BLACKWOOD'S

EDINBURGH MAGAZINE.

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No. CCCLXXXIV.    OCTOBER, 1847.    Vol. LXII.

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Contents

• HANS CHRISTIAN ANDERSEN 387
• The Emperors New Clothes 406
• THE VISION OF CAGLIOSTRO 408
• Tiberius 411
• Agrippa 413
• Milton 415
• Mirabeau 417
• Beethoven 419
• MAGA IN AMERICA 422
• THE TIMES OF GEORGE II 431
• ART IN THE EARLY CHRISTIAN AGES 446
• THE PORTRAIT 457
• Chapter I 457
• Chapter II 475
• HOUNDS AND HORSES AT ROME 485
• English Kennel 485
• The Steeple-chase 487
• Roman Dogs 489
• SONG 493
• MY FRIEND THE DUTCHMAN 494

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WORKS OF HANS CHRISTIAN ANDERSEN.[1]

If our readers have perchance stumbled upon a novel called "The Improvisatore" by one Hans Christian

Andersen, a Dane by birth, they have probably regarded it in the light merely of a foreign importation to assist in supplying the enormous annual consumption of our circulating libraries, which devour books as fast as our mills do raw cotton;—with some difference, perhaps, in the result, for the material can rarely be said to be worked up into any thing like substantial raiment for body or mind, but seems to disappear altogether in the process. As the demand, here, exceeds all ordinary means of supply, they may have been glad to see that our trade with the North is likely to be beneficial to us, in this our intellectual need. Its books may not be so durable as its timber, nor so substantial as its oxen, but then they are articles of faster growth, and of easier transportation. To free-trade in these productions of the literary soil, not the most jealous protectionist will object; and they have, perhaps, been amused to observe how the mere circumstance of a foreign origin has given a cheap repute, and the essential charm of novelty, to materials which in themselves were neither good nor rare. The popular prejudice deals very differently with foreign oxen and foreign books; for, whereas an Englishman has great difficulty in believing that good beef can possibly be produced from any pastures but his own, and the outlandish beast is always looked upon with more or less suspicion, he has, on the contrary, a highly liberal prejudice in favour of the book from foreign parts; and nonsense of many kinds, and the most tasteless extravagancies, are allowed to pass unchallenged and unreproved, by the aid of a German, or French, or Danish title-page.

Nay, the eye is sometimes tasked to discover extraordinary beauty, where there is nothing but extraordinary blemish. Where the shrewd translator had veiled some absurdity or rashness of his author, the more profound reader has been known to detect a meaning and a charm, which "the English language had failed adequately to convey;" and he has, perhaps, shown a sovereign contempt for "the bungling translator," at the very time when that discreet workman had most displayed his skill and judgment. The idea has sometimes occurred to us—Suppose one of these foreign books were suddenly proved to be of genuine home production—suppose the German, or the Dane, or the Frenchman, were discovered to be a fictitious personage, and all the genius, or all the rant, to have really emanated from the English gentleman, or lady, who had merely professed to translate—presto! how the book would instantly change colours! What a reverse of judgment would there be! What secret misgivings would now be detected and proclaimed! What sudden outpourings of epithets by no means complimentary! How the boldness of many a metaphor would be transformed into sheer impudence! How the profundities would clear up, leaving only darkness behind! They were so mysterious—and now, throw all the light of heaven upon them, and there is nothing there but a blunder or a blot.

