H. C. ANDERSEN’S ‘SCHILLER FAIRY TALE’ AND THE POST-ROMANTIC Tale RELIGION OF ART [ DETERING HEINRICH

ABSTRACT In his story ‘Den gamle Kirkeklokke’ [‘The Old Church Bell’], Andersen transforms, rein- terprets, and dissolves Schiller’s popular poem ‘Das Lied von der Glocke’ [‘The Song of the

Bell’] into prose. Written for the Schiller celebrations in 1859, it re-establishes the Roman- tic cult of the artist under profoundly changed cultural conditions. The article examines Andersen’s complex relationship with the Weimar culture and reveals the hidden autobio-

] graphical patterns in his Schiller narrative. By adopting Schiller’s role for himself and at the same time linking it to the biography of Thorvaldsen, Andersen manages to bridge the only recently developed national gap between Danish and German culture. He simultane- ously arranges the story as a critical commentary on his own Romantic tale ‘Klokken’ (‘The Bell’). Thus, ‘my Schiller fairy tale’ turns out to be a post-Romantic legend that succeeds BY SABINA FAZLITRANSLATED Wackenroder’s and Tieck’s outdated ‘religion of art’ in a decidedly ‘prosaic’ mode...... KEYWORDS Hans Christian Andersen, art religion (Kunstreligion), Schiller reception, Romanti- cism vs Biedermeier, fairy tale postromantic religion of art, Schiller, Hans Christian Andersen.

Because of Friedrich Schiller, Hans Christian Andersen even wanted to change the course of a river. On March 29, 1860, his friend Adolph Drewsen recounts:

A few days ago, Andersen asked me where Schiller’s city of birth, Marbach, was actually situated, namely, whether it might not perhaps be on the Danube, and when he heard that it was on the Neckar, he wished to know into which river the Neckar flows. We got hold of a map, and I showed him the course of the river to its discharging into the Rhine. He didn’t like that; he badly wanted the Neckar to flow into the Danube.

Why might that be? Drewsen elaborates:

Because he had received the invitation to write something for the Schiller Album which

will be published on the occasion of the 100th anniversary of his birth in November, and after thinking about this for a long time, he struck on his idea which he had taken from Schiller’s Bell; namely, he imagined that the church bell in Marbach was ringing while

HEINRICH DETERING, Professor of Modern German and Comparative Literature, Göttingen University Aarhus University Press, Romantik, 01, vol. 01, 2012, pages 49-66 49 which which Samlede , the golden , the golden ) harmonizes 860, the short 1 0 et seq.) 0 et 1 In 2 Schiller Album Schiller 7: 3 Guldalder 3 Eventyr Gedankengedicht 863), one of Andersen’s friends863), one of Andersen’s and , it was published in Danish in the published , it was 1 1 (Andersen, (Andersen, 1 86 1 789- 1 and is known as the and is known Vormärz , together with an illustration of the Stuttgart monu- with an illustration , together , and 862

1 Restauration , 868, Andersen included the included story868, Andersen in the of his 26th volume

1 859, inspired by the national Schiller celebrations, Major Friedrich Major Anton the celebrations, by Schiller national 859, inspired . Andersen himself called it ‘my Schiller fairy Schiller tale’. himself called it ‘my . Andersen 1 The cult of the artist, which takes the place of the imagined world articulated theThe cult of the place of the artist, takes imagined world which From the beginning, Andersen’s concept aimed at transforming, reinterpret- aimed at transforming, the concept beginning, Andersen’s From In ment. In and mediated in the work of art, also strives to establish harmony. In the Schil- harmony. of art, establish to also strives and mediated in the work national unity as something this celebrate cult is supposed to ler celebrations, it as po- and, at the mark same time, to on an intellectual level achieved already the of Andersen, Danish poet, the perspective from imminent. However, litically the which crumblingthis the symbiosis of German from marks juncture cultural con- this transnational highlight But to should be restored. and Danish culture the is informed text, which by pathos and a new of national unity in Germany national spirit anti-German defined by has to sentiment, Schiller in Denmark ing, and dissolving Schiller’s most popular poem into prose. This change of genre of genre Schiller’s This change ing, and dissolving prose. popular poem into most the of of the of literary age models from transformation symptomatic is highly names as the different to periodGoethe such bears German in which, literature, Biedermeier and, at the While the in Denmark. same expansive of national literature, age poem ( and didactic contemplative time, narrative and politi- anthropology of history, on the and reflections philosophy narratives the form it into miniature of the ‘fairy refashions Andersen tale’. cal morality, with the in the the sense does Romantic conception Only widest tale comply than other anything imply does not tale, the Andersen’s genre For of the genre. poetic by governed intertwined pieces, openly of complaisantly set a sequence di- about models of history and moral text is no longer imagination. Andersen’s of one’s the control emo- autonomy, of ethical concepts dacticism, middle-class of the but about the and craftsmanship, celebration life tions, models of family is implicitly artist which who has formulated his authority, all of this through and in no need of reflection. accepted When Drewsen gave him this devastating geographical information about the geographical him this devastating gave When Drewsen the abandoned plan of ship- have seems to Andersen or worse, better for Neckar, been have it would where Munich to Marbach from bell ping the old church that … he came in and said his account: concludes ‘Today, Drewsen molten down. drop on his demand, I had to and of course, he had finished writing the story, wanted me. He so that it to he could read room my him to everything and follow bell”’ call it “Theto old church (ibid.). Schiller’s giving birth, was and break mother down – that then this fall same bell would its in which the used in casting same sculpture until it was yard and then lie in the church be used in the happened to head and chest. ore patrons, had asked the poet to write to the a contribution poet had asked thepatrons, to Serre publish in the lottery. intended to context of his Schiller Dansk Folkekalender Dansk Folkekalender Serre of Maxen Manor, near Dresden ( near Dresden Serre Manor, of Maxen tale appeared in German;tale appeared at the end of Skrifter

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4 Zeitgeist Zeitgeist identical : Its title Quod erit , in which Ander- , in which Guldalder , and in many aspects it con- , and in many Dichtung und Wahrheit Dichtung This sentence summarizes his (not 5 [The Fairy Tale of My Life], and An- of My Life], [The Fairy Tale Biedermeier 832, Andersen wrote to his friend to Chamisso, the wrote 832, Andersen 1 8 July 8 July 1 audience, he subtly sought to allow for their demand for their demand for for allow to sought audience, he subtly – and not without The reason. – and not . Biedermeier activists. It was part of his marketing strategy to blur the borders be- blur the to borders strategy part It was activists. of his marketing Schiller Album Schiller ‘If I were a Schiller’: a Schiller’: ‘If I were Andersen in Weimar In any case, the expansive and solemn form case, the of Schiller’s expansive suit In any poem does not For a talented and ambitious outsider like Andersen, emulating such a model emulating such Andersen, a talented and ambitious outsider like For Vormärz Das Märchen meines Lebens ohne Dichtung Das Märchen German-French poet: ‘Denmark lies somewhat in a corner which is why its po- in a corner lies somewhat is why poet: ‘Denmark which German-French to emigrate intellectually to able unless they are unknown remain to have ets neighboring countries’ ‘Breve’). (Andersen, be ‘Danified’ the to same extent that as a German – an extremely he figures poet betray. not easily affectedly text does harmless act, whichdifficult balancing the Neither nor his German his Danish project. au- difficult middle-class Andersen’s preferring alternating stanzas, regular thediences appreciated lines and complex innocence and aims for which small form ‘Albumblatt’ of the modest decidedly and has the of a plain coherence and colloquial is chatty The prose preciosity. genre and uninterrupted verbalized a memorable narration. it adds up to And is, in the– a painting which out aloud end, reading painting suitable for the non-German was only contributeAndersen to artist Serre whom Major asked theto to the Schiller monument which the Danish sculptor Thorvaldsen the had erected the monument which sculptor Danish to Schiller in German fairy Stuttgart. The ‘Schiller tale’ itself as the establishes monument’s In the however, of the course narrative Romanticized and narrativized etiology. the original who embodies the of an encompassing authoritative writer, herald himself – of Andersen on traits takes conciliatory moral, middle-class demonstrandum a partly was late literary developed, career sen grew up and his unprecedented of relative Romantic, partly realist early of Danish Copenhagen a Danish continuation of the of Goethe. stituted age history in this of Goethe’. of the was, exact centre age cultural form, a ‘cultural Thus, even Andersen’s autobiography, initially written initially German and for readers autobiography, Andersen’s Thus, even Goethe’s to published in German, refers obviously dersen fashioned it as a self-assured balancing act between documentation and between balancing act it as a self-assured fashioned dersen this to shall return self-fictionalization. I later. stylized in the lite- but also of self-fashioning of inclination, a question only not was On rary marketplace. is unique) attitude towards Germany at the time. Indeed, Andersen determinedly at the determinedly Germany Andersen time. Indeed, attitude towards unique) of the the sake for least on, not his literary in hand early took success in Germany his texts for and presenting Appropriately framing in his home country. his fame a German with the that rebellious contrasted and comforting literature unpolitical of so that the in the stories told nov- and his protagonists Andersen-the-poet tween brilliantly. the His plan worked supplemented by story of their author. els were Withconcerned reading audience a middle-class and social status about losing

