how hans christian andersen revolutionized storytelling, plus the best illustrat.pdf
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8/12/2019 How Hans Christian Andersen Revolutionized Storytelling, Plus the Best Illustrat.pdf
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How Hans Christian AndersenRevolutionized Storytelling, Plus the Best
Illustrations from 150 Years of His BelovedFairy Talesby Maria Popova
“Andersen had the ability to articulate desires petty and
profound and make them into transcendent tales.”
“When people talk listen completely,” Hemingway
counseled in his advice on how to be a writer .More than a century earlier, a little boy in
Denmark, born into poverty to a shoemaker father
and an illiterate washerwoman mother, was
spending his days listening to the old women in
the local insane asylum as they spun their yarn and
spun their tales to pass the time. This unusual hub
of peasant storytelling in the oral tradition of
folklore became his laboratory for listening, out of
which he would later concoct his own stories —
stories beloved the world over, which have raised generations of children into a whimsical world of imaginative play. Hans Christian
Andersen thus used that singular talent of listening to lift himself out of poverty and
into international celebrity, becoming one of history’s greatest storytellers and the
patron saint of the fairy tale genre.
Two years after Taschen’s visual treasure celebrating The Fairy Tales of the Brothers
Grimm, one of the best picturebooks of 2011, comes The Fairy Tales of Hans
Christian Andersen ( public library) — a handsome fabric-bound tome culling twenty
three of Andersen’s most beloved fairy tales, including “The Emperor’s New Clothes
“The Little Mermaid,” “The Ugly Duckling,” “The Snow Queen,” and “The Princessand the Pea.” Accompanying the tales are some of history’s most beautiful
illustrations of Andersen by artists of various nationalities, featuring such masters as
Kay Nielsen, whose vintage illustrations of Scandinavian fairy tales are some of the
most striking art you’ll ever see, Harry Clarke, whose drawings for Edgar Allan
Poe’s Tales of Mystery and Imagination remain timelessly haunting, and young
Maurice Sendak in his formative years as an artist.
My favorite illustrations come from a duo of female artists, Katharine Beverley and
Elizabeth Ellender, working together in the 1920s and 1930s — the sort of work that
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amount:
abors of love
incorporates, even pioneers, elements of graphic design just as the discipline was bein
coined — the influence of which can even be seen in contemporary art such as Jillian
Tamaki’s illustrations of Irish myths and legends:
Illustration for 'The Snow Queen' by Katharine Beverley and Elizabeth Ellender,1929
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Illustration for 'The Snow Queen' by Katharine Beverley and Elizabeth Ellender,1929
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Illustration for 'The Snow Queen' by Katharine Beverley and Elizabeth Ellender,1929
Beyond the beautiful art, however, what made — and keeps — Andersen a singular
force of storytelling is something else: Unlike the Grimms — literary scholars and
linguists who, rather than traveling the countryside to gather first-hand oral folktales,
relied on a handful of trusted sources — Andersen came of age as a peasant amidst a
highly superstitious society, in a small town of 8,000 more akin to a medieval city
than a European hub of culture, in which tales were used as both entertainment and moral education. Not only were his stories authentic culturally, they were also largely
his own — also unlike the Grimms, who retold existing tales, historians estimate tha
only seven of Andersen’s 200 tales were borrowed.
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Illustration for 'The Darning Needle' by Maurice Sendak, 1959
From a young age, Hans felt a deep sense of loneliness and inadequacy, finding refug
in the asylum’s spinning room while his peers took to the playground. Luckily, his
father, poor as he was, loved literature and owned a cupboard of books — rare luxur
given both the family’s income and their cultural environment. Though he died when
Hans was only eleven, he would read the little boy stories and plays constantly,
providing him with a makeshift education at once uncommon and unlikely. Later,
writing in his diary, Hans described reading as his “sole and most beloved pastime.”
was this confluence of reading and listening that made him the great storyteller he
became. Editor Noel Daniel writes in the introduction:
Reading suited Andersen’s temperament and powers of imagination to a T.