If our readers, we say, have fallen upon this, and other novels of Andersen, they have probably passed them by as things belonging to the literary season: they have been struck with some passages of vivid description, with touches of genuine feeling, with traits of character which, though imperfectly delineated, bore the impress of truth; but they have pronounced them, on the whole, to be unfashioned things, but half made up, constructed with no skill, informed by no clear spirit of thought, and betraying a most undisciplined taste. Such, at least, was the impression their first perusal left upon our mind. Notwithstanding the glimpses of natural feeling and of truthful portraiture which caught our eye, they were so evidently deficient in some of the higher qualities which ought to distinguish a writer, and so defaced by abortive attempts at fine writing, that they hardly appeared deserving of a very critical examination, or a very careful study. But now there has lately come into our hands the autobiography of Hans Christian Andersen, "The True Story of my Life," and this has revealed to us so curious an instance of intellectual cultivation, or rather of genius exerting itself without any cultivation at all, and has reflected back so strong a light, so vivid and so explanatory, on all his works, that what we formerly read with a very mitigated admiration, with more of censure than of praise, has been invested with quite a novel and peculiar interest. Moreover, certain tales for children have also fallen into our hands, some of which are admirable. We prophesy them an immortality in the nursery—which is not the worst immortality a man can Win—and doubt not but that they have already been read by children, or told to children, in every language of Europe. Altogether Andersen, his character and his works, have thus appeared to us a subject worthy of some attention.

We insist upon coupling them together. We must be allowed to abate somewhat of the austerity of criticism by a reference to the life of the author. We cannot implicitly follow the unconditioned admiration of Mrs Howitt for "the beautiful thoughts of Andersen," which she tells us in her preface to the Autobiography, "it is the most delightful of her literary labours to translate." We must be excused if we think that the mixture of praise and of puff, which the lady lavishes so indiscriminately upon the author whose works she translates, is more likely to display her own skill and dexterity in author-craft, than permanently to enhance the fame of Andersen. In the works which Mrs Howitt has translated, (with the exception of the Autobiography,) there is a great proportion of most unquestionable trash, which, we should imagine, it must be a great affliction to render into English.

It is curious, and perhaps necessary, to watch this new relationship which has sprung up in the world of letters, between the original author and his translator. A reciprocity of services is always amiable, and one is glad to see society enriched by another bond of mutual amity. The translator finds a profitable commodity in the genius of his author; the author, a stanch champion in his foreign ally, who, notwithstanding his community of interest, can still praise without blushing. Many good results doubtless arise from this alliance, but an increased chance of impartial criticism is not likely to be one of them.

When Andersen writes for childhood or of childhood, he is singularly felicitous—fanciful, tender, and true to nature. This alone were sufficient to separate him from the crowd of common writers. For the rest of his works, if you will look at them kindly, and with a friendly scrutiny, you will find many a natural sentiment vividly reflected. But traces of the higher operations of the intellect, of deep or subtle thought, of analytic power, of ratiocination of any kind, there is absolutely none. If, therefore, his injudicious admirers should insist, without any reference to his origin or culture, on extolling his writings as works submitted, without apology or excuse, to the mature judgment and formed taste—they can only peril the reputation they seek to magnify. They will expose to ridicule and contempt one who, if you allow him a place apart by himself, becomes a subject of kindly and curious regard. If they insist upon his introduction, unprotected by the peculiar circumstances which environ him—we do not say amongst the literary magnates of his time, but even in the broad host of highly cultivated minds, we lose sight of him, or we follow him with something very much like a smile of derision.

We remember being told of a dexterous stratagem, by which a lady cured her son of what she deemed an unworthy passion for a rustic beauty. We tell the story—for it may not only afford us an illustration, but a hint also to other perplexed mammas, who may find themselves in the like predicament. She had argued, and of course in

vain, against his high-flown admiration of the village belle. She was a goddess! She would become a throne! Apparently acquiescing in his matrimonial project, she now professed her willingness to receive his bride-elect. Accordingly, she sent her own milliner—mantua-maker—what you will,—to array her in the complete toilette of a lady of fashion. The blushing damsel appeared in the most elegant attire, and took her place in the maternal drawing-room, amongst the sisters of the enraptured lover. Alas! enraptured no more! The rustic beauty, where could it have flown? The belle of the village was transformed into a very awkward young lady. Goddess!—She was a simpleton. Become a throne!—She could not sit upon a chair. The charm was broken. The application we need hardly make. There may be certain uncultivated men of genius on whom it is possible to practise a like malicious kindness.

