objectneverletgo

25HansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLoveRobertMacLeanNeverseektotellthyloveLovethatnevertoldcanbeForthegentlewinddoesmoveSilentlyinvisibly.
WilliamBlake,Notebook(c.
)Theone-leggedtinsoldierbeginsfrommoltentincastfromakitchenspoon,andafterabriefsojourninthehumanworld,hefalls-orispushed-fromanupstairswindow,flowsdownatempestuousriverandenterstheabyss,whereheisliftedupandreturnstothesameroom,completingthecirclebymeltingagaininafieryconflagration.
Hisjourneyenterseachofthearchetypalelements:earth,air,water,fire,ether.
Trulyheisamuch-travelledsoldier,unlikehistwenty-fourbrotherswhostayinoneplace,safelyintheirbox.
Whatdoesthis"littletraveller"tellusHansChristianAndersen's"DenstandhaftigeTinsoldat"["TheSteadfastTinSoldier"]wasostensiblywrittenforchildren,includedinthesecondeditionofhisfamousEventyr,fortalteforBorn[Tales,toldforChildren].
Indeeditisstillgenerallyregardedasachild'sstory,thoughalongwithotherAndersentalesithasbeenobjectedtobymoralisticlibrariansandover-anxiousparentsasbeingtoopessimistic.
Astoryinwhichtheheroandheroineburntodeathattheendisnotexactlyaconventionalhappyending.
RecentlyinEuropeandRussia,however,Andersenhasbeentakenseriouslybyacademics,asevidencedbyuniversitycurriculaandinternationalconferences,andhehimselfalwaysassertedthathistaleswereintendedforbothchildrenandadults.
Hevirtuallycreated,single-handed,theliteraryfolktale,incontrasttohisnearcontemporaries,JakobandWilhelmGrimm,whobasedtheirseminalKinder-undHausmarchen(-)onoral,anonymousnarrativescollectedfromGermanpeasants.
ThisgenrehasprovedtobeenormouslyinfluentialuponthefuturedevelopmentofEnglishliterature,despitebeingfilteredthroughspuriousVictoriantranslationsandmisreadings,influencingawidevarietyofwriters.
Thelistisendless:CharlesDickens,OscarWilde,ElizabethBarrettBrowning,EdgarAllenPoe,L.
FrankBaum,BeatrixPotter,LewisCarroll,KennethGrahame,A.
A.
Milne,RoaldDahl,GrahamGreene,W.
H.
Auden,AngelaCarter,RussellHoban(whoseTheMouseandHisChildisexplicitlymodeledon"TheSteadfastTinSoldier"),andevenJ.
K.
Rowling'ssmash-hitHarryPotterseries-theseandmanymoreoweanincalculabledebttoAndersen.
Yetdespitethishugeintertextualconnection,intheEnglishculturalimaginationandcanonAndersenstillbelongstothenursery,solongashisstoriesaresuitablyalteredbeforehand.
AsDianaCroneFrankandJeffreyFranknoteintheirrecentsparklingtranslationofselectedAndersentales,whichforthefirsttimecatchesthenaturalcolloquialauthenticityofhisvoice:"twohundredyearsafterAndersen'sbirthasortofliteraryentrophypersists"().
"TheSteadfastTinSoldier"isarguablyoneofthepurestexamplesoftheliterarywondertale,amasterpieceinminiature.
Moreover,itisseminalinAndersen'soeuvre,asJackieWullschlagerinherrecentbiographypointsout:"Itisthefirsttalehewrotewhichhasneitherafolktalesourcenoraliterarymodel,butcomesstraightoutofhisimagination,anditsignalledanewapproachtofairytaleswhichchangedthegenreforalltime"().
Givenitsbrilliantoriginality,signallingafloodtideofidiosyncraticworkstocome(aboutaltogether),itisallthemorepuzzlingwhyanyparticularAndersen'fairytale'(anuttermisnomer,sincefairiesseldomoccur)israrelygiventhesamekindofrigorouscriticalattentionweapply-orinflict-uponanyotheracknowledgedlygreatauthor.
Inevitably,theusualformatofAndersenanalysis,eveninEurope,isbiographical,'newhistoricism'excavatingtopicaldetailsofhisoriginallifeandtimestoannotatehistextsaccordingly.
Whilstthisresearchcontributesinvaluablytoelucidatingspecificnuances,itsflip-sideisaproliferationofthe'Andersenmyth'(UglyDucklingslumkidfromOdensegoestoCopenhagenandmakesgood),whichultimatelyisreductive.
Ihaveknown"TheSteadfastTinSoldier"fromchildhood,andevennowalternatebackandforthbetweentwobasicreadings.
Thefirstisstraight:apoignantlovestoryoflyricalsimplicity,initsmodestwayupthereinthepantheonofPsycheandEros,TristanandIseult,OrihimeandHikoboshi.
Thoughthetinsoldierrefusestoshedtearstothebitterend,manyareaderhasdoneso,foritignitesagratitudeforallthevariousinflectionsoflove-includingthatmostpainfulofall,unfulfilled-onemayhaveexperiencedinone'slife,nomatterhowimpoverished.
Thesecondwayofrespondingtothestoryisironicandambiguous:graduallybecomingawareofasubtextwhichundermineswhatthesurfacenarrativeseemstobeassertingandopensacomplexrangeofdoubtswhichseverelycritiquethepriorreadingasillusory.
Infact,thesetwomodesaredeliberatelyembeddedinthetextbyAndersen,who"wasthefirsttoperceivethepossibilitiesofadoublearticulationforchildrenandadults"(Wullschlager).
OnecouldlooselytermthisdualperspectiveBlake'sinnocenceandexperience,theromanticandtherealistic,thetraditionalandmodernist,thoughmultiplelayersofmeaningoscillatesoquicklywithinanyindividualreader(irregardlessofchronologicalage)thatwemayhardlybeawarethattheyoccur,andAndersenseemstopresentbothassimultaneousandequallylegitimatewaysofperceiving,feelingandreading.
HansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLove26Thestorybegins:Therewereoncetwenty-fivetinsoldiers,allofthembrothers,fortheyhadallbeenmadefromthesametinkitchenspoon.
Theyshoulderedarmsandlookedstraightbeforethem,verysmartintheirredandblueuniforms.
'Tinsoldiers!
'Thatwastheveryfirstthingthattheyheardinthisworld,whenthelidoftheirboxwastakenoff.
Alittleboyhadshoutedthisandclappedhishands;hehadbeengiventhemasabirthdaypresent,andnowhesetthemoutonthetable.
Eachsoldierwasexactlylikethenext-exceptforone,whichhadonlyasingleleg;hewasthelasttobemolded,andtherewasnotquiteenoughtinleft.
Yethestoodjustaswellonhisonelegastheothersdidontheirtwo,andheisthisstory'shero.
()Eveninthisfirstparagraph,alternativereadingssetintoplaythedynamicoftheentiretext.
Thetinsoldiersseemtheepitomeofheroismandmilitaryvalour,"verysmart"intheirresplendentuniforms,validatedwithapplausebythechildwhoreceivesthem.
Theiruniformityconstitutestheirstrength:theyactasasingleunit,clonesofeachother,"look[ing]straightbeforethem.
"Yetatthesametime,theyareallfashionedfrom"thesametinkitchenspoon,"sharingamundaneproletarianorigin.
Theonlycharacterwhorecognizesthisincongruityistheone-leggedsoldier,whoshouldbeexcludedfromtheperfectionofhisregiment,yetisanointedas"thisstory'shero.
"Themostimportantcharacteristicofthetinsoldieristhatheremainsresolutely"steadfast.
