What Motivate HC Andersen in Writing His Fairy Tales?

Psychoanalysis on HC Andersen: What motivate H.C. Andersen in writing his fairy tales?

THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Sarjana Pendidikan

Aditya Hartono Wijaya

112014708

ENGLISH TEACHER EDUCATION PROGRAM FACULTY OF LANGUAGE AND LITERATURE SATYA WACANA CHRISTIAN UNIVERSITY SALATIGA 2015

ACKNOWLEDGEMENT

First of all writer would like to thanks the God for allowing writer to finish the Thesis project. In this good opportunity writer also wants to express his gratitude to everyone who supported him throughout the course of this Thesis project. Writer wants to say many thanks to his beloved parents and sister who always support him spiritually and financially and also never stop to pray for his success day and night. Their sacrifices will never be equally paid. The writer also wants to give his gratitude to Lany Kristono, M. Hum. as his advisor for her time, guidance, patience, kindness, and contribution in correcting and helping him in finishing this Thesis.

Last but not least, writer also would like to express his trustworthy gratitude to these persons; writer friends Adi Pratama, Christian Ade Chandra, Christiawan Adi Nugroho who has kindly lend writer sources and references for this Thesis project. Thesis

Name: Aditya Hartono W NIM: 112014708

Abstract

Andersen’s fairy tales are considered children’s literature although they contain an element that may not really fit to be presented as children’s literature. These tales also share some similarities or repeated parts. As literary works may depict human life, it is interesting to analyze how an individual life experience influences his/her work and vice versa, how a character represent the author’s behaviour. Therefore, this study would like to analyze and describe what motivate Hans Christian Andersen to write his tales, particularly the similar parts they share by applying Freud’s psychoanalysis theory. The analysis results in a finding that the author’s motivation and past experience is expressed through his works while his works itself reflects the repressed desire and motivation of the author’s unconscious feeling. Key words: the unconscious, sublimation, repressed desire Introduction

Hans Christian Andersen (1805-1875) a.k.a H.C. Andersen was a

Danish author and poet who wrote plays, travelogues, novels, and poems but is best remembered for his fairy tales. Andersen can be called the pioneer of this sub genre as his fairy tales were originally written by ‘his own hands’ and is a brand new story; while other fairy tales writers only rewrote and retold old legends and existing fairy tales in their own style.

Furthermore, even after 100 years, Andersen’s fairy tales have been translated into more than 125 languages and are one of the world’s best sellers (Bin 104).

The fame of Andersen’s works is reflected in the worldwide-spread of his fairy tales and their popularity among children as well as adults.

Regardless their popularity, there are a few interesting things about

Andersen’s works. First, although fairy tales are considered children’s literature, some of Andersen’s stories seem to be more appropriate for adults. For example, in “The Little Mermaid”, the main character suffers a lot of hardships of life so that, at the end of the story Andersen ‘saved’ her by turning her into foam. The story shows one reality of life to the readers; i.e. life may not end happily. Such a sad reality of life should not be aimed at children, but adults. Moreover Andersen’s works implicitly present lessons of morality and endurance in facing the hardships of life which fit adult readers. Take a close look at “Little Mermaid”, “Ugly Duckling”, and

“The Wild Swans”, in which the characters have to face a great misery and struggle over it before they have a happy life. However since the stories are regarded as fairy tales, they are considered children’s literature.

Despite the big number of literary works for children, Andersen’s stories are different and unique, particularly because they share similar characters who suffer great pain when they are still young. For example,

The Ugly Duckling has to spend a miserable winter outdoors alone, hiding in a cave by a lake that partly freezes after suffering from verbal and physical abuses from those it thought to be its family (Andersen 379-