We would rather preface our notice of the life and works of Andersen, by a motto taken from our own countryman Blake, artist and poet, and a man of somewhat kindred nature:—[2]

Such was the form under which the muse may be said to have visited and inspired Andersen. He ought to have been exclusively the poet of children and of childhood. He ought never to have seen, or dreamed, of an Apollo six feet high, looking sublime, and sending forth dreadful arrows from the far-resounding bow; he should have looked only to that "child upon the cloud," or rather, he should have seen his little muse as she walks upon the earth—we have her in Gainsborough's picture—with her tattered petticoat, and her bare feet, and her broken pitcher, but looking withal with such a sweet sad contentedness upon the world, that surely, one thinks, she must have filled that pitcher and drawn the water which she carries—without, however, knowing any thing of the matter—from the very well where Truth lies hidden.

We should like to quote at once, before proceeding further, one of Andersen's tales for children. We will venture upon an extract. It will at all events be new to our readers, and will be more likely to interest them in the history of its author than any quotation we could make from his more ambitious works. Besides, the story we select will somewhat foreshadow the real history which follows.

A highly respectable matronly duck introduces into the poultry-yard a brood which she has just hatched. She has had a deal of trouble with one egg, much larger than the rest, and which after all produced a very "ugly duck," who gives the name, and is the hero of the story.

"'Well, then, hold your tongue.'

"Can you put up your back and purr?' said the tom-cat.

"'No.'

"'Well, then, you ought to have no opinion of your own, where sensible people are speaking.'

"And the duck sat in the corner, and was very sad; when suddenly it took it into its head to think of the fresh air and the sunshine; and it had such an inordinate longing to swim on the water, that it could not help telling the hen of it.

"'What next, I wonder!' said the hen, 'you have nothing to do, and so you sit brooding over such fancies. Lay eggs, or purr, and you'll forget them.'

"'But it is so delightful to swim on the water!' said the duck—'so delightful when it dashes over one's head, and one dives down to the very bottom.'

"'Well, that must be a fine pleasure!' said the hen. 'You are crazy, I think. Ask the cat, who is the cleverest man I know, if he would like to swim on the water, or perhaps to dive, to say nothing of myself. Ask our mistress, the old lady, and there is no one in the world cleverer than she is; do you think that she would much like to swim on the water, and for the water to dash over her head?'

"'You don't understand me,' said the duck.

"'Understand, indeed! If we don't understand you, who should? I suppose you won't pretend to be cleverer than the tom-cat, or our mistress, to say nothing of myself? Don't behave in that way, child; but be thankful for all the kindness that has been shown you. Have you not got into a warm room, and have you not the society of persons from whom something is to be learnt? But you are a blockhead, and it is tiresome to have to do with you. You may believe what I say; I am well disposed towards you; I tell you what is disagreeable, and it is by that one recognises one's true friends.'

"'I think I shall go into the wide world,' said the duckling.

"'Well then, go!' answered the hen.

"And so the duck went. It swam on the water, it dived down; but was disregarded by every animal on account of its ugliness.

"One evening—the sun was setting most magnificently—there came a whole flock of large beautiful birds out of the bushes; never had the duck seen any thing so beautiful. They were of a brilliant white, with long slender necks: they were swans. They uttered a strange note, spread their superb long wings, and flew away from the cold countries (for the winter was setting in) to warmer lands and unfrozen lakes. They mounted so high, so very high! The little ugly duck felt indescribably—it turned round in the water like a mill-wheel, stretched out its neck towards them, and uttered a cry so loud and strange that it was afraid even of itself. Oh, the beautiful birds! the happy birds! it could not forget them; and when it could see them no longer, it dived down to the very bottom of the water; and when it came up again it was quite beside itself.

"And now it became so cold! But it would be too sad to relate all the suffering and misery which the duckling had to endure through the hard winter. It lay on the moor in the rushes. But when the sun began to shine again more warmly, when the larks sang, and the lovely spring was come, then, all at once it spread out its wings, and rose in the air. They made a rushing noise louder than formerly, and bore it onwards more vigorously; and before it was well aware of it, it found itself in a garden, where the apple-trees were in blossom, and where the syringas sent forth their fragrance, and their long green branches hung down in the clear stream. Just then three beautiful white swans came out of the thicket. They rustled their feathers, and swam on the water so lightly—oh! so very lightly! The duckling knew the superb creatures, and was seized with a strange feeling of sadness.

