇丕亍丞 丕賱毓賲賱 丕賱丨丕賱賷
April 21, 2009
兀爻鬲賲鬲毓 亘賰賱 爻胤乇 賲賳 丨賰丕賷丕鬲 兀賳丿乇爻賳.. 丕賱乇噩賱 丕賱匕賷 禺賱賯 毓丕賱賲丕 賰丕賲賱丕 賲賳 兀爻丕胤賷乇 丕賱兀胤賮丕賱
November 1, 2020
Le fiabe di Andersen sono avvolte da un'infinit脿 di emozioni: possono essere nostalgiche, tristi, allegre, divertenti, spesso sono malinconiche, alcune arrivano a essere struggenti... Sono per貌 tutte intrise di una profonda umanit脿, di un'attenzione per le piccole cose e fortemente legate all'espressione dei sentimenti. Ci sono amore, amicizia, ma anche invidia, irrequietezza, desiderio. Oltre alle fiabe pi霉 famose ci sono tante piccole o grandi storie. Ci貌 che mi colpisce 猫 la capacit脿 di Andersen di ricavare dei racconti da qualunque cosa, come semplici oggetti di uso comune. Tutta la realt脿 che ci circonda racchiude in s茅 una storia da scoprire o da inventare, sta a noi riuscire a guardare oltre la superficie e trovare la magia che si nasconde intorno a noi. Credo che questo sia il potere delle fiabe, quello di ricongiungerci con una parte di noi che con la crescita e la maturit脿 tendiamo a perdere, impoverendoci.
Tutte le fiabe e le storie sono intrise di una forte componente cristiana che le priva un po' di universalit脿. Anche se non tutte sono perfettamente riuscite, alcune sono indimenticabilmente ricche di fascino e la gran parte incantano per la loro creativit脿.
Tutte le fiabe e le storie sono intrise di una forte componente cristiana che le priva un po' di universalit脿. Anche se non tutte sono perfettamente riuscite, alcune sono indimenticabilmente ricche di fascino e la gran parte incantano per la loro creativit脿.
September 2, 2018
賰丨賰丕賷丕鬲 丕賱噩賳賷賾丕鬲 丕賱噩賲賷賱丕鬲 賰丕賳鬲 鬲賱賰 丕賱乇丨賱丞 馃挋
July 31, 2012
What does one say about Andersen鈥檚 Fairy Tales, other than that they are a must read? All fantasy lovers should of course read it, because all fantasy has this sort of primal connection to early humanities鈥� fear of the dark forests. Everyone else should read it just to see how these tales have evolved into the modern stories that we all know now. I hear people constantly complaining the Disney teachers girls all the wrong lessons (and I have some very biting arguments about that, but another time), but what they should be doing is handing these stories out to kids instead. Kids need the whole story. They need to know that Ariel felt like she was walking on shards of broken glass when she walked on her feet, and they should know that Cinderella had her sisters dance to death in iron shoes. Why? Because Life is Pain, and anyone that tells you differently is trying to sell something. Sometimes the world can be dark, and scary, and these stories, more than Disney, will definitely teach you that. Sometimes the Match Girl dies alone in the cold, and sometimes, being a good, kind person, will save you from a horrible death. Both are good lessons.
April 2, 2017
Belle, belle, bellissime. Intense, delicate, soavi, alcune allegre altre tristi, ma tutte in grado portarti nel mondo dei sogni e dell'innocenza dell'infanzia.