"VariouslytranslatedfromtheDanishstandhaftige(withconnotationsof"morallyupright")asdauntless,constant,orstaunch,thewordliterallysignifiesstandingfirm(oldEnglish,stedefast):tostandsecurelyinoneplace,rooted,whichiswhatasoldierdoesonofficialguarddutyandastrainingforactualbattle.
Itisnotsomuchthatthetinsoldierjourneysinthisstory,forinfacthedoesnotphysiologicallymoveasinglecentimeter(withoneexception,tobeconsideredlater),asthatheisjourneyed,carriedbyotherforces,violentorindeeddemonic:agoblin,thewind,rudestreet-children'shands,therelentlessrain,rushingwater,aravenousfish.
Heisabletoenterandpassinviolatethroughthisfluctuatingworldpreciselybecausehehimselfremainspassive,theoppositeoftheactionheroprevalentinWesternliteraturesincetheGreekepics.
Aspost-WaltDisneyreaders,wearesousedtoanimatedtoysinbooks,filmandcomputergraphics,weforgetthatAndersenwasoneoftheveryfirstwriterstobestowlifetoinanimateobjects.
LoisRostowKuznets,inherexcellentstudyoftheroleoftoysinWesternliterature,WhenToysComeAlive:NarrativesofAnimation,Metamorphosis,andDevelopment,observes:HansChristianAndersen'stalesbristlewithaconsciousnessofsecretlivesthatremainhiddenfromhumanbeingsnotonlyinobjectsmodeledonhumanbeings,liketinsoldiersandChinashepherdesses,butinshirtcollars,teapots,scrapsofpigskin,tops,andballs.
GettingtoknowthefullrangeofAndersen'stalesistoplungeoneselfintoanear-schizophrenicawarenessofmultipletinyvoicescompetingforattention-animismrunriot,butlackingpagandivinity.
()27OneobviousadvantageofhavingatoyasaprotagonististhatitpermitsAndersontoplaybothsidesofthenaturalisticfence.
Fromanadultperspective,ofcoursethetinsoldiercannotspeak,anymorethanothertoysunlesstheyhavemechanicalvoicesbuiltintothem.
Toysaretoys,humansarehumans:arigiddistinctionseparatesthem.
Butfromthetinsoldier'sownperspective,reflectinghisinterfacewiththechildwhoplaystimelesshourswithhim,ofcoursehecanspeak,thoughunderstandablyhemayshutupwhenadultsarearound.
Theassumptionwithintheanimisticframeworkofthe'fairytale'thatAndersenconstructsisthateverythinghasavoice.
Giventhis"near-schizophrenicawarenessofmultipletinyvoicescompetingforattention,"itisironicthattheprotagonistismute.
Rather,thetinsoldier'svoiceexistsatthefarendofaharmonicspectrumwherewehearonlyhisinteriormonologuefilteringdowntous,butnosound.
Thecentralcontradictionaroundwhichhistinyexistencerevolvesisthatheissimultaneouslyadisposabletoyandahumanconsciousnesswhichcanfeelanddoeverythingexceptmove-whichincludesmovinghisowntongue.
Tobesteadfastmeanstokeephisunspokenvowofsilence.
Thisisnottosaythatthetinsoldierdoesnotstruggleagainstthedichotomiesinfusedwithinhimbythetinsmith.
Fromanegativeperspective,itcouldbearguedthatheexistsimprisonedwithinhisprofessionaluniform,that'characterarmor'whichJungcallsthepersona.
Hisparalysisincludesaninabilityorextremereluctancetomakeanydecisionwhatsoever,exacerbatedbywhatisprobablyapathologicalshynesstowardwomeningeneral.
Hiscodeisrigidlyformalanddisciplined.
Neverrevealwhatyoutrulyfeel.
Aboveall(ifyouareaman),neverletgoofyourweapon.
Assuch,heisaparadigmofearly-nineteenth-centurybourgeoisEurope:stuffedintoastraitjacketofprovincialism,withitsvaluesprescribing"humility,moderation,asceticism,decorum,economyofmindandsoul,devotiontoGod,loyaltytoDenmark"(Zipes-)-and,onemightadd,sexualrepression.
Thoughhisoutsiderstatusdefineshimasdifferentfromhisbrothers,thepricehepaysforbeingattheextremeouteredge,withitsclarityofvision,isthatheislockedintoabsolutism.
.
Atthesametime,thesestrictparameterspermithimanextraordinaryfreedom:tostand"atattention,"whichmeanstoexistwithacutesensoryawareness,alertasawildanimal,guardingagainstpotentialenemies.
Eventheslightestmovementregistersuponthisraptvigilance.
Hisvisionandsenseofhearingaresokeenbecausetheyoriginatefromastationaryposition,likeatelescopepeeringintodeepspace.
Heisabletoseeclearlybecausehedoesnotobtrudewithwordsorarbitraryaction.
Thetinsoldierembodiesaradicalepistemologicalstance,hisiconicpostureakintothatofaRinzaiZenmonkduringzazen(sittingmeditation),whenitisforbiddentomoveamuscle.
Itishisdutytomaintainbothclosefocusandperipheralvision,whichiswhyhiseyesmoveellipticallyacrosstheroomuntiltheytouchapapercastle-wheretheyabruptlystop.
Throughitslittlewindowsyoucouldseerightintotherooms.
Infrontofit,tinytreeswerearrangedroundapieceofmirror,whichwasmeanttolooklikealake.
Swansmadeofwaxseemedtofloatonitssurface,andgazeattheirwhiteHansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLove28reflections.
Thewholescenewasenchanting-andtheprettiestthingofallwasagirlwhostoodintheopendoorway;shetoowascutoutofpaper,buthergauzyskirtwasoffinestmuslin;anarrowblueribboncrossedhershoulderlikeascarf,andwasheldbyashiningsequinalmostthesizeofherface.
()Loveatfirstsight.
Butwhatisdisquietingaboutthisinitialrecognitionisthatmorenarrativespaceisspentondescribingtheopulentsettinginwhichthepaperballerinalives,andherexpensiveclothing,thanonsheherself(whoevershemaybe).
Thetinsoldierisobviouslydeeplyimpressedwiththe"enchanting"qualityofthecastle,itsroomsopentogaze,itsimpeccablelandscaping,thevastamountofmoneyandpoweritembodies.
Yetatthesametime,thenarrativevoicemocksit:everythingisfake-thecastleisactuallycardboard,thelakeisamirror,theswansarewax,andtheballerinainthefrontofthe"opendoorway"-signifyingakindofgatekeeperwhomonemustconfrontwiththecorrectresponseinordertoenterthemajesticcastle-ismadeofone-dimensionalpaper.
Whatisunderscoredishowtheobjectofdesiremingleswithhersocioeconomicstatus.
Sheisanaristocraticextensionofthecastle,utterlyoutofreachforaone-leggedtinsoldierlivinginabox,andnewlyarrivedatthat.
Atthefirstbrushofeyeswiththeballerina,amagneticfieldexistsbetweenthemstrongerthananylanguage.
Theirsilencepulsateslikeanauroraborealis,arecognitionofsharedsensibility.
Butfromthebeginning,hissenseofanintuitivekinshipispredicateduponafalseassumption:thatsheisdisabledlikehimself.
Thischarminglittlecreatureheldbothofherarmsstretchedout,forshewasadancer;indeed,oneofherlegswasraisedsohighintheairthatthetinsoldiercouldnotseeitatall;hethoughtthatshehadonlyoneleglikehimself.