"'To them will I fly!' said it, 'to the royal birds. Though they kill me, I must fly to them!' And it flew into the water, and swam to the magnificent birds, that looked at, and with rustling plumes, sailed towards it.

"'Kill me!' said the poor creature, and bowed down its head to the water, and awaited death. But what did it see in the water? It saw beneath it its own likeness; but no longer that of an awkward grayish bird, ugly and displeasing—it was the figure of a swan.

"It is of no consequence being born in a farm-yard, if only it is in a swan's egg.

"The large swans swam beside it, and stroked it with their bills. There were little children running about in the garden; they threw bread into the water, and the youngest cried out, 'There is a new one!' And the other children shouted too; 'Yes, a new one is come!'—and they clapped their hands and danced, and ran to tell their father and mother. And they threw bread and cake into the water; and every one said, 'The new one is the best! so young, and so beautiful!'

"Then the young one felt quite ashamed, and hid its head under its wing; it knew not what to do: it was too happy, but yet not proud—for a good heart is never proud. It remembered how it had been persecuted and derided, and now it heard all say it was the most beautiful of birds. And the syringas bent down their branches to it in the water, and the sun shone so lovely and so warm. Then it shook its plumes, the slender neck was lifted up, and, from its very heart, it cried rejoicingly—'Never dreamed I of such happiness when I was the little ugly duck!'"

It is not only in writing for children that our author succeeds; but whenever childhood crosses his path, it calls up a true pathos, and the playful tenderness of his nature. The commencement of his serious novels, where he treats of the infancy and boyhood of his heroes, is always interesting. Amongst the translated works of Andersen is one entitled "A Picture-Book without Pictures." The author describes himself as inhabiting a solitary garret in a large town, where no one knew him, and no friendly face greeted him. One evening, however, he stands at the open casement, and suddenly beholds "the face of an old friend—a round, kind face, looking down on him. It was the moon—the dear old moon! with the same unaltered gleam, just as she appeared when, through the branches of the willows, she used to shine upon him as he sat on the mossy bank beside the river." The moon becomes very sociable, and breaks that long silence which poets have so often celebrated—breaks it, we must confess, to very little purpose. "Sketch what I relate to you," says the moon, "and you will have a pretty picture-book." And accordingly, every visit, she tells him "of one thing or another that she has seen during the past night." One would think that such a sketch-book, or album, as we have here, might easily have been put together without calling in the aid of so sublime a personage. But amongst the pictures that are presented to us, two or three, where the moon has had her eye upon children in their sports or their distresses, took hold of our fancy. Here Andersen is immediately at home. We give one short extract.

and beg her to forgive me for yesterday. But I could not tell it you.' And the father kissed the brow of the innocent child; and I kissed her eyes and her lips."

Our poet—we call him such, though we know nothing of his verses, for whatever there is of merit in his writings is of the nature of poetry—our poet of childhood and of poverty, was born at Odense, a town of Funen, one of the green, beech-covered islands of Denmark. It bears the name of the Scandinavian hero, or demigod, Odin; Tradition says he lived there. The parents of Andersen were so poor that when they married they had not wherewithal to purchase a bedstead, or at least thought it advisable to make shift by constructing one out of the wooden tressels which, a little time before, had supported the coffin of some neighbouring count as he lay in state. It still retained a part of the black cloth, and some of the funeral ornaments attached to it, when in the year 1805 there lay upon it, not in any peculiar state, the solitary fruit of their marriage—the little Hans Christian Andersen. He was a crying infant, and when carried to the baptismal font, sorely vexed the parson with his outcries. "Your young one screams like a cat!" said the reverend official. The mother was hurt at this reflection upon her offspring; but a prophetic god-papa, who stood by, consoled her by saying, "that the louder he cried when a child, all the more beautifully would he sing when he grew older."