8 Dag- .) However, In its most pro- In its most 6 république des lettresrépublique , it seems that they wanted to prove that the prove , it seems that to they wanted Vormärz . Many passages in the two men’s extensive correspondence men’s extensive in the passages two . Many

Andersen was universally admired and securely accepted as a novel- accepted and securely admired universally was Andersen 7 Musenhof 9 844, this catastrophe lay in an indefinite future. As soon as Andersen 844, As soon as Andersen an indefinite future. in lay this catastrophe 1

844. 1 2: 402). On the way to the Hereditary Duke’s birthday celebration at Weimar The- the to Hereditary Duke’s at Weimar On the birthday way celebration For Andersen, the friendship gained social, emotional, and perhaps even erot- the even Andersen, friendship and perhaps For social, emotional, gained In June ater, he sees ‘Schiller’s house’ (ibid. 398), which he also records in his diary. From ‘Schiller’s he sees From ater, house’ in his diary. he also records (ibid. 398), which describing Alexander, of Carl him as a ‘young the beginning, he speaks highly And then he adds a phrase typical of himself and the contemporary cult of poets: typical of himself and the cult of poets: And then contemporary he adds a phrase (Andersen, from each’ took some I leaves, laurel were ‘on the coffins, there In the chapel, the coffins are now switched, Göthe and Schiller sitting side by side, and I GötheSchiller sitting side and now switched, In the theare chapel, coffins two, said the Schiller’s. the over between Göthe’s stood wanted was bending but I coffin, I all the of them, and for be worthy who would me a poet make God to asked Prayer, Lord’s in good. and his will be done in evil rest, bøger the threat of revolution, the alleged authentication of his stories by the life of of authentication the thehis stories of alleged by life the threat of revolution, their writer the poet’s for the laid continuing fame. foundation During of the the unrest growing national differences could be overcome through idealism, humanity and idealism, humanity and through overcome could be national differences growing of friends,the with love their friendship of the extension as a biographical texts they had read. as a of his imminent fame dreamed only he not ic meaning so that, occasionally, permanently live in Weimar. to moving German-Danish but also considered poet, Oehlenschläger and Adam Jens Baggesen (In a greater but less successfully, age the to Weimar triedhad already entrance gain to the same national tensions which should have been overcome by the by sentimental been overcome the should have national tensions which same and purposely the constructed friendship prince finally new and poet between the artful structure with of thedestroyed the German-Danish onset war. ductive consequences, motivated by the by outsider’s motivated consequences, literary and social ambition ductive a secure for this of poor parents, search of a child and the economic aspirations national lite- of two about the cross-fertilization brought position in the market nationalisms, even contesting become the of two tool largely would which ratures In this, it turned that,during be a piece of luck early out to lifetime. Andersen’s German upon a place which for chanced connections, Andersen on in his search in role mythical an almost during and played had been central the of Goethe age the obvi- avoided theshyly Danish intellectuals. While he had consciousness of on a journey in Germany, traveled ous opportunity he first when Goethe visit to the invitation personal accepted models, he gladly Romantic had followed which Alexander Carl of Saxe-Weimar-Eisenach Duke theextended by Hereditary Grand in June ist and thus seemed to be an ideal candidate for the envisioned re-establishment re-establishment the thus and envisioned for be an ideal candidate ist seemed to of Weimar’s read like a satyr play, reminiscent of operetta. Once again they re-enacted the they re-enacted Once again pat- of operetta. reminiscent a satyr play, like read confident in neither entirely was tern of sentimental friendship while, ironically, German (one of them educated in French). being a Dane, the an aristocrat other had arrived in Weimar, he went to visit the in the to great Ducal Vault: dead poets he went had arrived in Weimar,

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in Die : 349, 1

School School 10 . Piccolomini 12 852 Maria Stuart 1 Dagbøger in return. (Later, (Later, in return. Guldalder 846: ‘Alas, I won’t be a I won’t 846: ‘Alas, 1 in Paris; in Wilhelm Tell 4 February 1 Maria Stuart She asks him to read three fairy read She asks him to tales to 11 843 1 . When, during the same stay in Weimar, on . When, during in Weimar, the same stay in Dresden, and in August of the same year of the same year and in August in Dresden, 42). No, surely not. But whose coffin had he bent But whose not. surely 42). No, Räuber ’ (ibid. 3: 58). Schiller Album Schiller in Prague; in in Prague; 834 he saw Donizetti’s opera adaptation of adaptation opera Donizetti’s 834 he saw 846, Carl Alexander says goodbye to Andersen using a sen- Andersen to Alexander goodbye 846, Carl says 1 1 in Dresden (‘left in Dresden during act five’) (Andersen, Briefwechsel 857 the 1 856, he met Caroline von Wolzogen, Schiller’s sister-in-law, for for Schiller’s sister-in-law, Wolzogen, von Caroline 856, he met Bilderbuch 1 847, Andersen again explicitly refers to this in a letter from The from this to in a letter explicitly refers again Andersen 847, 03, 272, 277). 1 1 Wallenstein 852, Andersen would again receive ‘a beautiful page in Schiller’s hand’, in Schiller’s ‘a beautiful page receive hand’, again would 852, Andersen September September 1 1 Retrospectively, it is strange to see how the motives were already slowly ac- slowly already were the motives see how to it is strange Retrospectively, On In January Admittedly, Schiller’s person and works had meant less to him than had meant less to Goethe’s, Schiller’s and works person Admittedly, ; 2: 348; 4: 1 tence implying succession and identification, at least in its retelling in Andersen’s in Andersen’s in its retelling succession and identification, at least tence implying diary where leaving! entry: my very against much ‘The Duke Hereditary Grand a year Half he said, I could, too.’ (ibid. 3: 375). could work, and Göthe Schiller in June later, Jungfrau von Orléans von Jungfrau Naples and Naples essays on Schiller have been preserved (cf. Høeg). Whenever, during almost his Whenever, been preserved (cf. Høeg). have Schiller on essays he had the opportunity see a performance to of a Schiller continuous traveling, he seized it. In play, cumulating in Andersen’s letters and diary later con- much letters entriescumulating in Andersen’s would which the thestitute tale for of this time in the company visit the to Vault, Ducal went he again 27 January, the and for Lind, he suddenly Jenny soprano Müller and Swedish von chancellor visited the of tomb he not Dane. Had fellow a congenial time remembers first the moment, Lind? For Bertel Jenny by Thorvalden,sculptor also accompanied this define but a casual association; in the tale, it will come to is nothing Schiller the whole plot. Hague. Writing to Carl Alexander, he describes how he had been received in the he describes he had been received Alexander, how Carl to Writing Hague. in Munich; in July in July in Munich; 26-year-old, well-built man’ and as his born man’ well-built friend: of all the ‘he is the princes first 26-year-old, a prince, wish that not he was or of whom I would the first like, whom I really that a prince, I was too’ 400). In the (ibid. of the course budding friendship, called years he has for which becomes a permanentAndersen in the guest town, the to had he been closer before second home’]. Heimat’‘meine zweite [‘my Never German the without tried Parnassus. Duke’s expectations, albeit not He evade to dated letter As he laments in a coquetry. 49 as he notes in his diary, this time from Franz Liszt in Weimar [ibid. 3: 60; 4: 87].) Liszt in Weimar Franz this time from in his diary, as he notes Andersen shows the this tomb, from small gesture the taking leaves laurel Like participating practices consciously transforms in the cult which kind of Schiller cher- a secular cult of the does not into artist. of relics He of catholic veneration ish the manuscript as a philological document but as a contact relic. the first time – and found that she was an admirer of his writings: ‘she was really of his writings: that an admirer really she was time – and found the ‘she was first with my taken and the former had never been as naturally close to Andersen’s writing. Andersen’s to close But he been as naturally and the former had never be ex- as might with days Schiller’s since his school had been as familiar works the of an assiduous and educated Danish reader pected from Göthe.’ (Andersen, pocketed? had he providently leaves and whose laurel over in June her and promises a piece of Schiller’sher and promises manuscript of Land- 850, he suggests 850, he suggests 1 of