()Howitispossibletobeaballerinawithonelegdoesnotbotherthetinsoldieranymorethanconsiderationofhowitispossibletobeasoldierwithonlyoneleg:heknowsheisasgoodasorevenbetterthanhistwenty-fourbrothers,anditfollowsthattheballerinamustbethemostsplendiddancerintheworldbecauseofher'handicap.
'Andersen'sinsightherewasaheadofhistime:manypeoplewhoexcelataparticularskilldeveloptheirabilityascompensationforacorrespondinglackorcongenitaldisability.
Thestorycaninfactbereadasasympatheticandrealisticaccountofadisabledperson,orwhatwenowterm'physicallychallenged.
'Oneoftheironiesbehindthetextisthatacrippledsoldieristheinevitableresultofawar.
Butnowarhasyetoccurred,andordinaryrecruitmentpolicywouldprohibitone-leggedmenfromenlisting.
Theoutsiderstatusofthetinsoldierisbasedonthisphysicalimpairment,forhegeneratesanxietytoeveryonehemeets,whoareremindedthatsoldierscomebackfromthegloriouswarwithpartsoftheirbodiesmissing.
Thepaperballerinaquicklybecomesthemajorfocusofthesoldier'sperceptual/emotionalfield.
Fromthebeginning,heacceptsitasagivenfactthatanyactualrelationshipwithherwouldbeclearlyimpossible,althoughheadmitsindulginginthefantasyofmarriage.
Thegulfthatseparatesthemisaswideasocialdifferenceasthatofanyofthetragicballads:'Nowshewouldbejusttherightwifeforme,'hethought.
'Butsheissogrand;she29livesinacastle,andIhaveonlyabox-andtherearefive-and-twentyofusinthat!
Therecertainlyisn'troomforher.
Still,Icantrytomakeheracquaintance.
'()Thoughhecannottouchherinherremotecastleontopofthepaper-machehill,hecanholdher"steadfast"inhismind.
Shebecomesacentreofgravity,apolaritywhichdefinesandyetthreatenshisownstability.
Thesoldier'sentirebeingissuffusedwithawarenessofherpresence,thoughsheexistsphysicallyapartandthereseemstobenopossibilityofany'real-life'relationship.
Atthispoint,thesoldierdoessomethingextraordinary-heactuallymoveshisbody:Sohelaydownfull-lengthbehindasnuff-boxwhichwasonthetable;fromtherehecouldeasilywatchthelittlepaperdancer,whocontinuedtostandononelegwithoutlosingherbalance.
()Thisistheonlyoccasionintheentirenarrativethattheprotagonistmovesofhisownvolition.
Wecouldtakeitasaninconsistencyineitherthetextor(morelikely)thetranslation,forattheendofthenextparagraphheisdescribedasstanding,thoughnomentionismadeofshiftingposition.
Butifindeedthedetailisaccurate,itopensupseveralinterpretativepossibilities.
Toliedownwiththeballerinaathissideisalmostcertainlythetinsoldier'sunspeakableheart'sdesire.
Buthehidesbehindthesnuff-box,wherehecansafelymaintaineyecontactwhilehisownbodyisshielded.
Thislinkstothecentralityoftheroleofthegoblinwholiveswithinthatsnuff-boxandis(jealously)awarethatthesoldierhasbeenobsessivelygazingattheballerina.
Bybiographicalextension,thetinsoldiermaybeoverwhelmedbyafitofdizzinessandmustliedownattherealizationthathe'smetthewomanofhisdreams,asAndersenassertshappenedtohimselfjustbeforeheproposed(byletter)toRiborgVoigt(Wullschlager-).
Finally,itisevenpossiblethatthesoldier'sfailuretoseetheballerina'sotherlegisbasedsimplyonhisignoranceofthefemalebody.
WerememberAndersen'sfamouslittlemermaid(inthestorywrittenoneyearearlier,Jan.
),homogeneouslyfish-tailedfromthewaist-down,whoacquireshumanlegsatthecostofconstantpainandseveringhertongue,ironicallybecomingphysicallynearertoherbelovedyetunabletoarticulateherlove.
Shetooisagracefuldancer.
Thetextimpliesthatmenandwomenexistatoppositeendsofaroom.
Onlyoureyesmeet,atfirst.
Howcanwepossiblycommunicate,withoutfallingintotheprogrammedbehaviorofothertoyswhoplaytheirnoisy,routinized,group-orientedgameswhenthehumanworldfallsasleep,andbecomesuddenlycomatoseatthestrokeofmidnightThesoldier'slogiciscompelling:Ifbothofthemhaveonlyoneleg,thenperhapstheymayuniteintoanorganicwholeHerarmsarestretchedoutward,makinghimjumptotheconclusionthatsheisreachingspecificallytowardhim.
Butfromherownpoint-of-view,shemaysimplybepractisingafiendishlydifficulttechniquewhichrequiresthecounterbalanceofherupperbody-classicaldancersduringthisperiodweretrainedtomaintainafixedrictus-smileandlookouttotheaudience,engagingthem.
HashesimplybeenseducedbytheartisticpersonasheradiatesDoesheadmireherbecauseherstillnessismoresteadfastthanhisown,whichisstartingtocrackunderthestrainofpassionContradistinctively,hisarmsaretwistedinwardandHansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLove30upward.
Botharecontortionists,lockedintoasinglephysicalstancewhichcrystallizestheirrespectivemilieux.
Heisfrozenbyhismilitarycode;she,byheraristocraticandestheticone.
She,likehim,remainsperfectlystill,withholdingherselffromthefreneticactivityofsocietyaroundher:Wheneveningcame,alltheothertinsoldierswereputintheirbox,andthechildrenwenttobed.
Nowthetoysbegantohavegamesoftheirown;theyplayedatvisiting,andschools,andbattles,andgoingtoparties.
Thetinsoldiersrattledintheirbox,fortheywantedtojoinin,buttheycouldn'tgetthelidoff.
Thenutcrackersturnedsomersaults,andtheslatepencilsqueakedontheslate;therewassuchadinthatthecanarywokeupandtookpartinthetalk-what'smore,hediditinverse.
Theonlytwowhodidn'tmovewerethetinsoldierandthelittledancer;shecontinuedtostandonthepointofhertoe,withherarmsheldout;hestoodjustassteadilyonhissingleleg-andneveroncedidhetakehiseyesfromher.
()It'snoteworthythatthetinsoldier'sbrothersdesperatelytrytoescapetheconfinesoftheirbox,theirinsularconstraints.
Theirsisacollectiveentity;hisisindividual,anoutsidebydefinition,obvioustoanyonewhosomuchaslooksathim.
Fromthebeginning,apreternaturalstillnessdrawsthetinsoldierandthepaperballerinatogether.
WhyaretheypoisedinafrozentableauThetextimpliesitisbecauseeachofthemisdifferentfromalltheothertoysintheroom,andthelaserbeampurityoftheirinterfusedgazeissointensethatitstopstimeandmotion.
Theothertoyspretendtobehuman("theyplayedatvisiting,andschools,andbattles,andgoingtoparties");thetinsoldierandtheballerina,paradoxically,aremoreauthenticbecausetheydonotattempttobehuman.
Atthispoint,theblackgoblinmakeshisappearance,thevillaininAndersen'stale.
Heisthehiddenmalevolentpresencethatsuddenlymanifestsitself(intheshapeofaquestionmark)atmidnight,thewitchinghour,theendofonecycleandthebeginningofanother-thenhidesagainandlurksbeneaththesurfaceofasnuff-boxwhichcontainsnosnuff,criticalandinsidious.
Hecondemnsthesoldier'srighttoexistseparatefromhisbrothersoreventolookattheballerina:Nowtheclockstrucktwelve.
Crack!