Those who are disposed to trace a hereditary descent in mental qualifications, will find an instance to their purpose in the case of Andersen. His mother, we are told, was utterly ignorant of books and of the world, "but possessed a heart full of love!" From her he may be said to have derived a singular frankness and amiability of disposition—a fond, open, affectionate temper. For the more intellectual qualities, by which this temper, through the medium of authorship, was to become patent to the world, he must have been indebted to his father. This poor and hapless shoemaker (such was his trade) seems to have been a singular person. To use a favourite phrase of Napoleon, "he had missed his destiny." His parents had been country people of some substance, but misfortune falling upon misfortune had reduced them to poverty. Finally, the father had become insane; the mother had been glad to obtain a menial situation in the very asylum where her husband was confined; and there was nothing better to be done for the son than to apprentice him to a shoemaker. Some talk there was amongst the neighbours of raising a subscription to send him to the grammar-school, and thus give him a start in life; but it never went beyond talk. A shoemaker he became. But to the leather and the last he never took kindly. He would read what books he could get—Holberg's plays and the Bible—and ponder over them. At first he would make his wife a sharer in his reflections, but as she, good woman, never understood a word of what he said, he learned to meditate in silence. On Sundays he would go out into the woods accompanied only by his child; then he would sit down, sunk in abstraction and solitary thought, while young Hans gathered flowers or wild strawberries. "I recollect," says the son, in his Autobiography, "that once, as a child, I saw tears in his eyes; and it was when a youth from the grammar-school came to our house to be measured for a new pair of boots, and showed us his books, and told us what he learned, 'That was the path on which I ought to have gone!' said my father; he kissed me passionately, and was silent the whole evening."

There surely went out of the world something still undeveloped in that poor shoemaker. At a subsequent period of the history we find him fairly abandoning his unchosen trade. The name of Napoleon resounded even in Odense—even in Odense could find a heart that is disquieted. He would follow the banner of him who had "opened a career to all the talents." But the regiment in which he enlisted got no further than Holstein. Peace was concluded; he had to return to his native place, and fall back as well as he could into the old routine. His march to Holstein had, however, shaken his health, and he died shortly after his return.

"I was," says our author, "the only child, and was extremely spoilt; but I continually heard my mother say how very much happier I was than she had been, and that I was brought up like a nobleman's child." No nobleman's child could, at all events, be brought up with less restraint, or more completely left to his own fancies. Poor as were his parents, he never felt want; he had no care; he was fed and clothed without any thought on his part; he lived his own dreamy life, nourished by scraps of plays, songs, and all manner of traditionary stories. There was a theatre at Odense, and young Andersen was now and then taken to it by his parents. He himself constructed a puppet-show, and the dressing and drilling of his dolls was for a long time the chief occupation of his life. As he could rarely go to the theatre, he made friends with the man who sold the play-bills, who was charitable enough to give him one. With this upon his knee, he would sit apart and construct a play for himself; putting the dramatis personæ into movement as well as he could, and at all events despatching them all at the close; for he had no idea, he tells us, of a tragedy "that had not plenty of dying."

Of what is commonly called education he had little enough. He was sent to a charity-school, where, by a somewhat startling error of the press, Mrs Howitt is made to say "he learned only religion, writing, and arithmetic." Of the reading, writing, and arithmetic there taught, he seemed to have gained little; certainly the writing, and the arithmetic went on very slowly. To make amends, he used to present his master on his birth-day with a poem and a garland. Both the wreath and the verses seemed to have been but churlishly received, and the last time they were offered, he got scolded for his pains.