860, he accepted Serre’s860, he accepted of- 1 and casually asked about the asked and casually ). 869, in Stuttgart for the869, in Stuttgart second for in whom Andersen recognizes him- in whom 1 1 2 Schiller Album Schiller Briefwechsel September: ‘Saw the Schiller-Goethe monument monument the Schiller-Goethe September: ‘Saw 1 00th birthday of Goethe’s Grand Duke Carl August August 00th Carl birthday Duke of Goethe’s Grand 1 75). (On 25 September (On 25 September 75). 1 855, when he was traveling, he had seen the mon- Schiller traveling, 855, when he was 1

13 . And as German Danish national positions became more and [princeof the turns muses], recurring a continually into asso- 65; my translation). The song also suggests Andersen’s own poetry; own Andersen’s The song also suggests translation). 65; my idée fixe Musenfürst Suffering, Aspiration and Apotheosis: Suffering, Apotheosis: Aspiration and The Legend of an Artist From now on, the dream of taking, if not Goethe’s, on, the of taking, if not then dream now Schiller’sFrom place beside On 4 September, the On 4 September, Rietschel’s double monument was not the first Schiller memorial Schiller the Andersen first not double monument was Rietschel’s . a new a new ciation, an when he articulated clearly He it most the ‘fixed’. more idea became entrenched, as monument. However, of the the Goethe-Schiller to inauguration invited was from the ceremony follow to allowed not he was in his diary, notes he resentfully in anticipa- the town he had prowled earlier, days Three Ducal stand. the Grand tion, writing in his diary on This was more or less Andersen’s mindset when, in mindset or less Andersen’s more This was that Thorvaldsen’s sculptures have spread Denmark’s fame in the world like An- like in the world fame Denmark’s spread that have Thorvaldsen’s sculptures around small country – and yet, fairy tales and poems: ‘A novels, own dersen’s (Andersen, chisel’ of your and the blow song now your / resound the world schaft mit Poet of the is Thorvaldsen’s.the chisel same Thorvaldsen, blow The then, has made the memorial recognizes in whom Andersen himself when looking at of Schiller group. sculpture Weimar Rietschel’s and last time, he would again look on ‘Thorvaldsen’s again of Schiller’; time, he would sculpture and last by [ibid. 4: 439].) been completed have already tale would his Schiller then, however, Fædreland’ mit popular poem ‘Danmark, In his extremely erected on the theater square, both were tightly draped, but you could still see the could still but you draped, tightly were on the both erected theater square, then adds a casual and ambigu- He is busy’. The whole town shape and their feet. me’ for talking about a room – he is of course has booked ‘Goethe ous remark: Goethe. von Walther ument in Stuttgart made by Thorvaldsen, whom he had suddenly remembered in Thorvaldsen, remembered ument in Stuttgart made by whom he had suddenly (ibid. 4: the Vault Ducal Netherlands in slightly wobbly German and showing much greater awareness of greater German much awareness and showing wobbly in slightly Netherlands than honorably me more receive one could not a “Schiller”, ‘If I were role: his own (Andersen, a dream!’ I am! It is like (among the guests of honor filling the stand, Andersen discovers ‘Mrs. Goethe Goethe ‘Mrs. discovers (among the of honor filling the Andersen guests stand, son Walther), his namely, ‘and Schiller’, and Walther, and her sons’ Wolfgang writes, Andersen ‘a great mo- ‘It was’, is unveiled. monument Ernst Rietschel’s and Goethe.’ And then, the Schiller group from of poets, fell ment when the veil the surprised, ligner ‘Schiller in three words, succinct realization: exhilarating me’] that resembles mig’ [‘Schiller it is not note to 4: 286). It is important (ibid. it is Schiller resembles: whom Schiller Andersen self had seen. On 9 August fer to write to the a storyfer planned for combine the is to memory The story’s explicit basic notion of thecourse Neckar.

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01 54 JOURNAL FOR THE STUDY OF ROMANTICISMS 55 825 1 : 455), 1 38). 1 834 (ibid. ], neither in the et seq.) et 1 1 24 Briefwechsel On the contrary, this be seems to On the contrary, 14 Fairy-tales and Stories [ . In almost shocking conventionality, the conventionality, shocking . In almost 860 and written in German, explains the Andersen 1 par excellence at the Vienna Burgtheater, first in June in June first at the Vienna Burgtheater, Eventyr og HistorierEventyr : 49) he heard it as a song, and he twice saw it adapted in the it adapted it as a song, and he twice saw : 49) he heard 854 during entertainment Schiller: dedicated to an evening 1