But Andersen was also a great listener — in the spinning room of the asylum
to his father’s story time, to the actors of the theater he adored. He listened
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Hans Christian Andersen Revolutionized Storytelling, Plus the Best Illustrations from 150 Years of His Beloved Fairy Tales | Brain Pickings
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acutely to the characters and voices around him, and it trained his ear. He
developed an inner ear for the sights and sounds of whole imaginary worlds,
like the haughty tone of the deluded sewing needle in “The Darning Needle,” the emperor’s comical inner monologue of self-doubt in “The Emperor’s New
Clothes,” or the little silver bells in the palace that “tinkled so that no one could
pass by without noticing them” in “The Nightingale.”
Illustration for 'The Nightingale' by Ukrainian artist Georgi Ivanovich Narbut,1912
8/12/2019 How Hans Christian Andersen Revolutionized Storytelling, Plus the Best Illustrat.pdf
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Illustration for 'The Steadfast Tin Soldier' by Kay Nielsen, Danish, 1924
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Illustration for 'The Steadfast Tin Soldier' by Kay Nielsen, Danish, 1924
Most compelling of all his tales, however, is Andersen’s own rags-to-riches story:
Poor commonfolk as he was by birth, he was relentlessly determined to be a success.
Daniel writes:
‘I will become famous,’ Andersen wrote in his diary, underscoring that his
professional drive to greatness was not the polite narcissism of the restrained
and well educated. His drive to greatness ran deep in the troubled psychic
waters of his soul. Rarly on, his patrons recognized a powerful self-confidence
in Andersen. He possessed a gritty drive to perform, a marvelous soprano
voice (before it cracked), a gift for telling stories, and, along with all of this, an
irritating ego.
[…]
Part of Andersen’s genius lay in his ability to somehow perceive, while growin
up in the poorest corner of Odense, that high society was mobile enough that
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he cracked it, he would go far. He armored himself with steely ambition, an
electric imagination, and not an ounce of stage fright. . . .
Illustration for 'The Little Mermaid' by Czech artist Josef Palecek, 1981
Modern psychology could easily reverse-engineer the two things that made Andersen
live up to his aspiration: On the one hand, the creative power of “positive constructiv
daydreaming” as he escaped into the spinning room and learned to listen, and his
unrelenting grit on the other. Even so, to break into high society, he still had to endu
the humiliating ghost of his socioeconomic caste and to cultivate that vital capacity fo
courage in the face of rejection. Daniel explains:
Royal patronage dependent on good breeding and connections was way ou
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of Andersen’s league, and his path to success was fraught with deprivation an
repeated rejection. But incredibly, he persisted. Ultimately, he was noticed by
the director of the Royal Theater, Jonas Collin, who helped secure a royal
stipend for the teenager. What followed was a painful five-year period of bein
schooled with eleven-year-olds when Andersen was seventeen at the
insistence of his sponsors. They had demanded that he either get a proper
education before advancing as a writer, or go home and learn a trade. The
latter had been the fate of his father and was absolutely out of the question fo
Andersen.
One of the earliest illustrations of Andersen's fairy tales, by British artist Eleanor Vere Boyle for an 1872 edition of 'Thumbelina'
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Illustration for 'The Swineherd' by Swedish artist Einar Nerman, 1923
And yet despite the humiliation, Andersen found in the experience just enough
positive reinforcement to plow forward. Thanks to Denmark’s monarchic rule, thecountry — unlike its European peers, intensely focused on politic and economic
development — was in the midst of a Golden Age of creative culture and the arts, so
with Collin’s help, Andersen was able to secure an artist’s allowance, which gave him
some freedom to hone his writing. But even when he did eventually break into the
upper ranks of society through his tireless efforts — in his lifetime, he would become
Denmark’s most renowned author and would frequently keep the company of kings —
Andersen remained weighed down by his uneasy sense of insufficiency, the same
feeling of un-belonging that drove him to the spinning room while his friends played
outside. Daniel puts it beautifully, if heartbreakingly:
Andersen was forever dancing between self-assuredness and feelings of
inferiority and emotional vulnerability. He never escaped feeling unequal to the
royals, celebrities, and dignitaries he socialized with as his fame grew, writing
his diary, “I had and still have a feeling as though I were a poor peasant lad
over whom a royal mantle is thrown.”