387).Or, Thumbelina who was forced to leave her happy childhood

(Andersen 141) Another interesting fact about Andersen’s works is that his stories have not only been translated, but also adapted to have different styles of narrating and happy ending. Since the adapted versions emphasize on the stories’ happy ending, the original plots are often changed to soften or eliminate the suffering their characters have to endure. Such an adaptation causes some of Andersen’s stories be different from their original versions, in which the characters suffer more than those in any other fairy tale stories. Although Andersen’s protagonists suffer a lot in their early life, some of them find happiness. Interestingly, Andersen mostly portrays the happy life as life that starts with finding a soul mate and a wedding. These have triggered the writer to analyze what motive the author has in writing the similar elements of his works. Therefore, this research would like to address the following questions; i.e. “What motivate H.C. Andersen in writing his fairy tales? However, due to time limitation, this study will only examine the similar parts of some of Andersen’s fairy tales; particularly those related to his characters and plots.

Based on the problem stated above, this study is aimed at finding out the reasons which motivate Andersen in writing the similar elements in his characters and plots which characterize his fairy tales. The possible findings of this study are expected to make readers more aware of the relationship between author’s past experience and his works. The findings may also help readers realize that what lie in the unconscious may go to the conscious as well as to identify what may shape their ideas and thoughts so that they will understand themselves better.

To dig out the answer to the research question, Psychoanalysis would be used as a tool of analysis. Freud’s psychoanalysis was selected since this study is concerned with finding out the reasons which motivate

Andersen in writing the similar elements in his characters and plots which characterize his fairy tales.

Psychoanalysis is chosen since it can be used to assess literary works as Psychology can explain creativity process, such as an author’s habit in writing his/her works. Moreover it can be used to analyze characters in a novel, story, drama or film psychologically as sometimes an author or writer subconsciously inserts his/her adopted psychology belief in his/her works.

Furthermore, Psychoanalysis can also be used to analyze author’s mental state through their works (Barry 71). Since this study would like to focus on

Andersen’s motivation in writing the similar elements in his characters and plots which characterize his fairy tales, Psychoanalysis is the right tool to be used in this study, especially the part that discuses human character (Paris 3)

My search for previous studies brought me to the works of Knight and Eggers. Both studies focus on a particular Andersen’s fairy tale. Knight discussed that Disney’s Mermaid is against Native American’s belief. On the other hand, Eggers examined the differences between Andersen’s

Mermaid and Disney’s version from female’s point of view. It is different from Knight and Eggers’ works because this research emphasizes more on the reason behind Andersen’s similar characters and plots; it is different from Knight and Eggers’ works. In short, this study has never been done previously. Psychoanalysis

Coined by Freud, Psychoanalysis is a ‘tool’ or academically known as systematic knowledge to make a better understanding on human experience and behavior (Chaplin 394 & Tyson 11). To elaborate, it is closely related to human subconscious realm/mind, part of a person's mind that has ideas, feelings, etc., that the person is not aware of (Chaplin 349)

Freud, during his psychoanalytic therapy observation, deduces that there are three mental activities; i.e. the Unconscious, Subconscious, and

Conscious. The unconscious is part of the mind beyond consciousness that has a strong influence to human being’s actions (qtd. in Schustack and

Friedman, 10) , The Subconscious is a ‘box’ which contains memories of experiences that our conscious realm do not even remember that they once happened; while the Conscious is the ‘power holder’ upon what we are doing at present. (qtd. in A. Freud 10). In short, Conscious acts as the

‘vehicle’ and Unconscious its ‘driver’

Freud’s experience in giving therapy to his patients convinced him that the Unconscious is the deciding factor of individual’s important and dynamic behavior. Freud explains that the unconscious is composed of suppressed ideas, experiences, and repressed feelings of the conscious. In other words, the unconscious accepts ‘the products’ of repression or refrain, i.e. the process of suppressing unwanted or unpleasant experiences and feelings. (qtd. in Barry 70 & Schustack and Friedman 10 & Semiun 55 ) Freud also suggests the division of human mental’s area. He believes that human personality is constituted of three components; which are id, ego, and super ego (qtd. in Rennison 38). Id consists of motivation and instinct or stimuli and is oriented upon the principle of pleasure or tension reduction, which refers to immediate satisfaction attainment of biological desires, such as eating and sleeping. Id attains pleasure through reflex and primary process, that is by reducing tense by fantasizing (qtd. in Chaplin

236). Therefore, it is more fantasy or virtual-oriented. In seeking for pleasure, Id excludes morality so that it cannot judge or distinguish good from bad. In other words, Id is immoral primitive, chaos because it only seeks for pleasure without even considering whether that is right or wrong.