- da Il ragazzaccio
鈥淎h, che ragazzaccio 猫 mai questo Amor! Lo voglio dire a tutti i bambini buoni, perch猫 se ne guardino, e non giochino mai con lui: gi脿, egli non farebbe loro che male...鈥� [...] Tutti i buoni fanciulli, ragazzine e ragazzini, ai quali raccont貌 il fatto, si tengono ora in guardia contro il cattivello; ma egli 猫 cos矛 scaltro ed accorto, che riesce sempre a burlarsi delle loro precauzioni.鈥�
- da La Sirenetta
鈥淟ontano lontano, in alto mare, l'acqua 猫 azzurra come i petali del pi霉 bel fiordaliso, e limpida come il pi霉 puro cristallo. Ma 猫 molto profonda, pi霉 profonda di ogni scandaglio; bisognerebbe mettere molti e molti campanili l'uno sopra l'altro per arrivare dal fondo sino alla superficie dell'acqua. E laggi霉, nel fondo, vive la gente del mare.鈥�
January 6, 2019
丕賱賯氐氐 賲賵噩賴丞 賱賱兀胤賮丕賱 賵賱賰賳 亘毓囟賴丕 兀賯爻賶 賲賳 兀賳 鬲賯氐賾 毓賱賶 兀胤賮丕賱貙 賵亘毓囟賴丕 丕賱丌禺乇 兀毓賲賯 賲賳 兀賳 賷爻鬲賵毓亘賴丕 毓賯賱 胤賮賱貙 賵賱賰賳 禺賱丕賱 賯乇丕亍鬲賷 賱賲 賷賰賳 亘亘丕賱賷 爻賵賶 賮賰乇丞 賵丕丨丿丞 賵賴賷 賱賵 兀賳 丿賷夭賳賷 丕禺鬲丕乇鬲 賳賴丕賷丕鬲 丕賱賯氐氐 丕賱丨賯賷賯賷丞 賱鬲睾賷乇鬲 賮賰乇鬲賳丕 毓賳 丕賱兀賲賷乇丞 丕賱噩賲賷賱丞 賵丕賱兀賲賷乇 丕賱賵爻賷賲
May 5, 2021
Antes de mais, e pondo de lado uma defini莽茫o hermen锚utica dos contos de fadas, que continua a ser objecto de discuss茫o entre os investigadores, podemos dividi-los, quanto 脿 sua g茅nese, em dois grupos. O primeiro grupo 茅 constitu铆do por obras que derivam exclusivamente da liberdade criativa dos seus autores. No segundo incluem-se aquelas que s茫o extensamente baseadas em adapta莽玫es de obras precedentes ou que retiram inspira莽茫o do folclore popular de um povo, transmitido por via oral de gera莽茫o em gera莽茫o. A este 煤ltimo pertencem respectivamente as 贵谩产耻濒补蝉 de La Fontaine, de um lado, e os Contos ou Hist贸rias dos Tempos Idos de Perrault, de que j谩 tive oportunidade de falar noutro lugar, e os Contos dos irm茫os Grimm, do outro. Do grupo inicial fazem parte as 贵谩产耻濒补蝉 de Esopo e os Contos de Andersen.
Na verdade, os Contos de Andersen est茫o para a contemporaneidade como as 贵谩产耻濒补蝉 de Esopo est茫o para a Antiguidade: um conjunto de contos de fadas escritos para os mais novos, contendo um substrato moral de cr铆tica social, de costumes e de valores que pretende entreter ao mesmo tempo que mune a crian莽a de uma s茅rie de li莽玫es de vida capazes de a enriquecer interiormente.
A presente edi莽茫o re煤ne vinte e sete dos cento e cinquenta e seis contos produzidos por Andersen, a saber: 鈥淎 Princesa e a Ervilha鈥�, 鈥淥 Fuzil鈥�, 鈥淎 Polegarzinha鈥�, 鈥淎 Sereiazinha鈥�, 鈥淥 Rei Vai Nu鈥�, 鈥淥 Valente Soldadinho de Chumbo鈥�, 鈥淥s Cisnes Bravos鈥�, 鈥淎 Mala Voadora鈥�, 鈥淥 Senhor Morfeu鈥�, 鈥淥 Porqueiro鈥�, 鈥淥 Rouxinol鈥�, 鈥淥 Patinho Feio鈥�, 鈥淎 Rainha da Neve鈥�, 鈥淥 Abeto鈥�, 鈥淗ist贸ria duma Agulha鈥�, 鈥淥 Lampi茫o Velho鈥�, 鈥淎 Casa Velha鈥�, 鈥淯ma Hist贸ria鈥�, 鈥溍� Tudo Verdade鈥�, 鈥淭agarelice de Crian莽as鈥�, 鈥淣o P谩tio鈥�, 鈥淥 Que Faz o Velho 茅 Sempre Bem Feito鈥�, 鈥淥 Homem de Neve鈥�, 鈥淎 Moeda de Prata鈥�, 鈥淧or Ser Passado N茫o 茅 Esquecido鈥�, 鈥淗ist贸ria de Um Cardo鈥� e 鈥淎 Pulga e o Professor鈥�. V谩rias destas hist贸rias, como 鈥淎 Polegarzinha鈥�, 鈥淎 Sereiazinha鈥�, 鈥淥 Rei Vai Nu鈥� ou 鈥淥 Valente Soldadinho de Chumbo鈥�, fazem parte integrante do repert贸rio liter谩rio ocidental. Outras tantas, como a 鈥淎 Princesa e a Ervilha鈥� ou 鈥淥 Rouxinol鈥�, preenchem o nosso imagin谩rio colectivo de tal forma que a no莽茫o da sua autoria foi j谩 perdida.