-thelidflewoffthesnuff-boxanduppoppedalittleblackgoblin.
Therewasnosnuffinsidethebox-itwasakindoftrick,ajack-inthebox.
'Tinsoldier!
'screechedthegoblin.
'Keepyoureyestoyourself!
'Butthetinsoldierpretendednottohear.
'Allright,justyouwaittilltomorrow!
'saidthegoblin.
(-)Inthispassageweencounterthefirstoffourspecificrationalesthatthetinsoldiergivesforhissilence.
Uncertainathowtoverballyrespondtosuchanunprovokedattack,andnodoubtstartledthathiscovertactoflyingdownandfantasizingaboutawomenheissupposedtobeguardingissuddenlyexposed,hepretendsthathedoesn'thear.
Theassumption'Icanspeak,butIchoosenotto'ismaintained.
Predictably,thisonlymakesthegoblinmorefurious.
31Thegoblinseekstomonitorandcontroleventhesensesofanotherbeing-andpotentiallyofalltheothertoys.
Allegorically,heisoneofAndersen'spropheticrepresentationsofatotalitarianstatesuchasNaziGermany,MaoistChina,Stalin'sRussia,allthehorrorsofourtwentiethcentury.
Onamoregeneralizedlevel,heexemplifiestheacculturationprocesswherebyanysocietylocksindividualsintocircumscribedmodesofbehaviorwhicharedestructivetoourtruepotential.
Buttolookisfree.
Oneglancebetweenthetinsoldierandtheballerinaisenoughtoestablishavitalrapport,albeitunsupportedbyanyexperientialevidence.
Thisconnectioniscritical,foritsetsintoactionasequenceofeventsthatareirrevocable:becausehelooksatherandfantasizesaboutmarriage,heliesdownbehindthesnuff-boxtowatchherthatnight,andsoisnotputintotheboxwithhisotherbrothers,andsoisplacedonthewindowsillthenextmorning,andso,forthefirsttimeinhislife,isknockedoffbalance,andfalls-headfirst,asweareborn.
Whenmorningcameandthechildrenwereupagain,thetinsoldierwasplacedonthewindowledge.
Thegoblinmayhavebeenresponsible,orperhapsadraughtblowingthrough-anyhow,thewindowsuddenlyswungopen,andoutfellthetinsoldier,allthethreestoreystotheground.
Itwasadreadfulfall!
Hislegpointedupwards,hisheadwasdown,andhecametoahaltwithhisbayonetstuckbetweenthepavingstones.
()Inshort,sheisthecauseofhisfall.
Tolookatsomeonewithdesireistoopenoneselftothepossibilityofdestroyingthestatusquoandpropellingoneintotheunknownwhereeverythingisputatrisk.
Thealternativereaderpeeringoverone'sshoulder,however,mightsuggestthatthetinsoldierdeliberatelyjumpsoutofthewindowinordertoescapeanin-the-fleshmeeting.
Coulditbethatheprefershertoremainsafelyinhercastleasanabstractentity,anuntouchablefigurewhomhelovedfromafar(pasttense,fittingneatlyintoastoryonecanwriteaboutlateratone'sleisure),butwhoalaseitherrejectedhimforthrightorsubmittedtosocial/parentalpressureAndersenisonrecordforfleeingCopenhagenbecausehisequilibriumwasviolentlydisturbedbytheSwedishsinger,JennyLind,withwhomhehadfalleninlove.
Thetinsoldier'scodeofsteadfastnesscontinuestohold:Theservant-girlandthelittleboywenttosearchinthestreet,butalthoughtheywerealmosttreadingonthesoldiertheysomehowfailedtoseehim.
Ifhehadcalledout,"HereIam!
'theywouldhavefoundhimeasily,buthedidn'tthinkitproperbehaviourtocryoutwhenhewasinuniform.
()Here,headvancesasecondreasonforhiscontinuedsilence:adherencetomilitaryduty,eveninacrisissituation,despitethefactthatifhehadcalledhewouldhavebeenrescued.
Hisrelianceuponproprietywhenwearinghisprofessionaluniformseemsdubious.
Afterall,theservant-girlandtheboytowhomhehasbeengivenasapresentarenotenemies.
IsitreallycontrarytothemilitarycodetoaskciviliansforhelpPerhapstherealreasonforhissilenceisHansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLove32thatheisincapableofsaying,"HereIam!
,"anexplicitstatementofself-affirmationwhichisquiteimpossibleatthemomentPerhapshedoesn'twanttobefound,infactpreferstobecastintheroleoftheunrequitedlover,asthebiographicalrecordwouldsuggestHeliesinthepouringrain,calmlyfeelingitstrokehistinbody.
Hispositionisdisorientating-bayonetcaughtbetweenthecobblestones,ablackjoke,forwhatkindofsoldiercanhebewithhisweaponindisposed,upside-down,hisonelegpointingabsurdlyupward-yethisbasicequanimityremainsundisturbed.
Thisiswhathedoesbest:wait.
Whetheritberain,anexquisiteballerina'sglance,thejawsofafish,ordevastatingfire,hisreactionremainsthesame:acceptance,lookingcalmlyatwhatevermaybeinfrontofhim.
Actionagainpullshimfromstasisbackintothehumanworld.
Twoboysfindthesoldier,mockhisauthenticity,andsethimadriftinaboatmadefromanewspaper.
Theytreathimonlyasaninanimatetoy,nottruly'human,'inananalogouswaytohowethnicminoritiesandthephysicallyimpairedaremarginalizedinanysociety:Nowitbegantorain;thedropsfellfast-itwasadrenchingshower.
Whenitwasover,apairofurchinspassed.
'Look!
'saidoneofthem.
'There'satinsoldier.
Let'sputhimouttosea.
'Sotheymadeaboatoutofnewspaperandputthetinsoldierinthemiddle,andsetitinthefast-flowinggutterattheedgeofthestreet.
Awayhesped,andthetwoboysranbesidehimclappingtheirhands.
Thepaperboattossedupanddown,sometimeswhirlingroundandround,untilthesoldierfeltquitegiddy.
Butheremainedassteadfastasever,notmovingamuscle,stilllookingstraightinfrontofhim,stillshoulderingarms.
()Thetinsoldierrushesdownthegutter,whichplungesthroughaculvertintoatunnelbeneaththepavement.
Itwouldbehardertosinklower:"gutter"haslongsignifiedmoralandphysicaldegradation,andthesewercarriesthedetritusofthecity.
Thisisthepolaroppositeofthewarm,comfortablebourgeoisroomhehasjustbeenexpelledfrom-trulyhehasbeenstationedtothefrontlinesofcombat;butlikeallwarfare,especiallyinthemodernera,theactualexperienceturnsoutquitesordid.
Oh,itwasdark,quiteasdarkasitwasintheboxathome.
'WhereveramIgoingnow'thetinsoldierwondered.
'Yes,itmustbethegoblin'sdoing.
Ah!
Ifonlythatyoungladywereherewithmeintheboat,Iwouldn'tcareifitweretwiceasdark.
'(-)Butifshewerewithhim,wouldhisreactionbeanydifferentWouldhespeaktoher,ormovecloserperhapstotouchher,whichmeanslettinggoofhisrifleThestarkfactwhichhenowconfrontsisthathecannotexperienceloveintheformwithinwhichhepresentlyexists.
Hemustchangehisshapeifheistoventureanyclosertoher;transmuteintoanotherelement.
Theyaretoodifferent:tinandpaper.
Anotheropportunityforspeechnowpresentsitselfintheformofamanicwaterratobsessedwithtollsandpassports:33Suddenly,fromitshomeinthetunnel,outrushedalargewater-rat.