Because of this, Id is considered the ‘beast within human being’. (qtd. in

Semiun 63).

Unlike Id, Ego seeks for ways to satisfy desires with minimum risks

(Freud qtd. In Semiun 64). As a mediator that connects Id to the surrounding environment or outside world, Ego uses realistical and rational methods to gain satisfaction. Ego is self control, rational or thinking as Ego is an individual’s ‘I’ or ‘self’. As a personality’s executive, Ego has two main jobs; i.e. choosing which stimulus to respond and which instinct to satisfy according to the needs’ priority as well as deciding when and how that need will be satisfied without ignoring possible risks and threatening elements (qtd. in Rennison 40).

Freud defines Superego as part of personality’s moral and a section of morality or justice of personality which represents the ideal realm rather than the reality realm. Seeking for perfection, Superego is a component of personality that is closely related to the standard or the society’s norm regarding what is good or bad, right and wrong (Semiun 67). However

Superego ignores ego and recklessly tries to satisfy its desire. Unlike Ego,

Superego not only holds the satiation of instinct, but also keeps trying to get hold of it. In other words, Superego is a supreme ruler within individual’s mind. (qtd.in Rennison 39)

In relation to personality structure, the study of psychoanalysis comes to conclusion that personality developed and grows. The growth of personality is a form of response toward the increasing conflicts, frustration, and threats. Thus, individual instinctively learns how to restrain those pressures in order to overcome an individual’s anxiety and prevent them from getting ‘hurt’. (Schustack & Friedman 60). Freud suggests, among others, identification and displacement as ways an individual learn to overcome the threats around him/her. (Semiun 93) Identification is employed when an individual takes over other’s characteristics and makes it his/her own (Freud qtd. in Freud A. 40).

On the other hand, displacement, as its name implies, is an act where an individual finds a substitute to satisfy his/her desire. (Tyson 15).

Psychoanalysis discusses two kinds of displacement; i.e. Sublimation and

Projection. If displacement simply redirects someone’s conflict, frustration, and anger toward something or someone; then sublimation is on a higher level since sublimation is a displacement that results in cultural achievement

(Semiun 95). Sublimation not just merely redirects conflicts, frustration, and threats but in exchange it also creates something which is valued culturally or socially. According to Anna Freud, sublimation can simply understood as the transformation of human’s emotion into something which can be valued culturally or socially (42) For example, a man who loves to draw a picture of girl may express the desire of him to have a girlfriend or his longing for a girl to be by his side.

In contrast to sublimation, projection is blaming someone else as the source of fright, problem, or desire (Semiun 100). For example, a girl may interpret the act of older men as an attempt to seduce her. However, her unconscious posses erotic desire to those men.

Psychoanalysis is indeed a helpful and useful ‘tool’ to assist the study and/or analyzing on human’s character and behavior since it can also used to analyze literary characters even though they are not a real human but the fact that they represent the psychological experience of its creator.

Furthermore literary characters may represent behavior and real-life issues of its creator. (Tyson 35) Discussion

Andersen’s Characters

Characters in a story usually reflect the author’s true feeling and attitude or point of view as author may subconsciously inputs his/her own personal behavior into the story (Tyson 35). In addition, Psychoanalysis believes that one’s behavior and attitude is motivated by their subconscious mind (qtd. in Barry 70 & Schustack and Friedman 10 & Semiun 55). Since a work represents its author’s attitude, it may reflect the author’s subconscious mind. Therefore, reading an author’s works can be one way to identify the writer’s subconscious mind.