Hans Christian Andersen era uma crian莽a pobre, aprendiz de tecel茫o e de alfaiate, a quem foi dada a oportunidade de estudar 鈥� devido a uma bolsa institu铆da pelo rei da Dinamarca 鈥�, que nunca permitiu que o seu Eu de menino fosse abafado ou silenciado. Viveu uma vida solit谩ria, apaixonando-se frequentemente por mulheres inacess铆veis, de quem nunca p么de verdadeiramente aproximar-se. Os exegetas da sua obra foram capazes de decifrar vest铆gios desses desgostos em v谩rios dos seus contos, sendo 鈥淎 Rainha da Neve鈥� o mais evidente. Contudo, a grande maioria das hist贸rias deve a sua concep莽茫o ao penetrante poder de observa莽茫o de Christian Andersen das realidades sociais e da natureza humana das pessoas envolventes. A mestria de Andersen consistiu em verter essas observa莽玫es para contos de fadas, aparentemente in贸cuos e inocentes, mesclados de maravilhoso, recorrendo 脿 fantasia com situa莽玫es do quotidiano com vista 脿 passagem de uma moral.
Outro dos encantos dos Contos de Andersen 茅 a imensa plasticidade metaf贸rica das suas hist贸rias, que se prestam facilmente a interpreta莽玫es de car谩cter intimista. A t铆tulo pessoal, 鈥淎 Sereiazinha鈥�, melhor conhecida como 鈥淎 Pequena Sereia鈥�, 茅-me particularmente cara. Sempre considerei o pungente amor e curiosidade da Pequena Sereia pelo mundo fora do mar como a met谩fora perfeita para o historiador: aquele que ama sinceramente o passado sem nunca o ter visto directamente, imbu铆do de um vivo interesse por todos os pormenores de um mundo de antanho que nunca poder谩 visitar. A pequena colec莽茫o de itens humanos da Sereia 茅 um exemplo flagrante: objectos de uma realidade espacial e temporal directamente inalcan莽谩vel, que apenas pode ser contemplada/estudada atrav茅s deles, como os nossos livros e registos hist贸ricos ou locais arqueol贸gicos.
Apesar de ter sido demolido pela cr铆tica liter谩ria aquando da publica莽茫o das suas primeiras hist贸rias, Andersen cedo alcan莽ou o sucesso junto do p煤blico. Tal aclama莽茫o, n茫o obstante a qualidade liter谩ria da sua obra, n茫o pode ser destrin莽ada do per铆odo em que foi publicada. O s茅culo XIX, sobretudo a primeira metade, foi um momento particularmente desolador e sem esperan莽a para largos sectores da sociedade europeia. A Revolu莽茫o Industrial, em conjunto com o liberalismo, desregulador das velhas formas de protec莽茫o social e laboral do Antigo Regime, foram os respons谩veis pela explora莽茫o das vastas hordas de camponeses desenraizados que assolavam ent茫o 脿s cidades, em busca de uma vida melhor. Dias de trabalho de 12h a 16 horas, sal谩rios miser谩veis, precariedade contratual e at茅 inexist锚ncia de subs铆dios de desemprego e pens玫es de reforma, eram a regra comum. Esta realidade tenebrosa tinha j谩 o seu paladino em Charles Dickens, de quem, ali谩s significativamente, Christian Andersen se tornou amigo. Contudo, o p煤blico necessitava ainda de algu茅m que o reconfortasse com belas hist贸rias que lhe permitissem recuperar a inoc锚ncia perdida e manter a sanidade num ambiente asfixiante. A obra de Andersen veio preencher, precisamente, essa necessidade.
