"I could say nothing," he writes in "the Fairy-Tale of My Life," "I could only let the big, heavy waves roll over me; and it was the common opinion that I was to be totally washed away. I felt deeply the wound of the sharp knife; and was on the point of giving myself up, as I was already given up by others."
This is one of the numerous exhibitions of that over-sensitiveness to criticism which caused him such long and continued suffering. His mind was like a bared nerve, quivering with delight or contracting with violent pain. Utterly devoid, as he was, of self-criticism, he regarded his authorship as something miraculous, and held God (who apparently supervised each chapter) responsible for the fate of his books. "If the Lord," he writes in solemn earnest to a friend, "will take as good care of the remainder as he has of the first chapters, you will like it."[20] There was to him no difference between his best and his worst. It was all part of himself, and he could scarcely conceive of any motive for finding fault with it, except personal malice, envy, animosity.[21] This did not, however, always prevent him from associating with the malevolent critic, as for instance in the case of Hertz, with whom he presently established pleasant relations.
[20] P. Hansen: Illustreret Dansk Litteratur Historic, vol. ii., p. 477.
[21] I derive this impression not only from the Autobiography, but from many conversations. An account of My Acquaintance with Hans Christian Andersen will be found in The Century Magazine, March, 1892.
In 1831 Andersen made his first trip abroad. "By industry and frugality," he says, "I had saved up a little sum of money, so I resolved to spend a couple of weeks in North Germany."
The result of this journey was the book "Shadow Pictures," which was followed in 1833 by "Vignettes on Danish Poets," and a chaplet of verse entitled "The Twelve Months of the Year." It is quite true, as he affirms, that in his "Vignettes," he "only spoke of that which was good in them" [the poets]; but in consequence there is a great lack of Attic salt in the book. In 1833 he went abroad once more, visited Germany, France, Switzerland, and Italy, and sent home the dramatic poem "Agnete and the Merman," the comparative failure of which was a fresh grief to him. After his return from Rome (1835) he published his "Improvisatore," which slowly won its way. It was the reputation this novel gained abroad which changed public opinion in Denmark in its favor. A second novel, "Only a Fiddler" (1837), is a fresh variation of his autobiography, and the lachrymose and a trifle chaotic story, "O. T." (being the brand of the Odense penitentiary) scarcely deserved any better reception than was accorded it.
It is a curious thing that misconception and adversity never hardened Andersen or toughened the fibre of his personality. The same lamentable lack of robustness—not to say manliness—which marked his youth remained his prevailing characteristic to the end of his life. And I fancy, if he had ever reached intellectual maturity, both he himself and the world would have been losers. For it is his unique distinction to have expressed a simplicity of soul which is usually dumb—which has, at all events, nowhere else recorded itself in literature. We all have a dim recollection of how the world looked from the nursery window; but no book has preserved so vivid and accurate a negative of that marvellous panorama as Andersen's "Wonder Tales for Children," the first collection of which appeared in 1835. All the jumbled, distorted proportions of things (like the reflection of a landscape in a crystal ball) is capitally reproduced. The fantastically personifying fancy of childhood, where does it have more delightful play? The radiance of an enchanted fairy realm that bursts like an iridescent soap-bubble at the touch of the finger of reason, where does it linger in more alluring beauty than in "Ole Luköie" ("The Sandman"), "The Little Mermaid," or "The Ice-Maiden"? There is a bloom, an indefinable, dewy freshness about the grass, the flowers, the very light, and the children's sweet faces. And so vivid—so marvellously vivid—as it all is. Listen to this from "Five in a Pea-Pod:"
"There were five peas in one pod. They were green, and the pod was green; and so they thought that the whole world was green. And that was just as it should be. The pod grew and the peas grew; they accommodated themselves to circumstances, sitting all in a row."
Or take this from "Little Tuk:"
"Yes, that was Little Tuk. His name wasn't really Tuk, but when he couldn't speak plain, he used to call himself so. It was meant for Charley; and it does very well, when one only knows it."