Freud maintains that the subconscious consists of conscious perception and unconsciousness which may go to the conscious at times (qtd in Semiun 58). In other words, an author’s subconscious can be identified by examining what are repeatedly expressed in their works. Reading H.C.

Andersen’s fairy tales, one may find some similarities related to his characters and plots. Most Andersen’s characters are described as cheerful or very curious individuals. Some have friends, brothers and sisters who love them so much and are always by their side. Ariel, the main character of

“Little Mermaid” is described as a girl who has a big interest in the outside world. As Andersen writes, “The little mermaid has a big curiosity to the outside world. She always asks her Grand Mother to tell her about the upper world” (Andersen 60). Elisa, the protagonist of “Wild Swans” has “personal body guards” who always surround her and those bodyguards are none other than her brothers. Because of this, Elisa never feels lonely except one time when she leaves the castle as she misses her brothers (Andersen 166).This implies that Eliza always feels happy and is never lonely when her brothers are around her. Even, the characters of “The Steadfast Tin Soldier”, have 24

“siblings” because Andersen writes that “There were once five-and-twenty tin soldiers. They were all brothers, born of the same old tin spoon.” (113).

In contrast to his characters, Andersen has a lonely life because he was the only child in his family and had only few friends. Yung Bin explains that “Andersen loves to play alone and none of his neighbours want to play together with him” (12).This description can be ambiguous.

Andersen may love to play alone, and because of that his peers do not want to play with him. Or, because no one wants to play with him, Andersen develops a habit of playing alone. Although there are no sources which state that Andersen was unhappy to be alone, individuals do need to mingle with others because they are social beings. I may say that socializing is one need of human beings, and Andersen does have this need. However, because he does not have friends, he seems to fulfill his need to socialize by fantasizing. As Yung Bin describes, “Little Andersen likes to play in his backyard and there he drown into his own imagination” (8). What Andersen did matches Freud’s argument that:

Desire and fantasy it seems are closely related. Desire has its

origin in the experience of satisfaction. As Freud analyzed, if desire

is articulated through fantasy, then fantasy, itself, is a mediator between the subject, and their wishes, and the negation of acting on

their desires, in reality. (qtd. in Brenner 1)

Andersen seems to have used fantasy to mediate himself, his wishes for friends, siblings and social interaction and the reality that he does not mingle with his peers. Later, he turns his fantasies into fairy tales, which are art work. According to Freud, this is a defense mechanism which comes up in the form of “socially acceptable source of entertainment and pleasure for the public” (qtd. in Drobot 1). Besides, psychoanalysis believes that the unconscious plays a major role in the process of creativity (Freud qtd. in

Drobot 1). Therefore, it is very possible that Andersen’s characters represent his repressed unfulfilled need for friends and socialization (Freud qtd. in

Semiun 57).

Andersen’s Plot

Another characteristic of Andersen’s works lies in the plot, in which the main characters experience an unpleasant change in their life when they are still very young, face the difficult period in their life without complaints, and “live happily ever after”. Even if the main character has to die, such as the protagonist of “The Match Girl”, s/he is freed from physical sufferings and enters a happily ever-after life (Andersen 12).

The change most Andersen’s protagonists experience is unpleasant because they initially enjoy a very happy life. In “Wild Swan”, Elisa, the protagonist, enjoys her luxurious childhood Andersen describes that “Their sister, Elisa, sat on a little footstool of flawless glass. She had a picture book that had cost half a kingdom” (163). In “Thumbelina”, Andersen writes:

“A nicely polished walnut shell served as her cradle. Her mattress

was made of the blue petals of violets, and a rose petal was pulled up

to cover her. That was how she slept at night. In the daytime she

played on a table where the woman put a plate surrounded with a

wreath of flowers. Thumbelina used the petal as a boat, and with a

pair of white horsehairs for oars she could row clear across the plate-

a charming sight.” (142).

Both descriptions illustrate how happy some of Andersen’s protagonists early years are.