S茫o in煤meras as colect芒neas e antologias dos contos de Andersen. Todavia, poucas s茫o as edi莽玫es dos contos completos. O C铆rculo de Leitores lan莽ou em 2005, aquando do bicenten谩rio do nascimento do autor, uma edi莽茫o ilustrada por Nikolaus Heidelbach e traduzida por Maria N贸voa, que n茫o me foi poss铆vel confirmar se cont茅m os cento e cinquenta e seis contos. N茫o obstante, em 2015, a Temas e Debates, chancela do C铆rculo de Leitores, editou os Contos de Andersen em vers茫o integral, recuperando as tradu莽玫es de Maria N贸voa e acrescentando-lhe outras de Lu铆s Oliveira e Jo茫o Quina.
Na verdade, os Contos de Andersen est茫o para a contemporaneidade como as 贵谩产耻濒补蝉 de Esopo est茫o para a Antiguidade: um conjunto de contos de fadas escritos para os mais novos, contendo um substrato moral de cr铆tica social, de costumes e de valores que pretende entreter ao mesmo tempo que mune a crian莽a de uma s茅rie de li莽玫es de vida capazes de a enriquecer interiormente.
A presente edi莽茫o re煤ne vinte e sete dos cento e cinquenta e seis contos produzidos por Andersen, a saber: 鈥淎 Princesa e a Ervilha鈥�, 鈥淥 Fuzil鈥�, 鈥淎 Polegarzinha鈥�, 鈥淎 Sereiazinha鈥�, 鈥淥 Rei Vai Nu鈥�, 鈥淥 Valente Soldadinho de Chumbo鈥�, 鈥淥s Cisnes Bravos鈥�, 鈥淎 Mala Voadora鈥�, 鈥淥 Senhor Morfeu鈥�, 鈥淥 Porqueiro鈥�, 鈥淥 Rouxinol鈥�, 鈥淥 Patinho Feio鈥�, 鈥淎 Rainha da Neve鈥�, 鈥淥 Abeto鈥�, 鈥淗ist贸ria duma Agulha鈥�, 鈥淥 Lampi茫o Velho鈥�, 鈥淎 Casa Velha鈥�, 鈥淯ma Hist贸ria鈥�, 鈥溍� Tudo Verdade鈥�, 鈥淭agarelice de Crian莽as鈥�, 鈥淣o P谩tio鈥�, 鈥淥 Que Faz o Velho 茅 Sempre Bem Feito鈥�, 鈥淥 Homem de Neve鈥�, 鈥淎 Moeda de Prata鈥�, 鈥淧or Ser Passado N茫o 茅 Esquecido鈥�, 鈥淗ist贸ria de Um Cardo鈥� e 鈥淎 Pulga e o Professor鈥�. V谩rias destas hist贸rias, como 鈥淎 Polegarzinha鈥�, 鈥淎 Sereiazinha鈥�, 鈥淥 Rei Vai Nu鈥� ou 鈥淥 Valente Soldadinho de Chumbo鈥�, fazem parte integrante do repert贸rio liter谩rio ocidental. Outras tantas, como a 鈥淎 Princesa e a Ervilha鈥� ou 鈥淥 Rouxinol鈥�, preenchem o nosso imagin谩rio colectivo de tal forma que a no莽茫o da sua autoria foi j谩 perdida.
Hans Christian Andersen era uma crian莽a pobre, aprendiz de tecel茫o e de alfaiate, a quem foi dada a oportunidade de estudar 鈥� devido a uma bolsa institu铆da pelo rei da Dinamarca 鈥�, que nunca permitiu que o seu Eu de menino fosse abafado ou silenciado. Viveu uma vida solit谩ria, apaixonando-se frequentemente por mulheres inacess铆veis, de quem nunca p么de verdadeiramente aproximar-se. Os exegetas da sua obra foram capazes de decifrar vest铆gios desses desgostos em v谩rios dos seus contos, sendo 鈥淎 Rainha da Neve鈥� o mais evidente. Contudo, a grande maioria das hist贸rias deve a sua concep莽茫o ao penetrante poder de observa莽茫o de Christian Andersen das realidades sociais e da natureza humana das pessoas envolventes. A mestria de Andersen consistiu em verter essas observa莽玫es para contos de fadas, aparentemente in贸cuos e inocentes, mesclados de maravilhoso, recorrendo 脿 fantasia com situa莽玫es do quotidiano com vista 脿 passagem de uma moral.