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Illustration for 'The Ugly Duckling' by Dutch artist Theo van Hoytema, 1893
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Illustration for 'The Ugly Duckling' by Dutch artist Theo van Hoytema, 1893
So when he wrote in The Ugly Duckling that “being born in a duck yard does not
matter, if only you are hatched from a swan’s egg,” Andersen was making an oblique
melancholy comment about his own journey. Perhaps it was out of this feeling,
coupled with his ability to “listen completely” and remain in touch with his own
childlike openness to the experience of the world, that he invented a whole new
sensibility of children’s storytelling, which Daniel so aptly terms “children’s stories
for children’s sake” — a radical shift from the tradition of morality tales that precede
Andersen, and far removed from the Grimms’ academic interest in language and
imagery. Instead, Andersen crafted tales that were both dreamy and warmly relatable
to children, building worlds at once emotionally complex and driven by an intuitive
logic. Daniel captures the uniqueness of Andersen’s microcosm:
Contemporary readers might find it hard to imagine just how different
Andersen’s tales were from those before him. They were beautifully paced
and passionate, at times sorrowful and full of pathos, and at other times
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wickedly funny. Simply put, they were a pleasure to read, and they spoke
directly to children’s sensibilities rather than condescending to them.
[…]
While his introspection and sensitivity were imperfectly calibrated to the
demands of his own life, Andersen had the ability to articulate desires petty an
profound and make them into transcendent tales.
Illustrations by Japanese artist Takeo Takei, 1928
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//www.brainpickings.org/index.php/2013/11/18/taschen-the-fairy-tales-ofhans-christian-andersen/[31-01-2014 22:59:48]
Illustrations by Japanese artist Takeo Takei, 1928
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Illustrations by Japanese artist Takeo Takei, 1928
Andersen is even credited with exploring the unconscious long before Freud’s semina
studies and presaging the sensibilities of twentieth-century Surrealism. Though Danie
doesn’t draw the connection, it’s easy to see even the seedlings of New Journalism in
Andersen’s focus on the subjective, which Daniel does note:
Andersen imbues a simple inkstand, a toy soldier, a bird, a pea, a spinning to
with their own drives, blind spots, desires, arrogances, and courage.
Andersen’s characters are humanlike in their passions as well as their frailties
and often have a slightly kinked perspective, unable to see their real fate or
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position, as if Andersen was shining a light on the limitations of our own huma
subjectivity. In this way, perhaps the real subject of his tales is the inescapable
condition of subjectivity as the essence of human experience.
Illustration for 'The Snow Queen' by Katharine Beverley and Elizabeth Ellender,1929
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//www.brainpickings.org/index.php/2013/11/18/taschen-the-fairy-tales-ofhans-christian-andersen/[31-01-2014 22:59:48]
Illustration for 'The Snow Queen' by Katharine Beverley and Elizabeth Ellender,1929
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//www.brainpickings.org/index.php/2013/11/18/taschen-the-fairy-tales-ofhans-christian-andersen/[31-01-2014 22:59:48]
Illustration for 'The Snow Queen' by Katharine Beverley and Elizabeth Ellender,1929
The Fairy Tales of Hans Christian Andersen is absolutely exquisite, both as a typic
Taschen masterwork of visual craftsmanship and as a timeless cultural treasure of
storytelling by and meta-storytelling about one of history’s greatest creative heroes.
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