Just like some of his protagonists, Andersen also had a happy childhood although he was born in a poor family. As written in his biography,”even though the husband works very hard it cannot change their poverty life” (Yung Bin 4) Andersen’s happiness during his childhood is reflected in how he recalled his childhood “I was the only child, and was extremely spoiled, but I continually heard from my mother how very much happier I was than she had been, and that I was brought up like a nobleman's child.” (Andersen 2). This implies that despite the family’s financial difficulty, Andersen’s parents seem to give priority to giving their son a comfortable life by “extremely” spoiling him and raising him like “a nobleman’s child; i.e. by introducing him to literature which was a nobleman’s lifestyle in that era (Andersen 3). Even though it is not clearly or explicitly stated if Andersen missed his early childhood so much but how Andersen longs for or treasures the happiness of his early childhood is implied in how he describes the early life of his protagonists in “Thumbelina” and “Wild Swan” (163&142). Because the portrayal of the protagonist’s happy early years is repeated, this may reflect that Andersen’s inner part wish for happiness; yet he no longer possesses the ability to recreate his own happiness. Thus, he may try to embody his interpretation of happiness in his own works. Andersen does miss his early childhood so much that he may not realize if he vents his happy early life through the portrayal of his characters’ comfortable life.

This is simply understood as the manifestation of what is so called desire

(Freud qtd. in Semiun 69).

Another repeated event in Andersen’s plots happens when his protagonist has to experience an unpleasant change in their happy early years. He writes in “Wild Swan”. “… Oh, the children had a very fine time, but it did not last forever.” (163). In “Thumbelina”, he describes, the protagonist as one who was “forced” to leave her little yet comfortable house. Similarly, Andersen’s happy childhood did not last long. His father passed away as soon as he came back from war. Andersen was only eleven years old at that time. That is only the beginning of Andersen’s difficult life

(Hans Christian Andersen 24). Two years after his father’s death,

Andersen’s mother married another shoe maker, who did not care for him

(Yung Bin 32). During the time when Andersen lived without his father, he often came to a late pastor’s home his school. The late pastor, Fencailo, was a well-known poet during his life. There in the pastor’s house Andersen spent his time reading books and stage play scenarios to forget his grief (Yung

Bin 26). Thus, Andersen spends most of his unpleasant time by reading the pastor’s collection.

Reading the pastor’s collection must have helped Andersen face the difficult period in his life. Interestingly, he portrays that some of his protagonists are comforted by living beings in their unhappy times. Elisa, the Wild Swan protagonist, still enjoys the protection and care of her brothers which makes her still able to smile even during the unpleasant time

(172). While Thumbelina is able to endure the hard time thanks to the birds’ chirping that makes her heart happy (148). Andersen’s life experience and his imaginative characters have different helps in facing the hard time in their lives. Andersen read books so that he uses his fantasy and background knowledge more. In other words, he communicates with his own imagination. On the other hand, his characters interact with other living being and things; i.e. brothers and birds. Yung Bin shares that Andersen has a lonely childhood (12). His father’s death and uncaring stepfather must have made Andersen feel lonelier. Therefore, Andersen’s description of his characters in their difficult time may reflect his unfulfilled desire to have friends of living things to interact with. In the language of psychoanalysis it is considered as displacement, an act where an individual finds a substitute to satisfy his/her desire. (Tyson 15) The last repeated element in Andersen’s fairy tales is the ending in which in the end, the protagonist live a happy life i.e. Thumbelina is married to a prince and live their happy life. As Andersen writes,

“So he took off his golden crown and put it on her head. He asked

if he might know her name, and he asked her to be his wife, which

would make her queen over all the flowers. Everyone rejoiced, as the

swallow perched above them in his nest and sang his very best songs

for them.” (Andersen 155)

Meanwhile Elisa meets with her beloved family again and married the prince

“The scent of a million roses filled the air, for every piece of

wood that they had piled up to burn her had taken root and grown

branches. There stood a great high hedge, covered with red and

fragrant roses. At the very top a single pure white flower shone like

a star. The King plucked it and put it on Elisa's breast. And she

awoke, with peace and happiness in her heart. Back to the palace

went a bridal procession such as no King had ever enjoyed before”

(Andersen 184).