'Haveyougotapassport'itdemanded.
'Noentrywithoutapassport!
'Butthetinsoldiersaidneveraword;heonlygrippedhismusketmoretightlythanever.
Theboatrushedonwards,andbehinditrushedtheratinfastpursuit.
Ugh!
Howitgrounditsteeth,andyelledtothesticksandstraws,'Stophim!
Stophim!
Hehasn'tpaidhistoll!
Hehasn'tshownhispassport!
'()EveninHell,itseems,youneedapassport.
HumoursuchastheabovegentlyhovoursthroughoutAndersen'soeuvre.
Thesoldier'ssilenceinthisthirdinstanceseemscommonsense:hedoesnothaveapassport,andtoindulgeinconversationwiththebureaucraticwater-ratwoulddegenerateintoafarcialwarofwords.
Buttheappearanceoftheratsignifiesthatheiscrossingtheborderintoaforeigncountryfilledwithunknowndangers.
Heexistsnowinaliminalstate,asdescribedbyCarolynG.
Heilbrun:"Theword'limen'means'threshold,'andtobeinastateofliminalityistobepoiseduponuncertainground,tobeleavingoneconditionorcountryorselfandenteringuponanother"().
Thedrainpipenarrows,inexorably.
ThoughAndersendoesnotmentionit,theairmustsmellfoul.
Thetextsuddenlyfillswiththepiercing,nasty,empiricaldetailsofwhatadultreadersmayrecognizeastheprocessofdying.
The"roaringnoise"()issimultaneouslyhisownbloodstreamcarryinghimawayintooblivion.
Nopassport-noidentity-nonationalboundaries-sweepingthroughthemandthroughthefragiletissueoflifeitself,whollyfreeandhelpless.
Thisisthenear-deathexperiencethathasbeenattestedtobymanypeople:rushingoutofcontrolthroughdarknesstoward"abriefglimpseofdaylightfaraheadwheretheendofthetunnelmustbe"()-whichturnsouttobeavortexintoayetdeeperabyss,acanalflowingintothechillingwatersoftheBalticSea.
Thetinsoldier,forhispart,focusesnotonaChristiandeitybutratherfulfillshisinteriorcodewhichbynowhasbecomeconjoinedwithholdingsteadfasttotheglowingformofhisbelovedballerina.
Shesustainshimfromadistance,evenatthenadir.
Nowinhistimeofneed,theactualphysicaldistancebetweenthemisirrelevantSheistherewithhim,iridescentinthedarkness.
Hecanfeelhersupportivepresenceallaroundhim,givinghimstrengthandassurance:Thetinsoldierstoodinwateruptohisneck;deeperanddeepersanktheboat,softerandsoftergrewthepaper,untilatlastthewaterclosedoverthesoldier'shead.
Hethoughtofthelovelylittledancerwhomhewouldneverseeagain,andinhisearsrangthewordsofasong:'Onward,onward,warriorbrave!
Fearnotdanger,northegrave.
'Thenthepaperboatcollapsedentirely.
()Thepaperboatsaturatedwithwater,becoming"softerandsofter"asitfoldsinwarduponitself,intersectswiththepaperballerina;itisintoherarmsandbodythathefalls,losingallsenseofself.
Lapetitemorte.
Love,thetextsuggests,hasnothingtodowithphysicalproximity;itexistsbeyondspaceandtime.
PreciselythissameunderstandingoftheabsolutenatureofloveHansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLove34hasbeenfeltbycountlesshumanbeingsovercountlessgenerationsduringtimesofextremedangerorwhenfacingdeath.
Thisisassuredlythereasonwhy"TheSteadfastTinSoldier"hasstruckaspecialresonancewithpeoplecaughtupwithinwarsoverthelastyears.
ThenweencounteroneofthosesuddenreversalsforwhichAndersenisrenowned:"Outfellthetinsoldier-andhewaspromptlyswallowedupbyafish"().
Onceagain,hefindsstillness.
Hisjourneyhasreachedanapparentend,andallhemustdonowiswaitandbedissolvedbythecorrosivestomachacidofthefish.
Itisaterribledeath,buthisreactionremainsthesame:steadfast.
Oh,howdarkitwasinthefish'sstomach!
Itwasevenworsethanthetunnel,andverymuchmorecramped.
Butthetinsoldier'scourageremainedunchanged;therehelay,assteadfastasever,hismusketstillathisshoulder.
()TheBiblicalconnotationsweresurelyapparenttoAndersen,steepedintheProtestantethicofth-centuryDenmark(hewasamemberoftheDanishLuthernChurch).
Jonah,intheOldTestamentaccount,wasswallowedbyawhaleforthreedaysandnights;inthedarknessofitsbellyhelearnedhowtoprayagainandrenewedhisspiritualvocationasaprophet,atwhichpointhewasvomittedforthbackintothehumanworld.
LikewiseinAndersen,stasisshiftsintoaction,andthesoldierisviolentlyresurrected,asbyacesareanbirth,ortheapocalypsesignaledby"astreakoflightning"-thefish'sbellyslicedopen,anothercreaturesacrificedinsteadofhimself-andbackinthesamehome,amongfamiliarfaces:Somethingflashedthroughlikeastreakoflightning-thenallaroundwascheerfuldaylight,andavoicecalledout,'Thetinsoldier!
'Thefishhadbeencaught,takentomarket,soldandcarriedintothekitchen,wherethecookhadcutitopenwithalargeknife.
Nowshepickedupthesoldier,holdinghimroundhiswaistbetweenherfingerandthumb,andtookhimintothelivingroom,sothatallthefamilycouldseetheremarkablecharacterwhohadtravelledaboutinsideafish.
Butthetinsoldierwasnotatallproud.
Theystoodhimonthetable,andthere-well,theworldisfullofwonders!
-hesawthathewasintheverysameroomwherehisadventureshadstarted;thereweretheverysamechildren;thereweretheverysametoysThecircleiscomplete.
Thesafedomesticrhythmoftheroomentersthetinsoldieragain,asifnothinghadchanged.
Perhapshistwenty-fourbrotherswerevaguelyawarethathehadgone,butbythistimehadgottenusedtohisabsence.
Returnedfromthedead,fromthemythiczonebackintotheliving,whatanextraordinaryperceptionisnowhis:toobserveeverythingwitheyeswhichhaveseenandacceptednothingness-tocomebacktoordinarylife,fromthatshadowkingdomwhereeverythingdissolvesintodarkness.
AstheancientGreekssaid,somewhere:"Hewhohasfaceddeathseeseverythingwithneweyes.
"Whatheimmediatelyseesistheballerina,inhermuslindress,blueribbonandsparkling35spangle.
Theconnectionoftheireyesremainsasauthenticasbefore.
Yetitisonlythecontinuationofwhathehasheldinhishearteveryinstantofhisjourney.
[.
.
.
]therewasthefinepapercastlewiththegracefullittledanceratthedoor.
Shewasstillpoisedononeleg,withtheotherraisedhighintheair.
Ah,shewassteadfasttoo.
Thetinsoldierwasdeeplymoved;hewouldhavelikedtoweeptintears,onlythatwouldnothavebeensoldierlybehaviour.
Helookedather,andshelookedathim,butnotawordpassedbetweenthem.
()(myemphasis)Bothtinsoldierandpaperballerinaareheresubsumedunderthesameethicalcode,atleastfromthesoldier'sperspective.
Afurthernuanceisaddedtotheimage-complexofsteadfastness:thenotionoffidelity,andsharedempathywithsuffering.
That'sourfirstwayofreading.
