The museum has the appearance of a huge tomb, and is anything but attractive from the outside. Inside is a mighty collection of the sculptor’s work. Many of the originals are here, and plaster models represent the rest. Among these models are two of his greatest works, the Lion of Lucerne, and the statue of Christ, which stands in the Frue Kirke. As I had seen the originals of both of these, I was not so thrilled by the plaster models. Inside, in a courtyard, is the sculptor’s grave, and it must be comforting to him to have his own beloved creations looking down upon his grave. Outside, all around the wall, are frescoes representing Thorvaldsen’s triumphant return from Rome in 1838. Hans Christian Andersen says of this home-coming: “It was a national festival; boats, decorated with flowers and flags, passed backward and forward between Langelinie and Trekoner. Joyous shouts were heard from the shore, where the people harnessed themselves to Thorvaldsen’s carriage and dragged it through Amalienborg to his dwelling.”
Thorvaldsen did not achieve this distinction, however, without a hard, discouraging, up-hill climb. He went to Rome to study first in 1796, and he labored so obscurely that even his friends lost faith in his talent. He could not afford to buy plaster of Paris, so he made from clay a model of Jason, which quickly fell to pieces. A second model failed to find a purchaser, and discouraged and heartbroken he prepared to sail for Denmark, when Thomas Hope, a wealthy English banker, justified nature in the bestowal of his surname by asking Thorvaldsen to reproduce in marble his statue of Jason. From this point the sculptor’s ambition revived, and in a few years he was hailed far and wide as the greatest living master of his profession.
Andersen’s autobiography contains many interesting bits about his friend Thorvaldsen. On his seventy-third birthday, and his last, the sculptor was greeted very early in the morning by a throng of friends who were celebrating the day by the use of “gongs, fire tongs, flasks, knives,” and other noisy implements. The old man threw on a dressing gown and slippers, and thus attired danced out of his bedroom and joined the hilarity. A few months later he died, and the news caused a whole nation to go into mourning.
But Hans Christian Andersen, the children’s poet, survived him. Andersen is to-day one of the best beloved writers in the world, as you will not hesitate to admit, Judicia. I am positive that Phillips can’t refer you to any Swedish author who is half as much loved, at least by people outside of his own land. One writer whose book I have recently read refers to this author as “H. C. Andersen.” Doesn’t that strike you as almost a sacrilege? Hans Christian Andersen is in a class by himself, and he ought to be called Hans Christian and not H. C. His fairy tales lose half their charm if we discover that the author is only H. C. Andersen. Hans Christian Andersen by any other name would not—well, he would not be as fragrant—I am getting involved here.
He was born in Odense, on the island of Fyen. Right here let me say that this town of Odense is not named for the much-advertised five-cent cigar, but for Odin, the same old god who gave us our name for the fourth day in the week. Hans was the son of a cobbler, and he spent the earliest years of his life, or parts of them, in a crib fashioned from a nobleman’s coffin, on which tatters of black cloth continued to hang. His mother wanted him to become a tailor, and he would perhaps have fulfilled her wish if a gypsy wise-woman had not chanced to cross his path and prophesy that Hans would some day become a great man. His parents believed the prophecy, and later their faith in the gypsy woman was justified.
Even as a boy Hans was in love with the drama. He could scrape up money enough to go to the theater only once a year, but the rest of the time he would get hold of the bill and imagine the whole play for himself. His introduction to dramatic society was most pathetic. An old bookseller in Odense gave him an introduction to a danseuse at the Royal Theater at Copenhagen. Poor little Hans was frightened almost out of his wits when he met the lady dancer. He was “candidating,” as it were, and the meeting was very critical. He was so nervous that everything went wrong. His hat was too big for him, and, as he forgot to take it off, it fell over his ears. His new, confirmation shoes creaked, and he was forced to “ask his hostess’ permission to remove them, that he might be able to dance with more grace.” The peculiarity of this request, combined with the strange gestures he made, frightened the poor danseuse. She thought he was mad, and escaped under a pretext. Poor Hans, with tears in his eyes, and as utterly miserable as possible, hurried away. Yet he had inborn genius, and, like a city that is set on a hill, it could not be hid. A few years later he was received in his native town as a hero. The city was illuminated; the bishop met him at the station; the school children had a whole holiday; he received a congratulatory telegram from the king, and the man whom all Denmark delighted to honor says: “I felt as humble and small as if I stood before my God. It was as if every weakness, fault, and sin in thought, word, and deed was brought home to me.” As a matter of fact he had about as few faults and sins as it would be possible to have and still be human, and his one weakness was a too great sensitiveness.
He tells of how on one occasion he was anxious to obtain a traveling scholarship, and he also had a book of poems which he wished to present to the king, Frederick VI. His friends, being versed in the ways of the world, advised him to present his book at the same time he made his request for the scholarship. The same principle was of course involved as that which to-day implies that the giver of compliments has a request to follow. Well, such a proceeding seemed to the sensitive Hans as verging on dishonesty, and he was troubled to know what to do. He thus describes his interview with the king:
“I must have looked to the king extremely funny as I entered the room, for my heart was beating fast with anxiety. When the king came toward me in the quick way he had, and asked me what kind of a book I had brought him, I answered: ‘A cycle of poems, your Majesty.’ ‘Cycle, Cycle! what do you mean?’ Then I lost heart and said: ‘It is some verses on Denmark.’ He smiled. ‘Well, well, that is all right; thanks, thanks,’ and he bowed a dismissal. But I, who had not even begun my real errand, explained that I had much still to say, and then I told him about my studies, and how I had got through them. ‘That is very praiseworthy,’ said the king, and when I came to the point of my wish for a scholarship he answered, as they had told me he would: ‘Very well, then bring an application.’ ‘Yes, your Majesty,’ I burst out, all my self-consciousness gone, ‘I have it here with me, and it seems so dreadful to me that I should bring it with the book. I have been told to do so, as it is the custom, but I think it is horrid. I do hate it so.’ My eyes were full of tears. The good king laughed right out, nodded kindly, and took the application form.”
This bashful, timid Hans was really a wonderful man. He could take an old bottle or a piece of string or a barnyard hen and make a story out of it that the world, particularly the child’s world, will not willingly let die. Did you know that he invented the mission of the stork, and that every time Life or Judge gets off a joke in which a stork figures they have Hans Christian Andersen to thank for the idea?
Part of Andersen’s life was spent as a student at Elsinore or Helsingör, and so I think I will tear myself away from Copenhagen and go up to see the sights of northern Zealand. Before I tell you about Helsingör I must mention some of these castles of North Zealand. The island swarms with them, but the most interesting are Kronborg, Fredensborg, and Frederiksborg. In Kronborg, Holger Danske sits in confinement, and must remain there until the end of time. “He is clad in iron and steel, and rests his head upon his strong arms; his long beard hangs out over the marble table where it has grown fast. He sleeps and dreams in his dreams that he sees all that is happening above in Denmark. Every Christmas evening one of God’s angels comes to tell him that it is right what he has dreamt, and that he may sleep again, for no danger out of the ordinary is threatening Denmark.”