1 Andersen, Andersen, Schiller not only seems to be a saint, but the seems to virtual only Christ not Schiller Child of Dagbøger 15 tableaux vivants Biedermeier Andersen’s Schiller story displays little of the imaginative wealth or satiri- little wealth story the of Schiller displays Andersen’s imaginative outline of his story. slightly dull basic theme dull basic its execution. nor in slightly cal spirit of his other the of art: religion form of then again in May then in May again Our Father wanted to give them a child; it was the them it was confined in hour when the a child; was give mother to wanted Our Father great the the pain that belfry sound of The Bell from she heard so her room, wafting into people with the and sound of The Bell filled the praying a holiday, deep, so solemn, it was God, and in the to she same hour themselves their faith; raising thoughts heartfelt devout and the little birth one’s at her, her little to hair … the son looked gave child’s bright eyes the by sound of The the into world received the was child as if made of gold; glossy was … in November Bell on that day dark I have written a new fairy tale for Schiller’s Album. It is called: ‘The old church bell’. When written fairy Schiller’s a new tale for I have Album. bell’. It is called: ‘The old church in the bell in Marbach: born, the was sound of theSchiller heard his mother church old end, this be turned bell will the mon- of Thorwaldsen’s into Schiller the head and chest and through Schiller’s with resonates ument in Stuttgart. Here, of The Bell’, ‘Song life will be pleased hope that homeland; I you my an element from Thorwaldsen, I introduce Royal me. / I am your remember … Please graciously Duke. little dear Grand tale, with my Highness’ humble servant (Andersen, / H. C. Andersen. ‘The Schiller’s through and the historyThe idea of illustrating life of his works the knew poem from since Andersen naturally, him Song of The Bell’ came to duringversions this in different it everywhere had encountered He his youth. learned about the have would He period Schiller. enthusiasm of widespread for in poem during As a twenty-year-old in Slagelse. school his time at grammar of Schiller with that of Thorvaldsen. This warrants closer scrutiny. In a letter to to a letter In withof Schiller that of Thorvaldsen. scrutiny. closer This warrants Alexander 3 Carl dated 3 May ‘Schiller’s Bell with living pictures and Wal[l]enstein’s camp’ (ibid. 4: camp’ ‘Schiller’s Bell with and Wal[l]enstein’s living pictures (Andersen, (Andersen, text reinforces and illustrates an image of Schiller which corresponds the which to of Schiller ideal an image and illustrates text reinforces current among the German Schiller’s and Danish educated middle classes. life story leaves which rags-to-riches is idealized as a sentimental lower-middle-class Friedrich is born poor but idyllic small town, In a a humble out no clichés. to and and hard-working’ ‘honest and foremost, first are, whose members family mother devoutly, ‘also with of God in the the treasury fear Praying of the heart’. The bell rings birth while the gives solemnly. her child Schiller old church to Christmas and the basic model of the birth evokes of the unmistakably genius interiority of art middle-class Romantic religion to reduced the right from shows beginning. the The , Tell , Fiesko ) The middle-class ) The middle-class 16 : It combined a por- Album ]. (This also fits with one of takes the place of ‘The Bell’, art theof ‘The place takes Bell’,

, which had already been mocked been mocked had already , which Herzensergießungen eines kunstlieben- Herzensergießungen Dignity of Women ,

nota bene Outpourings of an Art-Loving Friar [ and,

, he sheds ‘hot tears’. In the Marbach churchyard, he ‘almost devoutly’ devoutly’ he ‘almost churchyard, In the Marbach tears’. , he sheds ‘hot Here, at the last, Andersen’s tale proves to be a post-Romantic transformation transformation be a post-Romantic to tale proves at the Andersen’s last, Here, At the ‘military school’– to use Andersen’s exact words – the the adolescent suf- At ‘military exact use Andersen’s words to school’– bell, which Schiller’s church of the runs the to old Marbach fate life parallel his mother’s to listened Friedrich memories so reverentially had that Young virtues of hard work, simple faith and control of one’s the and control replaced faith emotions simple virtues work, hard of especially values These middle-class inspiration. model of the and poetical genius authenticated) (and artistically theproduced of the apotheosis artist as an exem- and a redeemer into plary as in this his transformation example, saint, or even, but an mind a divine universal is not the of his salvation core However, savior. of the type of Romantic legend of the artist which had been developed in Ludwig of the of the type of Romantic legend artist had been developed which and Wilhelm Heinrich Wackenroder’s Tieck den Klosterbruders is substituted for the church – yet, in art and with the work of Schiller (the in art of Schiller art and with the – yet, work the church for is substituted life. new is granted struggling religion Messiah) and Thorvaldsen (his evangelist), collected in his Andersen which collages the simple with of Schiller a painting of the of Christ. entombment trait fers under the himself be deformed ‘cog … in a drill into of letting fers and instead the song ‘in his breast’ he lets all of us belong’ the which resound big wheel, to and the border refugee’ the state he escapes across a ‘pale-faced land. As wide over the briefly which text only summarizes. on his path out of glory, In this,sets like the to canonical texts of the reduced are educated middle too, his works, his life, Alongclasses. bell, the with text also mentions the eponymous theby Romantics. the as and then material raised of the demeaned and forgotten broken, is first had Religion, which memorial in honor of the erected too, poet. is finally which with brilliance new reinstated is in the cult of the footing, its artist.lost Under the sculptor’s Danish the masterful world, hands, whose art all over is admired of the thethe sculpture of the into chest ‘head and ore molten bell is transformed of the old palace in Stuttgart, in front on the square revealed stands today which he, whom thein which memoriala living person.’ as walk depicts, used to then and ‘The useless bell, sound ‘withinhe kissed the his young Bell’ would now in the that resound ore wide ‘[I]n it there boomed out and needed to was breast’. Schiller’s also been used for that poetry: have the These are same verbs to world’. ‘Thesing, sound and resound. of The Bell’ Song how The Bell had done its duty for centuries, and Bell had done its duty for The it had rung weddings, how baptisms, for The Bell sang theand the horror yes, celebrations of fires; of happy it had told funerals; what the him, it sounded had told mother forgot the And never child whole of a man’s life. sing about it as a man. until he had to in his breast The second maker: his mother. In theto end, everything back goes Maid of Orleans The adolescent child is pious and good; when listening to verses from Klopstock’s Klopstock’s from verses to listening when good; is pious and child The adolescent Messias tells him and his mother down, had fallen bell which at thegazes old church

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01 5 JOURNAL FOR THE STUDY OF ROMANTICISMS 57 4: 3 August 3 August 1 Dagbøger Yet, surprisingly, surprisingly, Yet, 17 hair’ (Andersen, ), but also discreetly adds: And ), but also discreetly red 1 picture in that, as far as I can see, in that, picture as far Biedermeier of Schiller. It is noteworthy how the Schiller narrative handles this detail: His idealiza- handles this the detail: narrative Schiller how It is noteworthy 18 Three Songs of The Bell: Three Songs of The Bell: Religion of ArtRomantic and Post-Romantic Traditional institutionalized religion has vanished, symbolized by the symbolized by muted vanished, has religion institutionalized Traditional degree the of the sneak into first to manages Andersen surprisingly, And yet, inscribes of Goethe’s only than ‘Denn The text not more one Danish version Indeed, the pious child in Andersen’s tale is ‘lanky, has reddish hair, a freckled a freckled hair, has reddish is ‘lanky, tale Indeed, the in Andersen’s pious child 855, in Stuttgart. The diary Duke’s, with ‘at noon, dinner at the Grand records: 77). Andersen achieves this through a surprising this Schiller’s through young achieves Andersen minor motif: ugly that enough be smooth Without the thisappearance. text would characteristic it. noticing not for be excused might scholars Andersen even Andersen is like him. In the subtext and between the lines, the text formulates an and between him. In the subtext is like Andersen imitatio 1 the me which portrait of his father Schiller’s he gave son who is a baron, oldest me that told he had had him most, resembled 1 ideal which has already been reduced to a rhetorical shadow. As soon as Wacken- As soon shadow. a rhetorical to been reduced has already ideal which in theirof the this catholicizing legends artist and Tieck’s traits faded, roder a strict virtues, middle-class namely, as the embodiment of protestant ideal shows with Merging this the transformation, mediacy of salva- and duty. of work ethos on the focuses no longer The narrative too. changes, arttion through eventually of art his poetry) and Schiller as the (here saintly artist mediators and his work on the of the apotheosis It focuses the artist and its recipients. sacred as between of art of the whose second degreesaint in a work Thorvaldsen’s (here sculpture), of art of thedegree. third a work tale) is itself Andersen’s (here legend as Thorvaldsen, transformed and literally physically is here bell, which church virtually resurrects the old material in his depiction of the sculptor, ingenuous bell Christian the of the established The artist church message genius. Schiller, cult of the protestant cultural the of a middle-class into credo has been changed of suffering life depicts a saint-like of art, praised, is here which artist. The work self-discipline. The artist finally by external can be conquered in which obstacles ‘the immense and beauti- preaching in ‘struggle’triumphs through and ‘work’ in praised who is effectively ‘Johann Christoph Friedrichful’ sung by Schiller’, fortissimo. In his monument, the matter the sentence with last a full orchestral in plain art one, not into of his new of the and the merge old religion adoration the pious legend, outpourings but in Andersen’s historical facts of a Schiller- friar. loving a kindred himself as fashioning By implicitly of artreligion way. indirect in an spirit of the saint, the writer as possible the positions himself as close of legend theto object of the legend. ours’] he was unser!’ [‘Because 9 (Goethe er war face, yes, that was him’. Andersen had learned Andersen on this about first-hand, that him’. was yes, face, this detail stands out from the rosy the rosy out from stands this detail cult. Schiller document of the other early clarity in such in any be found it cannot And it is one 19 3; my translation) 3; my 1