It would be difficult, however, to conceive of a life more suitable to the fostering of the imagination than that which little Hans was leading. Besides the play-house, and the scraps of dramas read to him by his father, himself a strange and dreamy man, we catch sight of an old grandmother, she who resided in the lunatic asylum where her husband was confined. Young Hans was occasionally permitted to visit her; and here he was a great favourite with certain old crones, who told him many a marvellous and terrible story. These stories, and the insane figures which he caught sight of around him, operated, he tells us, so powerfully upon his imagination that when it grew dark he scarcely dared to go out of the house. His own mother was extremely superstitious. When her husband was dying, she sent her son, not to the doctor, but to a wise-woman, who, after measuring the boy's arm with a woollen thread, and performing some other ceremonies, bade him go home by the river side, "and if he did not see the ghost of his father, he was to be sure that he would not die this time." He did not see the ghost of his father—which, considering all things, was rather surprising; but his father died nevertheless.

After the death of her husband, the mother of Andersen found another object for her affections, for that "heart so full of love." She married again. But the stepfather was "a grave young man, who would have nothing to do with Hans Christian's education;" refused, we presume, all responsibility on so delicate a business. He was still left to himself. He had now grown a tall lad, with long yellow hair, which the sun probably had assisted to dye, as he was accustomed to go bare-headed. He continued to amuse himself with dressing his theatrical puppets. His mother reconciled herself to the occupation, as it formed, she thought, no bad introduction to the trade of a tailor, to which she now destined him. On the other

hand, Hans partly reconciled himself to the idea of being a tailor, because he should then have plenty of cloth, of all colours, for his puppets. Meanwhile it was to a very different trade or destiny that these puppets were conducting him.

About this time, not for the money, said the warm-hearted mother, but that the lad, like the rest of the world, might be doing something, Hans was sent, for a short interval, to a cloth factory. But it was fated that he should never work. He had a beautiful voice, and could sing. The people at the factory asked him to sing. "He began, and all the looms stood still." He had to sing again and again, whilst the other boys had his work given them to do. He was not long, however, at the factory. The coarse jests and behaviour of its inmates drove out the shy and solitary boy.

And now came the crisis. He would go forth into the world. He would be famous. All his early aspirations for distinction and celebrity had become, as might be expected, associated with the theatre. But as yet he had not the least idea in what department he was to excel—whether as actor or poet, dancer or singer—or rather he seems to have thought himself capable of success in them all. The passion for fame, or rather for distinction, had been awakened before the passion for any particular art. All he knew was, that he was to be a celebrated man; by what sort of labour, what kind of performance, he had no conception. Indeed, the remarkable performance, the work to be done, was not the most essential thing in his calculation. "People suffer a deal of adversity, and then they become famous." It was thus he explained the matter to himself. He was on the right road, at all events, for the adversity.

We must relate his going forth in his own words. Never, surely, on the part of all the actors in it, was there a scene of such singular simplicity.

So, at the age of fourteen, with thirty shillings in his pocket, and his idea of becoming famous by going through a deal of adversity, he comes to Copenhagen—the Paris, the more than the Paris of Denmark, for, in respect to all that a great town collects or fosters, Copenhagen is literally Denmark. There never was a stranger history than this of young Andersen's. It is more like a dream than a life; it is like one of his own tales for children, where the rigid laws of probability are dispensed with in favour of a quite free and rapid invention. The theatre is his point of attraction: but he was by no means determined in what department, or under what form, his universal genius shall make its appearance. He will first try dancing. He had heard of a celebrated danseuse, a Madame Schall. To her he goes with a letter of introduction, which he had coaxed out of an old printer in Odense, who, though he protested he did not know the lady, was still prevailed upon to write the letter. Dressed in his confirmation suit, a broad hat upon his head, his boots, we may be sure, not forgotten, which were worn, however, this time under the trousers, he finds out the residence of Madame Schall, rings at the bell, and is admitted. "She looked at me with great amazement," writes our author, "and then heard what I had to say. She had not the slightest knowledge of him from whom the letter came, and my whole appearance and behaviour seemed very strange to her. I confessed to her my heartfelt inclination for the theatre; and upon her asking me what character I thought I could represent, I replied Cinderella. This piece had been performed in Odense by the royal company, and the principal character had so taken my fancy, that I could play the part perfectly from memory. In the mean time I asked her permission to take off my boots, otherwise I was not light enough for this character; and then, taking up my broad hat for a tambourine, I began to dance and sing—