Thesecondmightcogentlyarguethattheballerinaremainsdeeplyengrossedinpractisingherpirouette,whichrequiresadisciplineasrigorousasamonk's,andcouldcarelessthatheenterstheroom.
AsAlisonLuriebluntlyputsit:"thecardboarddancerin'TheSteadfastTinSoldier'paysnoattentiontotheprotagonist"().
LisaPraestgaardAndersen,inherstudyofthefemmefataleinAnderson'swork,characterizesthedancerasoneofthe"coldwomen,empty,orconceitedandpompous"suchastheglacier-maidenin"TheIceMaiden,"and"TheSnowQueen":"Theballerina[.
.
.
]candonothingbutstrikeattitudes.
Shehasanemptymindandonlyanexternalbadgeofhonourandmerit,aglitteringspangle"().
Throughoutthetextsheisseenonlythroughmaleeyes;hercharacterizationfiltersthroughthesoldier'sperspective,whoadmittedlyisbiased,hisexclusivitycreatingthehingewhichallowsthedichotomouslevelsofthenarrativetooccur.
Evenatthispenultimatejuncture,thetinsoldierremainstruetohisvowofsilence,despitestrugglingwithinhimselfbetweenconflictingemotions,notevenpermittingateartoescape.
Butis"soldierlybehaviour"againtheactualreasonheremainsnoncommittalatthiscrucialpointofreunionOrisityetanotherprevarication,hidingthefundamentalreasonforhisreticencethroughoutthetext,thatheismadeoftinandcannotspeak,beingonlyatoy-andadefectiveone,atthatOnceagain,thealternativemodeofreadingkicksin:coulditbethatheprefershertoremainanonymousinhismind,apsychicconfigurationratherthananactualcorporealpresencewithitsmessycomplicationsofpracticalityandcommitmentIshisvoiceburiedsodeepinsidehimthatifheattemptedtoretrieveit,onlyastrangulatedmoanwouldemerge(similartoanotherScandiavian'sversion,EdvardMunch's"TheScream"fifty-fiveyearslater)IsthecentralprincipleofhisexistenceanhonestythatprohibitsallspokenlanguageasalieInanycase,thesuddenjuxtapositionofawomanwhohasbecomearchetypalinhispsychictopography,withtheactualbreathingbeing,isdramatic.
Forthetinsoldier,itisasifnotimehaspassedatall.
Inlove,thereisnotime.
Timeisalietoldbygrown-upstomakeusforgetwhatweonceknew.
Somehow(hebelieves)sheunderstandsallhehasbeenthrough-afterall,shewasthere,lookingoutthroughhisheart-andhehasremainedlikewiseinthisroomwithher,poisedinaclassictiptoeballetplie,infrontoftheremotecastlefromwhichheisforeverexiled.
TheperspectiveofthetextisHansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLove36ambiguouswhetherhenownoticesthatinfactsheisnotdisabledbuthastwolegs,butitmakesnodifference.
Intheworldtheyhavealreadyentered,itdoesn'tmatterwhatkindofbodyonehas,theshapeofone'slimbs,howonelooks,one'ssocialstatus,ageorethnicorigin.
Everythingflowsintoasharedsubstratum.
Butnow,hehasanewselfhoodwonthroughhisperilousjourneywhichhasbeenavoyageintotheinteriorasmuchastheexteriorlandscape.
Bysuccessivelyabandoningoneenclosureafteranother,fromhiscrampedboxtoachildren'sroomtotheoutsideworldanditsbewilderingimmensity,hehasachievedaradicaltransformation.
Heisreadyatlasttocommithimselftothatmostdangerousquestofall:love.
Theclimaxofthestorycomesbrutallyswift:Andthenastrangethinghappened.
Oneofthesmallboyspickedupthetinsoldierandthrewhimintothestove.
Hehadnoreasonfordoingthis;itmusthavebeenthesnuff-boxgoblin'sfault.
()Ifwelookbacknowatthepriorreferencestothegoblin,wenotethathisculpabilityisinvariablyaccompaniedbyasubtletextualequivocality,probablyevenstrongerintheoriginalDanish:"Thegoblinmayhavebeenresponsible,orperhapsadraughtblowingthrough-anyhowYes,itmustbethegoblin'sdoing"(),"it[theballerinaflyingintothefire]musthavebeenthesnuff-boxgoblin'sfault"().
JustasAndersenquestionswhythetinsoldierremainsquiescent,soheleavesthedooropenastowhetherthegoblinisthedefinitivevillain.
Ambiguitybecomespartoftheenigmaofevil.
Ifthegoblinistoblame,asaconvenientscapegoat,thenitisthegoblinwithineveryperson,notaseparatejack-in-the-box.
Theoriginofevilremainsinexplicableaslove.
Itcouldbedefinedastheurgetodestroyanythingthatexistsoutsideitself.
Itwaitswithinthesnuff-box.
"Thetinsoldierstoodframedinablazeoflight"().
Thisistheultimatetestofhissteadfastness.
Therecouldbenogreaterirony:tojourneythroughallhisordealsandreturnhomeagain,onlytoloseeverythingatthelastmoment.
Yethisgazeremainsconstant,acrosstheroomtotheballerina,linkingthemandsilentlycalling.
Evenashemelts,hemaintainssteadfastform.
Thustheextentofhisparalysisonlynowbecomesdevastatinglyclear:hecannotgotoher.
Shemustcometohim,ifheisevertobesaved,i.
e.
,becomean'ordinary'humanbeing.
Forher,thereisnohesitation:amistressofbalance(poisedsolongonasinglepoint,notcommittingherselftothenextstepofthedancewhichturnsouttobeapasdedeux-shewaswaitingforherabsentpartner),sheperformsthemostprofoundlygracefulchoreographyofhercareer,swirlingacrosstheroomthroughtheair-theequivalentofthesoldier'sfallfromthewindow,carriedbythesamecapriciouswind-intohisarms,inthestove.
Helookedattheprettylittledancer,andshelookedathim;hefeltthathewasmeltingaway,buthestillstoodsteadfast,shoulderingarms.
Suddenlythedoorflewopen;agustofaircaughtthelittlepapergirl,andsheflewlikeasylphrightintothestove,straighttothewaitingtinsoldier;theresheflashedintoflameandvanished.
(-)37WhatarewetomakeofthisclimaxIwouldcallitbittersweet,orsweetbitter:likelove,whichalwaysmustend,onewayoranother.
Thetinsoldierisconsumedbyadoublefire,bothinnerandouter,asexpressedinthemostpoignantlineofthestory:"Theheatwasintense,butwhetherthiscamefromthefireorhisburninglove,hecouldnottell"().
Atlastheshedshisconstrictinguniform,hisrigidstance;thefrozenfeaturesofhisfaceandbonesmeltwithhers.
Surelyinthatfinalconsummation-andweareremindedoftheetymologyofthatenigmaticwordwhichsignifiesboththepointatwhichsomethingiscompleteorfinalizedandpassionateunionbetweenmanandwoman-theyarejoinedinamoreabsolutewaythananyonecouldimagine,theirveryatomsintermingling,fusedbyflame,asofanatomicbomb,orastar.
Nolongertoysdestinedtoliveasasecondaryexistencetoamusechildren,theybecomeashestogether.
Thestoryends:Thesoldierpresentlymelteddowntoalumpoftin,andthenextday,whenthemaidrakedouttheashesshefoundhim-intheshapeofalittletinheart.
AndthedancerAllthattheyfoundwashersequin,andthatwasasblackassoot.
()Here,inthefinalsentencesofthenarrativejustbeforeitentersthesilenceithasconsistentlywooed,thetwomodesofreading/listeningwhichIhavetracedinthisessayoscillateatshorterfrequenciesuntiltheyelideinasinglecompositeimage.