Märchen meines Lebens ohne Dich- Märchen to [The Fairy Tale of My Life] in exactly theLife] of My [The Fairy Tale Lesebuch Mit Livs Eventyr Mit Livs hero, too, with too, its author’s hero, autobiographical this Mit Livs Eventyr Mit Livs

. Here especially, Andersen’s autobiographies and semi-biographical fictions and semi-biographical autobiographies Andersen’s especially, . Here , who is literally stigmatized through a tattoo, to the one-legged toy soldier, soldier, the toy to one-legged a tattoo, stigmatized through , who is literally This troubling detail opens up a rift opens detail This troubling in the the text and the one reads, closer Schiller’s the resembles story only story its author not in tells about himself of Schiller’s because and piety appear exemplary only can parents The love One of the central motifs in Andersen’s works, both the novels and the fairy the both novels works, in Andersen’s motifs One of the central 805, in a small, poor room in Odense, there lived a newlywed couple who dearly loved loved couple who dearly a newlywed in Odense, there lived 805, in a small, poor room 1 each other, a young cobbler and his wife, he, barely twenty-two years old, a strange and old, a strange years twenty-two he, barely cobbler and his wife, a young other, each and about the ignorant world older, years talented man, a truly mind, she, a few poetical but with a warmlife, heart. (Andersen, further it goes. but also in the that turned an artist it is success story, legend a middle-class into the respects, In both text exhibition of a stigma that erase. success is supposed to alignssurprisingly thoroughly While the text’snarrative. of Schiller, image varies surface only the well-known me’. resembles sentence: ‘Schiller one simple amounts to the subtext paragraph the which first poverty, defined by with a background they contrast home and the the fam- family the of the three steps: poverty into town, orders Schiller’s The house in which and darkest one of the is poorest live parents ily. poor and humble to windows, It is, with its ‘low among ‘the old, small houses’. the lets in Marbach of this stable Bethlehem background the Only dark look at’. shine so brightly the – including father’s of this family holy of literature, love love beginning the and Gellert. famous fashions Andersen Kloppstock ‘pious songs’, of his autobiography of the central motifs in Andersen’s autobiographies, too, starting too, with autobiographies, the in Andersen’s early motifs of the central published posthumously and only tung behind the idealizations. It the flipside of his successful fairy-talesuggest career, terms: came to stigmatization a physical a threefold with he never which shows his very and lanky and dispropor- appearance, stigmatization his clumsy due to stigmatization conform normativetional body; in his inability to to an erotic of a world and a social stigmatization he came from because roles; heterosexual and prostitution. alcoholism poverty, same way, though here there is a much more drastic social misery that drastic more is even there is a much here though same way, idealized: energetically more In the mermaid caught in the wrong body, and the ugly duckling. and the ugly the mermaid body, in the wrong caught tion as a golden-blond is limited to the perspective of his loving mother but is but is mother his loving of the to is limited perspective golden-blond tion as a German Schiller’s artist in any legend. an obligatoryactually detail hair only red the in his mother’s which text is looking golden’ through if it were ‘as eyes, glows for corrects how, this and states view at thenarrator’s The child. however, voice, birth,red hair his his lowly off which shake cannot the hero of his life, the rest and recogni- win fame on to goes Schiller Andersen’s though Even epitomizes. Marbach’. tiny ‘the from tion, he is still poor boy of the hero – from of distinction marks of stigmata as secret tales, is the portrayal O.T.

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01 5 JOURNAL FOR THE STUDY OF ROMANTICISMS 59 75 et seq.) et 75 1

Mit Livs Eventyr Mit Livs . The turn alone of phrase The Fairy Tale of My Life Tale The Fairy , in the re- both fairy are They tale ‘The Shadow’). alter ego apply to Andersen’s, and not to Schiller’s, to and not Andersen’s, to origins. known, apply As is well only Thus writes about himself. And about Schiller: Andersen it sounded behind the of the … the it was walls school, stronger crammed [T]he more of his friends, and he sang it in the circle … and thebreast sound fellow’s in the young and clothes, schooling, he had received why but this not the was borders; across traveled in the flood of ones, or drown his loved his mother, his fatherland, leave … he had to food men. mediocre recurs, which Indeed, neither men’ (a phrase of them ‘among mediocre belonged aimed at Andersen’s it in the the medium and theirthrough overcame suffering, for since they warded can walk, as as feet as far means of art. international travels gain which They fame of his fairy-tale as the Andersen hero life in the tale. Like Schiller goes the phrase the in his depiction of Schiller, who survives because of his literary only works, ‘written on the the the are pages “Fiesco”’ poet’sfew and hope for ‘whole wealth var- only effectively Andersen With author, the of the example Marbach future’. ‘the maxims: and try hearties one of his own suffer what it shall sing out has to with the sentence ‘the together had become his nation’s poor child Taken loud’. From abroad I have received, as I said, the happiest recognition over the years, which which the years, as I said, the recognition happiest over received, I have abroad From be has spoiled me to in me, no one here has a poet If Denmark up mentally. me backed kind of budding talent and put it in a and tend any oftenone. While parents for care mine; but that stifle is how done their to house, the utmost majorityhot of people have from he sent beams of sun light that and is why development, my it for wanted our Lord (Andersen, written cut its way. that I have which and let abroad, the room in which he was born the but it he was small and narrow house in which in which the was room a humble appearance, windows, not; there can be no talk of low situated was was ‘Barndoms- own Andersen’s to it does apply However, house’. a ‘small or even Odense. Also, Schiller’s home’ his ‘childhood in Munkemøllestræde, suf- Hjem’, the resemble which humiliations modified to is subtly fering at the Karlsschule terror under the endure at the pedagogical had to school grammar Andersen in as he recounts in Slagelse, called a is initially when thealigns institutions educational Karlsschule the two and metaphorically. literally both be interpreted might which ‘military school’, his to considering and the with sarcasm reference obvious the background Told the very admitted to ‘are military graciously the poets to school, young both life, attended, and that an honor, was department of high-society the which children kiss the to hand that Thus obliged ‘Kirkeklokke’). (Andersen, a piece of luck’ be a bell or a cog in the to they want whether choose to them, have both feeds of art either religion a saint of middle-class (as or society, wheel of middle-class – to flight take both Consequently, in the text) a ‘number’. it is explicitly phrased thus: self-portrait, it reads In Andersen’s the border. state and across literature On closer scrutiny, some characteristics which Andersen depicts in his image of in his image depicts Andersen which characteristics some scrutiny, On closer Schiller 845, in his 1 Mit Livs Eventyr Eventyr Mit Livs Fædreland’ (my (my Fædreland’ Outside the city of the art messiah 21 mit imitatio 65; 67). Thus, in this picture- 845. The text is written in An- 1 850: ‘Where mighty barrows / stand / stand barrows 850: ‘Where mighty 1 Landschaft mit Poet as a variation of myth and only uses the and only termas a variation of myth ‘song’ was published in May published in May was