Outro dos encantos dos Contos de Andersen 茅 a imensa plasticidade metaf贸rica das suas hist贸rias, que se prestam facilmente a interpreta莽玫es de car谩cter intimista. A t铆tulo pessoal, 鈥淎 Sereiazinha鈥�, melhor conhecida como 鈥淎 Pequena Sereia鈥�, 茅-me particularmente cara. Sempre considerei o pungente amor e curiosidade da Pequena Sereia pelo mundo fora do mar como a met谩fora perfeita para o historiador: aquele que ama sinceramente o passado sem nunca o ter visto directamente, imbu铆do de um vivo interesse por todos os pormenores de um mundo de antanho que nunca poder谩 visitar. A pequena colec莽茫o de itens humanos da Sereia 茅 um exemplo flagrante: objectos de uma realidade espacial e temporal directamente inalcan莽谩vel, que apenas pode ser contemplada/estudada atrav茅s deles, como os nossos livros e registos hist贸ricos ou locais arqueol贸gicos.
Apesar de ter sido demolido pela cr铆tica liter谩ria aquando da publica莽茫o das suas primeiras hist贸rias, Andersen cedo alcan莽ou o sucesso junto do p煤blico. Tal aclama莽茫o, n茫o obstante a qualidade liter谩ria da sua obra, n茫o pode ser destrin莽ada do per铆odo em que foi publicada. O s茅culo XIX, sobretudo a primeira metade, foi um momento particularmente desolador e sem esperan莽a para largos sectores da sociedade europeia. A Revolu莽茫o Industrial, em conjunto com o liberalismo, desregulador das velhas formas de protec莽茫o social e laboral do Antigo Regime, foram os respons谩veis pela explora莽茫o das vastas hordas de camponeses desenraizados que assolavam ent茫o 脿s cidades, em busca de uma vida melhor. Dias de trabalho de 12h a 16 horas, sal谩rios miser谩veis, precariedade contratual e at茅 inexist锚ncia de subs铆dios de desemprego e pens玫es de reforma, eram a regra comum. Esta realidade tenebrosa tinha j谩 o seu paladino em Charles Dickens, de quem, ali谩s significativamente, Christian Andersen se tornou amigo. Contudo, o p煤blico necessitava ainda de algu茅m que o reconfortasse com belas hist贸rias que lhe permitissem recuperar a inoc锚ncia perdida e manter a sanidade num ambiente asfixiante. A obra de Andersen veio preencher, precisamente, essa necessidade.
S茫o in煤meras as colect芒neas e antologias dos contos de Andersen. Todavia, poucas s茫o as edi莽玫es dos contos completos. O C铆rculo de Leitores lan莽ou em 2005, aquando do bicenten谩rio do nascimento do autor, uma edi莽茫o ilustrada por Nikolaus Heidelbach e traduzida por Maria N贸voa, que n茫o me foi poss铆vel confirmar se cont茅m os cento e cinquenta e seis contos. N茫o obstante, em 2015, a Temas e Debates, chancela do C铆rculo de Leitores, editou os Contos de Andersen em vers茫o integral, recuperando as tradu莽玫es de Maria N贸voa e acrescentando-lhe outras de Lu铆s Oliveira e Jo茫o Quina.
May 11, 2025
A lovely introduction to these delightful tales for young audiences. The artwork in this particular collection is sensational, what my artist husband likes to call 'eye candy'. Once you start looking at these watercolor pictures, you become addicted to their ethereal beauty and don't want to look at anything else. My favorites were The Snow Queen, The Little Mermaid and The Matchgirl as far as the artwork goes. That those stories happen to be favorites anyway, just increased my appreciation for them.
This collection contains 8 tales, written in simplified language for young readers. I got two copies of this book, one for each of my daughters for Mother's Day. Their oldest children are already familiar with a few of Andersen's stories, one of which is in here, The Princess and the Pea, so this seemed the next step short of the total collection.
Highly recommended!
This collection contains 8 tales, written in simplified language for young readers. I got two copies of this book, one for each of my daughters for Mother's Day. Their oldest children are already familiar with a few of Andersen's stories, one of which is in here, The Princess and the Pea, so this seemed the next step short of the total collection.
Highly recommended!
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