Suddenlythetextinvertsonus,inthewayallgreatliteraturedoes,andwerealizethatitisourownliveswehavebeenextrapolatingintothenarrative.
Wearelefttomakeafinalinterpretativedecision.
Wecantakethenarrativestraight,likeawhiskey.
Orwecanbepulledunderbyariptideofquestioning,secondthoughtsandprobing.
Here,opacityoccursinthefactthatthetinsoldier'sheartenduresinthesametranscendentshapedespitehisbodymelting-intheRinzaiZensense,hehassolvedhiskoan,Showmeyouroriginalfacebeforeyouwereborn;whereastheballerinaisdistilledtowhatmaywellbethetawdryessenceofaspangleburned"black"asthegoblin.
Obviouslyafakejewel.
Bothreadingsseemequallyplausible,indeedelicited,dependingonhowonefeelsatanygivenmomentorphaseinone'sownrelationships,togetherconstitutingyetathirdtextualharmonic:notKierkegaard'seither/or,butboth/and,Andersen'sgeniusfor"turn[ing].
.
.
unsettlingquestionsintoanactofradicalbewilderment"(Caldwell).
Thereareneveranydefinitiveanswers.
Therelationshipbetweenmanandwomanisalwaysfoundedonunknowing.
Timeflowson,andthetinsoldierandtheballerinaexisttobebequeathedtoafuturegeneration,childandadultalike,afterthebloodiestcenturyoftheplanet.
Nothingiseverlost,onlychangesshapeandcontinuesanew.
Sothisstoryseemstotellus,thoughasareaderIremainintheinfernowiththetwosmalllovers,inthatinstantoftheircomingtogether,unitinginasuddenflareoflight-theultimatesilenceatthecentreoftheuniverse.
HansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLove38HansChristianAndersen,Eventyr,fortalteforBorn[Tales,toldforChildren](Copenhagen,,),trans.
NaomiLewis(OxfordUP:),"TheSteadfastTinSoldier".
Allfuturereferencetothisprimarytextaregivenparenthetically.
"Morethanfive-sixthsofhis[Andersen's]talesincludedeathinsomeform"(Wullschlager).
AlisonLurienotes:"thoughsomeofhisstoriesarebrilliantandmoving,mostaresad,distressing,oreventerrifying"().
Interestingly,thisdoesn'tseemtobotherEuropeanteachers,whoactivelypromoteAndersonaspartoftheprimaryandsecondaryschoolcurricula,rarelymentioningthepossibilityofadetrimentaleffect.
By,Andersendeletedthesubtitle"toldforchildren"fromsubsequentcollections,callingthemsimplyNyeEventyr(NewTales).
Onhisthbirthdayin,thecityofCopenhagenhonouredhimbyproposingamonumentofhimreadinghisstoriestoaclusterofchildrenaroundhisknees.
Andersenstronglyobjectedaboutthelatterdetail,thesculptorrelentedanditwasfinallymadeshowinghimreadingwithoutchildren.
Hisownexplanationoftheoriginofhisstories,inanlettertoafriend,was:"Itellstoriesofmyownaccord,seizeanideafortheadults-andthentellitforchildrenwhilestillkeepinginmindthefactthatmotherandfatherareoftenlisteningtoo,andtheymusthavealittlesomethingforthought"(qtd.
inLederer).
Thismultiplicityoflisteningtoanoraldeliverybyastoryteller-alwaysAndersen'sforte-requiredanextraordinarycontrapuntalability.
Foranexcellentdiscussionoftheproblematicalnineteenth-centuryEnglisheditionsofAndersen,seeW.
GlynJones,"HansChristianAnderseninEnglish.
AFeasibilityStudy"().
VictoriantranslatorsofAndersendidnotknowDanishandworkedfromGermantranslations,creatinggarblednurseryeditionswhichbearlittleresemblancetotheoriginaltexts.
It'softenbeenobservedthatAndersenplacedhimselfinmanyofhistalesasaminorcharacterwhoistheoriginofthetale.
"TheSteadfastTinSoldier"isnoexception:theauthor'ssignatureisreflectedinthefigureofthetinsmithwhomakesthesoldier,hencesettingintomotiontheentirenarrative.
Onanautobiographicallevel,thetinsmithrepresentsAndersen'scobblerfatherwhoinstilledinhissonaloveofliterature;andAndersen,withhisfamousinferioritycomplex,dovetailsintotheone-leggedsoldier.
ForafullexaminationofAndersen'sshynesstowardanddisastrousrelationshipwithwomen,seeLederer(-,'TheJiltedLover').
Andersen'sjournals(trans.
ConroyandRossel)showthatheremainedcelibateallhislife,alonely,awkwardman.
Hefellinloveandwasrejectedseveraltimes,enoughtomakeunrequitedloveaningrainedplot-lineinmanyofhisstories.
ZipespointsoutthatthesebourgeoisculturevalueswereinstilleduponAndersonbyhissurrogatefamily,theCollins,inCopenhageninthes.
Theirletterstohimconstantlyexhorthimtotoethestraightandnarrowline.
TheHansChristianAndersenmuseuminOdense,Denmark,containsmanypapercut-outsthatAndersendelightedinmakingforchildren,oftenquiteelaborate,almostakindofJapaneseorigami.
Theseincludeaballetdancerpoisedononefoot,theotherstretchedhighintheair.
SeeJohandeMylius,directoroftheHansChristianAndersenCentreinOdense.
OneofAndersen'searliestmemorieswasofSpanishandFrenchsoldiersroamingthestreetsofOdenseduringtheNapoleonicwarininwhichhisownfatherenlisted,returningtwoyearslaterbrokeninspirit,whichledtohisprematuredeath(seeHolbek).
Wullschlagernotesthat"Denmarkintheswasashell-shockedcountry,stillreelingfromaseriesofdisasters:defeatinthewarandthelossofNorwayin;nationalbankruptcyin;theEnglishbombardmentofthecityin;Britain'svictoryintheBattleofCopenhageninl"().
Andersen'slatertripsthroughEuropewereoftencomplicatedbywar,suchasthePrussianwarofthes.
Allthisgives39HansChristianAndersen's"TheSteadfastTinSoldier":VariationsuponSilenceandLove40historicalrelevancetothemilitarymetaphorsusedinthisnarrative.
Thetinsoldier'sreluctantadmittancethat"therecertainlyisn'troomforher"inhisboxwithtwenty-fiveothersoldiersifheweretobringherhomeasabride,containswryhumourbutalsoabittertruth.
ForhisfirstfewyearsinCopenhagenafterhearrivedasa-yearoldcountryboy,Andersenlivedinatinyroomwithnowindow,locatedintheslumdistrict,shuttlingbackandforthbetweensubsistencepovertyandtheluxuriousdrawing-roomsofprospectivepatronsonwhomhisexistencedependedonimpressing.
Throughouthislife,heneveractuallylivedinahomeofhisown,butratherinasuccessionofrentedrooms,oftenhotels.
Yetanothernuanceispossible.
Andersenkeptanalmanacinwhichhemeticulouslyrecordedwiththemarkofacrosseverytimehemasturbated,whichwasfrequently,particularlyduringthosetimeshewasobsessedwithaparticularwoman(orman).
Tinsoldier-whatareyoudoingbehindthatsnuff-boxThemostlikelycandidatefortheballerinainthistaleisnot"theSwedishnightingale"JennyLind,butratherRiborgVoigt,Andersen'sfirstlove,towhomheproposedalthoughshewasalreadyengagedtoachemist'ssonwhomsheeventuallymarried.