title; only Andersen himself has. He did so in himself has. He title; Andersen only this Kunstmärchen Kunstmärchen According to Andersen’s text, Thorvaldsen Andersen’s up in the grew to idyllic Dan- According 20 ‘Klokken’ [‘The Bell’] ‘Klokken’ The text tells the story of two very different boys, who simultaneously follow follow who simultaneously boys, veryThe text tells the different story of two The subtlest and most inconspicuous hint that Andersen has painted Schiller inconspicuous hint that painted Schiller has and most Andersen The subtlest In Andersen’s story, both Schiller and Thorvaldsen Schiller both of the embody myth story, In Andersen’s most consistent framing of a post-Romantic religion of art which conceives of of art religion conceives of a post-Romantic which framing consistent most the Romantic bell two of Andersen’s the at first tale. A final glance a prose for as a metaphor it in the of Schiller’s transformation ‘The he evokes Song of why fairy tales shows engenders. this and the reference consequences The Bell’, dersen’s characteristically plain style, which becomes more rhetorically elaborate elaborate rhetorically becomes more which plain style, characteristically dersen’s who had started Andersen, his literary career For the end of the story. towards with connected this is intimately the style Heine, following as a successful poet could conform the speech to modelled on colloquial fairy prose tale because only over could gloss this Only kind of prose he aspired. which to folkloristic style rather withthe sometimes of art, Andersen’s artificiality contrasting of the work This kind of folkloristic appeal is at theartistic and exalted center of An- verse. unites the which poor and the rich, the educated song of ‘The prose Bell’, dersen’s and the in the uneducated of nature. spirit of a Romantic philosophy of a big ‘in the streets narrow one night can be heard sound which a mysterious could only bell, but you of a church the stroke sound, like It is a ‘strange city’. a briefhear it for moment because of the of cartwheels clatter and people yelling, translation). my ‘Klokken’; and that (Andersen, is annoying’ – can be found in a tiny mistake in the quotation. Significantly, in the Danish Significantly, in the quotation. mistake in a tiny – can be found sing the ‘he, who shall later beautiful “Song of The most text the is not poor boy Schiller Bell”’ but ‘he, who shall later sing the song of “The beautiful most Bell”’. a song of sang never after himself – or that he has stylized his own life as an life after himself – or that his own he has stylized puzzle narrative, Andersen paints his idealized self-portrait twice: in the roles of paints his idealized self-portrait twice: in the Andersen roles puzzle narrative, and of Thorvaldsen. is theSchiller sitter’s He – like successor and his portraitist out of the at thethose corner who gaze onlooker painters painting. of a large amidst small cottage gardens’; ‘beechy Fatherland’; ‘You green Islands, home of ‘You Fatherland’; gardens’; ‘beechy small cottage amidst (Andersen, heart below’ here my pride’, it suggests the underlying construction of Andersen’s own construction the own of Andersen’s underlying it suggests pride’, the and between beside these two the who becomes a great poor boy artist. Yet Little at a superficial glance. at least man, third is thelines, Andersen invisible clogs’;Thorvaldsen the is ‘a very who had been wearing wooden child poor boy Træsko løb jeg om med himself ‘Her about wrote in Odense of poor parents the to charity / And went clogs about in I ran [‘Here på / Og gik i Fattigskole’ school’]. [The Fairy Tale of My Life]. [The Fairy Tale gates, however, surrounded by nature, ‘the nature, surrounded ‘much of the sound by bell’ can be heard however, gates, ish countryside Schiller’s is similar to which ‘on one of the Swabia: green islands using almost However, barrows’. many there are and where grow beeches where described had Andersen exactly ‘Danmark, the same words, anthem popular of his extremely emphasis),

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22 which which imitatio ]; Ferdinand says says ]; Ferdinand Love and IntrigueLove [ 3: 46) Dagbøger Kabale und Liebe 846, Andersen wrote in his diary: wrote 846, Andersen From this passage, Andersen draws the of the image fairy final draws this Andersen passage, From 1 23 5 January 1 On tale of ‘The Bell’. While this fairy tale once again proclaimed the While this Romantically fairy proclaimed tale once again tale of ‘The Bell’. Bell’ refers ‘The Old Church ‘nature’ and ‘poetry’, of ‘church’, unity conceived cult of art educated middle-class a post-Romantic, trans- this to and frames back the and the poor boy king’s son formed the into cult of the artist. In ‘The Bell’, Bell’, In ‘The Old Church and poetry’. of nature ‘in the church stand huge both The at Thorvaldsenart at itself: Andersen gazes and Thorvaldsen only at Schiller. of an the stages reveal to of this can be reversed self-reflection order theintegrate writer Thorvaldsen, to of the the Schiller text into story from told: Thorvaldsen himself. Andersen from to I read out loud three fairyI read ‘The the tales of which Bell’ made the greatest impression, to I shall aspire prince Alexander], himself: ‘Yes, him [Carl an allusion to in it, I told was and he at table together were hand. We aims,’ my the and best he said and pressed noblest (Andersen, me …. to a toast proposed Like the central motif of ‘The Bell’, Andersen also adopted from Schiller the Schiller from also adopted Andersen of ‘The motif Bell’, the central Like mehr Tempel in keinem wir Gott of nature’ under the ‘Werden ‘church starry sky. mit begeisternden Schauernder wechselnde auf, die Nacht dienen, so ziehet mit uns.’ Sternen betet von Kirche uns Buße, und eine andächtige Mond predigt The sea … stretched before them, and the sun stood out there like a shining altar, where where altar, a shining them, out there like and the before sun stood The sea … stretched sang, and the sea sang, the colors, everything forest blurredsea and sky meet, in glowing and soaring trees in which and his heart church sang with holy one them; was all of nature and the sky itself the big velvet, the and grass woven up the flowers pillars, make clouds other’s and held each other of each hand in the church huge towards dome … and they ran them, blissful spirits above chimed floating bell holy and the invisible, and poetry, nature hallelujah. it, dancing a jubilant around louder; it was as if the sound came from a church deep inside the serene, fragrant deep inside thefragrant serene, louder; a church the as if it was came from sound the empe- it, and even start become curious to looking for People and go forest’. the discover they cannot further Yet ever in their search. ror’s traveling scouts are of them farthest, each on his go boys two sound. The of the mysterious source so short with clogs, a jacket in wooden the ‘a boy other one ‘a son of a king’, own: they meet home and now from other each know They his long wrists’. it showed in theagain open country of the find out independently to source they set where in the where sun sets again, do they meet the at the sound. Only end of the world the the endless sea and where starry be seen above: sky can The passage can be found in can be found The passage this to Luise in act 3, scene 4 (Schiller 808). In a school essay, the young Andersen Andersen the young essay, In a school 808). this 3, scene 4 (Schiller Luise in act to a me like seems to which all of nature covers commented on this scene: ‘Night on me. shining down are eternal lights and its clear the sky its vault, church, holy that the now busy breast, in my awake feelings and high Noble silence! What holy is over’. of day life Can it be a coincidence, then, that Vilhelm Pedersen’s contemporary illustration illustration contemporary a coincidence, then,Can it be that Pedersen’s Vilhelm recog- think you you that makes depicts the and the poor boy king’s son in a way friendship an idealized this is not between monument? Yet Weimar nize a famous and an art-loving the but prince.connection of a poet poets, In the Schiller two the lyric from ‘The Song of the Bell’ and the prose wove Andersen which story, used who boy the young Here, converge. all of these strands fairy tale of ‘The Bell’, The Dan- friend be his to with identified himself has inconspicuously Schiller. who had sung ‘the song of “The beautiful most ish poet with Bell”’ is identified The Weimar the the beautiful ‘The German most Song of The Bell’. who wrote whom the the to fairy reader is now tale earlier, prince, he had envisioned whom the prince shows Andersen writer his text. In his depiction of Schiller, addresses suffering and triumph as see it the life, who is able to story of his own and anyone variationa post-Romantic of an art-religious of the in the legend artist – wrapped poetry Schiller’splainness of fairy-tale in which is nothing prose contemplative shadow. distant but a faint,

