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Updated: May 10, 2025
The time must come when the men of our modern world who fill offices based upon violence will find themselves in the position of the emperor in Andersen's tale of "The Emperor's New Clothes," when the child seeing the emperor undressed, cried in all simplicity, "Look, he is naked!" And then all the rest, who had seen him and said nothing, could not help recognizing it too.
But it would have shown a little forethought, if you, who have only been sitting up in the factory, had hurried yourself a little to help your mother, who's had to stand and work hard all the morning." "Thanks for the information, Mrs. Holman." It was Mrs. Andersen's servant, who had at last recovered her voice. "But I think you won't need to trouble yourself any more about our washing.
As for what remains of this present dispensation, I shall know how to endure, trusting that the years may fade finely, like the figures in an old tapestry, and that the end may come to me as to the old gentleman in Hans Christian Andersen's story of the Old House.
So, at the age of fourteen, with thirty shillings in his pocket, and his idea of becoming famous by going through a deal of adversity, he comes to Copenhagen the Paris, the more than the Paris of Denmark, for, in respect to all that a great town collects or fosters, Copenhagen is literally Denmark. There never was a stranger history than this of young Andersen's.
But can you guess what was in the box? No, of course not. There was a calf's tail in the box, but if the calf's tail had been longer, so would this story be." "But that is a Norwegian story," said Hardy. "Are there none essentially Danish?" "They are related to some extent in H. C. Andersen's stories, and they have been translated into English.
Andersen's tiresome overtures of friendship, the stout contralto in the choir whom she so unreasonably hated, and even, for a little while, the torment of her work. That building was a place in which she could relax and play, and she could hardly ever play now. On the whole, she spent more time with the casts than with the pictures.
The reader of Hans Andersen's 'Improvisatore' will remember one of these caverns as the scene of its closing adventure; but strange as Andersen's description is it is far less strange than the scene which he sketches, the deep blue light which turns the rocks into turquoise and emerald or the silvery look of the diver as he plunges into the waves.
This is saying, indeed, quite as much as could be said for the general features of the book, and more than could be said for any other child's book, excepting alone Hans Andersen's inimitable stories.
You got any papers fer us to take along?" "Papers?" said the sheriff contemptuously. "Papers? Hell!" Ike Anderson was drunk calmly, magnificently, satisfactorily drunk. It had taken time, but it was a fact accomplished. The actual state of affairs was best known to Ike Anderson himself, and not obvious to the passer-by. Ike Andersen's gaze might have been hard, but it was direct.
In Hans Andersen's "Princess and the Pea," the King goes down to open the door himself. Now, one may make this point in two ways. It is difficult to exaggerate the difference of effect produced by so slight a pause. With children it means an unconscious curiosity which expresses itself in a sudden muscular tension.
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