In “Ugly Duckling”, the protagonist is finally turned into a beautiful being and feels its first happiness

“He felt so very happy, but he wasn't at all proud, for a good heart

never grows proud. He thought about how he had been persecuted

and scorned, and now he heard them all call him the most beautiful of all beautiful birds. He rustled his feathers and held his slender

neck high, as he cried out with full heart: "I never dreamed there

could be so much happiness, when I was the ugly duckling”

(Andersen 93)

Andersen’s happiest time in life is when he recalls the memories of his beloved family and persons who has passed away (Hans Christian

Adersen100). Andersen longs for and treasures the happiness of his life and family is implied in how he describes the happy end of his protagonists.

Perspective of Psychology believes that unconscious is composed of suppressed ideas, experiences, and repressed feelings of the conscious (qtd. in Barry 70 & Schustack and Friedman 10 & Semiun 55). Thus may lead to opinion that Andersen wish for an eternal happiness through his fairy tale characters’ happy ending. The happy end also may represent Andersen’s wish to have a happy life – possibly a happily – ever – after.

In most of Andersen’s fairy tales, the happy ending is also affected by marriage. Most of the female protagonists “are found” by their soul mates, who are mostly a prince. This can be seen in the story of Wild Swan

“All the church bells began to ring of their own accord and the air was filled with birds. Back to the palace went a bridal procession such as no King had ever enjoyed before.” (Andersen 184) As for Thumbelina, she finally finds her life mate and lives happily ever after. Andersen writes, “So he took off his golden crown and put it on her head. He asked if he might know her name, and he asked her to be his wife, which would make her queen over all the flowers.” (155). In contrast, due to some unknown reasons, Andersen never got married. Yung Bin mentions that “Andersen is not married and has no offspring, he spends his life being single” (100) As human being generally have desire and will to build a relationship with opposite sex and have a family it is very possible that Andersen’s characters reflect his repressed unfulfilled need for marriage. Furthermore, psychologically Andersen’s act to make his fairy characters married to their beloved people is describes as

Sublimation, the transformation of human’s emotion into something which can be valued culturally or socially (Anna Freud 42)

The similarities in Andersen’s fairy tales is not merely a coincidence. They may be a reflection of the author’s “…subconscious realm/mind, part of a person's mind that has ideas, feelings, etc., that the person is not aware of ( Chaplin 394). In other words, Andersen does have unfulfilled or repressed wishes, desire, and dreams which, without his awareness, are expressed in his works. Conclusion

Based on Freud’s psychoanalytic theory to relate Andersen’s works and past life, the analysis has revealed what motivate H.C. Andersen in writing similar characters and plots. It is revealed that actually the very reason is more on unconscious matter and the suppressed feeling of the author’s due to his past experience and motivation.

Andersen’s cheerful characters who are surrounded by loyal, caring siblings or true friends may be a reflection of his unfulfilled desire as an only child who has no friends to play with. The sufferings that his characters have to endure in their early years and the encouragement and consolation they get from their siblings or other living creatures may represent

Andersen’s wishes to have someone he can rely on during the difficult period in his life, especially because he lost his father and his stepfather is not a caring one. Andersen’s description of the happy-ever-after life of many of his characters, which begins when they meet their soul mate is contrast to the reality that Andersen never marry nor have a serious relationship with a woman. Therefore, it may mirror his repressed longing for a partner of life.

In short, Andersen actually lives a solitary, if not lonely, life since he was a child, which is contrast to the lives of many of his characters. As he spent his solitary life reading and fantasizing, his characters and plots very possibly express his unconscious mind, which longs warm human relationship. The finding of this study is expected to help readers understand psychoanalysis better, particularly that an individual’s works can be a mirror of the creator’s unconscious mind. Furthermore readers are expected to be able to learn more about H.C. Andersen, his works and his way of projecting his repressed feelings and desires to culturally more acceptable ways. Source:

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