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1 , 1 984): 1 3-326; ( 1 1

. Vol. 6. . Vol. 976. Copen- 1 - 1 . Berlin: De . Berlin: 850. Med til- 1 Gegenstände und , 97 - 964. 204-208. 1 1 800 1 1 1 83 4 (2008): 3 1 Ed. Klaus P. Ed. Klaus P.

. Skandinavistik 2 vols. 2 vols. 1 996. 78-95. . Frankfurt am Main: . Frankfurt 1 Grenzgänge: Skandinavisch- Grenzgänge: -345. Ivy York Möller-Christensen Möller-Christensen Ivy York . 11 2. www.andersen.sdu.dk. 2. www.andersen.sdu.dk. . 1 Ed

11 . 986. 90-92. 1 . Ed. Erik Nielsen. 7 and Erling Dal Ed. Johan de Mylius and Solveig Ed. Johan de Mylius and Solveig . 5 June 20 Kunstreligion: Ein ästhetisches Konzept Konzept Ein ästhetisches Kunstreligion: . Vol. 5. Copenhagen: Reitzels Forlag, Reitzels 5. Copenhagen: Forlag, . Vol. . Ed. Thomas Anz. Vol. . Ed. Thomas Anz. Vol. 1 992. 998. 1 934. 1 2. www.andersen.sdu.dk. 2. www.andersen.sdu.dk. 1 1 Sämtliche Werke. Münchner Ausgabe Münchner Werke. Sämtliche Trans. Heinrich Detering. Göttingen: Wall- Heinrich Detering. Göttingen: Trans.

. Trans. Ulrich Sonnenberg. Frankfurt am Ulrich Sonnenberg. Frankfurt . Trans. . Eventyr Der Ursprung des Konzepts um des Konzepts Der Ursprung . Göttingen: Vandenhoeck, 2002. Vandenhoeck, . Göttingen: , 1 998. Web, 998. Web, 1 H. C. Andersens Samlede Værker . Ed. Helga Vang Lauridsen and Kirsten Weber. Co- Lauridsen Weber. and Kirsten Vang . Ed. Helga 5 June 20 . 7-237. Vol. Vol. Gedichte 1

. Stuttgart: Reclam, 20 1 990. . . Vol. 2. Copenhagen: Reitzels Forlag, Reitzels 2. Copenhagen: Forlag, . Vol. 873 1 855 1 1 833- 963- 1 1 . Copenhagen: Gyldendal, 2009. Gyldendal, 2009. . Copenhagen: Eventyr . Ed. Kåre Olsen and H. Topsøe-Jensen. Olsen and H. Topsøe-Jensen. . Ed. Kåre Kritisk efter udgivet de originale . Copenhagen: Levin, Levin, . Copenhagen:

76; 3 (2009): 2 1 Handbuch Literaturwissenschaft Handbuch 990. . Ed. Victor Lange. Munich: Hanser, Hanser, Munich: Lange. . Ed. Victor 1 55- . Ed. Heinrich Detering. Göttingen: Wallstein, Wallstein, . Ed. Heinrich Detering. Göttingen: 1 Dagbøger Mit Livs Eventyr, Eventyr, Mit Livs Landschaft mit Poet: Eventyr: Almanakker Mein lieber, theurer Erbgroßherzog!: Christian Briefwechsel An- Hans zwischen Mein lieber, 806 995. 1 1 Selvbiografier II Selvbiografier Den gyldne trekant: H. C. Andersens gennembrud i Tyskland trekant:Den gyldne i Tyskland H. C. Andersens gennembrud Die große Weimar-Jena Stadt: von Das kulturhistorische Archiv 7, 798- . Odense: Odense Universitetsforlag, . Odense: Odense Universitetsforlag, 1 1 Stigma: Über Techniken der Bewältigung beschädigter Identität beschädigter der Bewältigung Stigma: Über Techniken H. C. Andersens liv: Dag for dag. H. C. Andersens liv: . 967. . Stuttgart: Metzler, 2007. 382-395. 2007. . Stuttgart: Metzler, 1 Hans Christian Andersen: Eine Biographie Hans 11 Opfergänge der Vernunft: Zur Konstruktion von metaphysischem Sinn in Texten der skandina- Sinn in Texten metaphysischem Zur Konstruktion der Vernunft: von Opfergänge Goethe: Dichtung – Kunst – Natur – Kunst Goethe: Dichtung 847-2007’. 847-2007’. H. C. Andersens Ungdom 1 Erving.

967. 22-26. 967. Literature dersen und Großherzog Sachsen-Weimar-Eisenach Carl Alexander von Wallstein, Göttingen: and Ernst Möller-Christensen. der Moderne in seiner historischen Entfaltung Suhrkamp, Suhrkamp, Brunholm. H. C. Andersen Centret. Web, Web, Brunholm. Centret. H. C. Andersen deutsche Nachbarschaften deutsche Main: Insel, 2005. stein, 2005. stein, vols. Copenhagen: Reitzels Forlag, Reitzels Copenhagen: Forlag, vols. Gruyter, 20 Gruyter, (2009): 40-75; 2 (2009): (2009): 40-75; Mortensen. Vol. Mortensen. Vol. penhagen: Gads Forlag, Gads Forlag, penhagen: 1 lerhaus lerhaus hagen: Gads Forlag, Gads Forlag, hagen: Weimarer Klassik Weimarer 36-50. bis zur Postmoderne Barock vom Literaturen vischen Grundbegriffe hørende bibliografi Andersen, Hans Christian. Hans Andersen, Christian. Hans Andersen, Pulmer, Karin. ‘Brüchige Integration: H. C. Andersen und die Lateinschule’. und die Lateinschule’. Karin. H. C. Andersen Integration: ‘Brüchige Pulmer, Meier, Albert, Alessandro Costazza and Gérard Laudin, eds. Albert, and Gérard Alessandro Costazza Meier, Andersen, Hans Christian. ‘Den gamle Kirkeklokke’. Christian. Kirkeklokke’. ‘Den gamle Hans Andersen, Goffman, Andersen, Hans Christian. ‘Breve til, fra og om H. C. Andersen’ fra til, Christian. ‘Breve Hans Andersen, Andersen, Hans Christian. Hans Andersen, Andersen, Hans Christian. ‘Klokken’. Christian. ‘Klokken’. Hans Andersen, Meier, Albert. Meier, Mylius, Johan de. Lohmeier, Dieter. ‘Kopenhagen als kulturelles Zentrum der Goethezeit’. Zentrum als kulturelles der Goethezeit’. ‘Kopenhagen Dieter. Lohmeier, Detering, Heinrich. ‘Religion’. Detering, Heinrich. ‘Religion’. Andersen, Hans Christian. Hans Andersen, Jens. Andersen, Andersen, Hans Christian. Hans Andersen, Andersen, Hans Christian. Hans Andersen, Kahl, Paul. ‘“... ein Tempel der Erinnerung Schil- großen Dichter”: an Deutschlands Das Weimarer ein Tempel ‘“... Kahl, Paul. Möller-Christensen, Ivy. Ivy. Möller-Christensen, Høeg, Tage. Tage. Høeg, Rühling, Lutz. Goethe, Johann Wolfgang. ‘Epilog zu Schillers Glocke’. Glocke’. ‘Epilog zu Schillers Johann Wolfgang. Goethe, 998. . 1 1 Zeitschrift für Germanistik . New York: Knopf, 200 Knopf, York: . New . Ed. Peter-André Alt, Albert Meier and Wolfgang Alt, Albert Meier and Wolfgang . Ed. Peter-André Sämtliche Werke Sämtliche . München: Beck, 2005. München: . With photographs by Barbara Klemm. Stuttgart: Klett-Cotta, Klemm. Stuttgart: Klett-Cotta, Barbara by . With photographs