Atthistime(c.
),Andersendrewaportraitofhimself,entitled"Self-portraitConfinedinaBottle,"inwhichheisenclosedinaflask,limbsdesperatelystrainingagainsttheglassinavainattempttoreachawingedwomanwhofloatsabovehim,foreveroutofreach.
Hisconstrictionhere,withelongatedarmdesperatelytryingtoopenthestopperofthebottle,echoesthepostureandplightofthetinsoldier.
Inothertranslationsof"TheSteadfastTinSoldier,"thegobliniscalledvariouslyatroll,hobgoblin,imp,orbogey.
Thesnuffboxlocationmaybesignificant,foritsignifiesatrickplayedonanyonewhoopenstheelegantboxexpectingsnuff,anditspresenceinachild'sroomshowsthebackgroundmilieuofbourgeoisadultlife.
Editionsconsulted:Lang(),Hersholt(),Lemoine(),AshandHigton(),Seidler().
Inmostcasesthetranslatorisnotevencited,onlythepersonwho'retold,''adapted'or'compiled'thestoryInAmericaandEngland,Andersenisstillregardedasbelongingtothenursery,andanybodycanhaveagoathim,bowdlerizingandchangingatwill.
ThereisstillnoscholarlyeditionavailableinEnglish.
Thetinsoldier'spositionhereiconographicallymirrorstheballerina's,inthesensethatforthefirsttimebothhaveonelegraised.
Hehastobeupside-downtoachievethisgymnasticfeat,yetit'sastart.
ForaratherheavyFreudianview,seeWilliamMishler:thesoldier"withhisbayonetandmissingleg[is]botherectandcastratedThesoldier'sloveandhissteadfastnessarelinkedbywayofanabsence,ablankingoutoferoticdesireHeforbidshimselfthedancerwiththeverybreathwithwhichheappropriatesher[.
.
.
]Seeing[her]willkeepheratadistance[.
.
.
]Steadfastnessisanothernameforfear"(ff).
Alltranslationsspecifythepaperboatismadefromanewspaper.
Thisfitsinwiththesuggestedcontextofcontemporarywarfare.
Thesoldieris'published'asavisualdesign,literallycarriedbythenewspaperasheflowsdownthecitygutter.
Copenhagenwasnotoriousintheearlynineteenthcenturyforits"dreadfulstenchdunginthestreetsanddirtywaterinthecanalsparticlesofstraw,potatopeelingsandoldbootsoleswhichswaminablackish-greyslimeinopengutters[AllthisinoneofthemostovercrowdedcitiesinEurope,wherelargefamiliesoftenlivedinoneroom,everycellarandtinyatticandouthousewasoccupied,andapopulationof,wascrammedintoonearea,whichistodayoccupiedby,"(Wullschlager-).
ThisepisodeevokesthefollowinginT.
S.
Eliot'sTheWasteLand:"Ithinkweareinrats'alleyWherethedeadmenlosttheirbones.
"(from'AGameofChess,'-)Herethespeakerisrespondingtohisneuroticwife'sfranticquestions,presumablymodeleduponEliot'sownmarriage.
TheallusionistothevalleyofdeathinEzekial.
EliotisreportedtohavesaidthatitisapitywereadAndersen'sfairytalesaschildren,becausewemissmuchoftheiradultrelevance(qtd.
inLederer).
Agentledigathimself.
Andersonwasananxioustravellerandhypochondriac,forevermisplacinghispassportandtraintickets.
SeeWullschlager-.
SeeJonah.
-.
.
Inthisallegoricalsense,Jonah"flee[ing]fromthepresenceoftheLord"(Jon.
.
-)onashipovertakenbyastormissynonymouswiththetinsoldierfleeingthepossibilityoflove,andhisreturntothebourgeoishomeisequivalenttoNinevah,ifthisisnotstretchingittoofar.
Inyetanotherrecentrenditionofthetale(Seidler),illustratorFredMarcellinopostulatesthatthechildwhothrowsthetinsoldierintothestoveistheboytowhomthesoldierwasgivenasabirthdaypresent,wholovesthetinsoldierandisdisconsolatethatthesoldierinturnlovestheballerina.
Afascinatingimplication,thoughitwouldseemtobeunsupportedbyAndersen'soriginaltext.
PostWWIIreadersofGrimm's"HanselandGretel"haveoftenpointedoutthattheepisodeofthewitchattemptingtoburnthetwochildreninherovenisanightmarishprefiguringoftheHolocaust,wherecountlessJewsendedupincrematoriums.
ThesamecouldbesaidfortheendingofAndersen'stale.
Tin,oneofthemostancientmetalsknowntoman,ishighlymalleable,meltingatonlydegreesC.
,quickerthanpaper.
Itgelsintoanewform,whichmakesitidealforAndersen'smetaphor.
Asoftmetal,easilymelted:themalepsyche.
OneofthemostunlikelyrelationshipsinliteraryhistorywasthatbetweenSorenKierkegaardandAndersen.
Asa-year-oldtheologystudent,Kiekegaard'sfirstbookwasascathingcritiqueofAndersen,AfenEndnuLevendesPapirer[FromthePapersofaPersonStillAlive](),subtitled,"OnAndersenasaNovelist,withconstantregardtohismostrecentwork,OnlyaFiddler).
ItseemsthatKierkegaard41hadnotatthistimereadAndersen'sEventyr.
NumerousscholarlypapersinEuropeexploretheintertextualitybetweenKierkegaardandAndersen.
SeeWullschlager-,andFrankandFrank-.
Wullschlagerstressesthesimilaritiesbetweenthetwoauthors,including"bothchosesexualabstinenceandlinkedsexwithfearanddread"().
Kierkegaard'sEither/Orwaspublishedin.
Andersen,HansChristian.
Eventyr,FortalteforBorn(Copenhagen,,);Tales,toldforChildren.
Comp.
RussellAshandBernardHigton.
SanFrancisco:Chronicle,.
.
TheDiariesofHansChristianAndersen.
Ed.
andtrans.
PatriciaL.
ConroyandSvenH.
Rossel.
Seattle:UofWashingtonP,.
.
TheStoriesofHansChristianAndersen.
Sel.
andtrans.
DianaCroneFrankandJeffreyFrank.
NewYork:Houghton,.
.
TheCompleteAndersen.
Ed.
andtrans.
JeanHersholt.
NewYork:Heritage,.
TheSteadfastTinSoldier.
Comp.
andillust.
GeorgesLemoine.
Manako:CreativeEducation,.
.
TheSteadfastTinSoldier.
Trans.
NaomiLewis.
Oxford:OxfordUP,.
.
TheSteadfastTinSoldier.
RetoldbyTorSeidler,illust.
FredMarcellino.
NewYork:DiCapua/Harper,.
Andersen,LisePraestgaard.
"TheFeminineElement-AndaLittleAbouttheMasculineElementinH.
C.
Andersen'sFairyTales.
"HansChristianAndersen:APoetinTime.
PapersfromtheSecondInternationalHansChristianAndersenConference29Julyto2August1996.
Ed.
JohandeMylius,AageJorgensenandViggoHjornagerPedersen.
Odense:OdenseUP,.
Blake,William.
ThePoetryandProseofWilliamBlake.
Ed.
DavidV.
Erdman.
NewYork:Doubleday,,rpt.
.
Bredsdorff,Elias.
HansChristianAndersen:TheStoryofHisLifeandWork.
NewYork:Noonday,.
Caldwell,Heather.
"DanishModern:HansChristianAndersen'sFairyTales.
"Bookforum(Winter):-.
DeMylius,Johande.
.
Eliot,T.
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