): 337-344. 11 Hans Christian Life of a Storyteller Andersen: The Hans Weimar Kabale und Liebe Schillers Schädel. Schädel. Schillers . Munich: Hanser, 2007. Hanser, . Munich: 1

Thomas. (new series)(new 2 (20 Riedel. Vol. Riedel. Vol. Wullschlager, Jackie. Jackie. Wullschlager, Sina, Kai. ‘Kunst – Religion – Kunstreligion: Ein Forschungsüberblick’. Ein Forschungsüberblick’. – Religion – Kunstreligion: Sina, Kai. ‘Kunst Schiller, Friedrich. Schiller, Schöne, Albrecht. Albrecht. Schöne, Steinfeld,

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01 6 JOURNAL FOR THE STUDY OF ROMANTICISMS 5 6 ) (on Faust Nur ein Nur ). Dannelseskultur Geschichte des Geschichte ). Cf. also the 4: 283 et seq). 4: 283 et 860: ‘Letter with 860: ‘Letter 1 . In his novel of society society of . In his novel Dagbøger Briefwechsel ; on this, see Mylius’ new, ; on this, see Mylius’ new, 286). 800 would not have been con- have not 800 would 1 ½ Taler a day, view on the market on the view market a day, ½ Taler after 1 Wilhelm Meister Almanakker Schattenbilder Bildungsroman 857, he elaborates at length on the question of how of how at length on the he elaborates question 857, 1 ] of Bilderbuch ohne Bilder [Picturebook without Pictures] ohne Bilderbuch ], Andersen makes a leitmotif of Goethe’s a leitmotif term makes ], Andersen the ‘rote[r] ( . Kahl gives an in-depth analysis of the early cult of Schiller’s of the analysis early an in-depth house . Kahl gives , cf. Costazza, Laudin and Meier. On an attempt at a definition, see at a definition, On an attempt Laudin and Meier. , cf. Costazza, should be correctly understood; Andersen even has the heroine give a give has the heroine even Andersen should be correctly understood; To Be or Not to Be Be or Not To [ Faust The Two Baronesses The Two [ Billedbog uden Billeder religion of art , but had even written the determination and unscrupulousness, but had even it himself shows in

Notes Schiller’s fairy Serre Mrs (Andersen, tale to in Dresden’ also the extremely productive fashion of the fashion productive also the extremely of the Danish civil servants’ state, see Pulmer, as well as Wullschläger and Jens Andersen. as Wullschläger of the as well Danish civil servants’ see Pulmer, state, text without further individual references. in the age of Goethe, oftenin the of Goethe, using the age term in progress itself, cf. Kai Sina’s study Schriftstellerischen Nachlasses of birth as a place of pilgrimage in the cult of the artist. see Sina. of research, Detering. On an overview Eventyr. annotated edition. annotated in Steinfeld. on Andersen chapter Spielmann On this, see Möller-Christensen. his self-mythification. the second part of complete retelling of the poem. retelling complete Brunholm. with Solveig Johan de Mylius in cooperation up by set ‘Breve’) square. Goethe’s house is being decorated, Schiller’s too, spoke with its owner, he thought I was I was he thought Schiller’s Goethe’s with house is being decorated, square. its owner, spoke too, hall, the busy run- people are flying on the Flags are town Wieland. … Rainythe weather. young bed at 9’ (Andersen, and to Home ning about with flags and garlands. Faden’ [the ‘golden thread’], an organic development in the seemingly haphazard course of the course haphazard in the seemingly thread’], [the development ‘golden an organic Faden’ penultimate novel in Andersen’s in Rühling). Even (on this, on Andersen see the chapter world eller ikke være At være ceivable without the persistent Weimar model, together with the general popularity with the of general model, together without Weimar theceivable persistent as his infatua- among his contemporaries is exceptional see Meier). Andersen this, essentially, in read widely were which His novels, permeatetion with can be seen to Goethe all of his works. vary continuously the model of and Germany, Denmark De to Baronesser Meaning the Meaning 3 ‘Zum Elephant, it costs at the hotel staying was Andersen 4 in the are Andersen, from translations in my ‘Kirkeklokke’, from quotations In the following, 5 On the term 0 of education and learning’ into difficult integration the ‘culture On Andersen’s ( 2 the poet’s manuscript as a ‘relic’ involving On practices see Schöne. On this, comprehensively, Andersen’s to in the the supplement volume the reproduction by author following Translated 4 poetry Danish only of this period, Not but historical context, see Lohmeier. On the cultural 1 1 1 1 11 1 1 2 Mylius. to according and in the dates, here Biographical following, 3 in his diary example, For entries on 23 April after he had finished his work 8 edition (Andersen, The correspondence is accessible in an annotated 9 diary of Andersen’s translations entries the and in the by author. following, Here 7 journal then described He journey in his travel his first 5 (Andersen, letters database of Andersen’s the the excellent by author following Translated 6 his best-seller to as a preface the launched biography only that not Andersen The fact 862). It 1 ] (cf. Høeg ] (cf. Høeg of 2 December Flyveposten Thoughts on a clear starryThoughts on a clear night [ 63). (Joseph Stieler’s reproduction of Ludowike Stieler’s63). (Joseph of Ludowike reproduction 1 ( Mit Livs Eventyr Mit Livs Betragtninger i en stjerneklar Nat i en stjerneklar Nat Betragtninger 0); in the further reception of Andersen, the text has only played a marginal 0); in the further the played of Andersen, text has only reception 1 4: 2 Eventyr 92 et seq.). 92 et its ‘plain, naïve depictions’its ‘plain, naïve (thus in the journal Copenhagen with us.’ will be praying of stars and a pious church repentance, preach moon will changing is here translated following Flemming Hovmann’s documentation of the reception history of the documentation (An- reception Flemming Hovmann’s following translated is here dersen, role. role. Simanowics’ Schiller portrait and Theodor Rehbenitz’s pencil-drawn water color of the water entomb- Rehbenitz’s portrait and Theodor Simanowics’ Schiller pencil-drawn ment of Christ.) appear without numbers. individual page quotations In the following, 1 7 in works’ In Danish literary ‘best one of Andersen’s as criticism, praised the especially text was 8 the popular man about town’. I was most ‘Without doubt, the by remark: any Followed 9 a basic definition, see Goffman. For 6 Reproduced in Andersen’s 1 1 1 20 on its former building. plaque on a commemorative These lines can be found 2 22 the with inspiringfall will night showers, God in a temple, worshipping stop soon as we ‘As 23 is titled essay Andersen’s 1

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