Hans Christian Andersen’s Little-Known Sketches: The Beloved Storyteller’s Illustrated Travelogue of Europeby Maria Popova
What made Andersen particularly enchanting was his singular gift for noticing and depicting not only the whimsical, but also the wistful.
Hans Christian Andersen forever changed storytelling with his timeless fairy tales, but he was also among those rare famous creators with multiple talents: After he received a small travel grant from the King of Denmark in his late twenties, Andersen, a prolific diarist, set out to tour Europe and populated the pages of his journals with beautiful passages about the places he visited during his travels, accompanied by his own sketches of the sights and scenes that spoke to him. Found in The Diaries of Hans Christian Andersen (public library), these little-known and lovely sketches, both literary and visual, bespeak the celebrated writer’s capacity for not only witnessing life with extraordinary presence of heart and mind, but also for capturing its vibrancy in minute, expressive detail — the kind that the ordinary person dismisses as mundane but the great storyteller transmogrifies into magical material for world-building.
Andersen drew his very first sketch in 1821, when he was sixteen — he was already enamored with the theater as a youth, dreaming of escaping from his small hometown of Odense to become an actor in Copenhagen, so it is of little surprise that he chose to depict a theater stage in that seminal drawing:
But over the next decade, Andersen devoted himself to poetry and other literary pursuits. By 1831, he had established himself as a promising young writer, but as any rising talent, he wasn’t immune to attacks. After one that particularly hurt him — Henrik Hertz’s anonymously published 1830 critique Letters of a Ghost — Andersen decided to escape on a six-month trip across the Herz Mountains to Leipzig and Dresden, eventually returning to Copenhagen via Berlin and Hamburg. In the mountains, he visited the highest peak, Brocken, the legends of which were famously extolled in Goethe’s Faust.
In 1833, Andersen traveled to Paris, then the Jura Mountains and the Brig district of Switzerland. Only twenty-eight, he had already begun to experience his first brush with international celebrity.
In a diary entry from September 18, 1833, he describes an encounter that struck him:
Went for a short walk in a black jacket, vest and trousers. The farmers probably took me for a cleric, because they stood still and tipped their hats. All of a sudden an old fellow came toward me and fell on his knees; then I got really scared and turned back. — This is the first time anyone has knelt in front of me.
This was the period when Andersen first began honing the literary talent that would later manifest in his travelogues, describing with exquisite emotionality the natural landscapes and architectural landmarks he was encountering on his travels. In an entry from September 19, 1833, he relays being overwhelmed by awe while traveling through the Alps:
The huge masses of stone gripped me; on one side a mighty waterfall plunged far down. — Everything was granite — it was like driving through the earth’s backbone.
Two days later, he adds with equal parts awe and pride:
Everything smelled fragrant; everything was so peaceful. . . . The Alps looked like the glass mountains of the fairy tale, and now I had crossed them.
Andersen arrived in Milan a day later, then traveled to Genoa and Florence. On October 2, 1933, he wrote in the diary:
If France is the country of reason, then Italy is the country of the imagination. (Germany and Denmark, of the heart.) — Here is all you could wish for in a landscape — the oranges hanging so yellow between the lush greenery; big, grass-green lemons greeted us with their fragrance. — Everything was like a painting…
One of the most beautiful passages comes from a diary entry for October 26, which reads like a fairy tale:
On the big, silent Campagna the lonely ruins of the huge aqueduct stood. (Near Albano, the grave of Ascanius.) — In the little valley in Campagna lay some ground fog. We went through it. It was as if an elfin maid had wrapped her cloak around me; it was a dank shroud. I pressed my lips together to avoid the kiss.
By the summer of the following year, Andersen is still traveling across Italy. In an entry from July 25, 1835, he marvels:
We heard the sound of surf and then saw the endless blue sea off Sorrento; the moon was shining on the foam. Cape Mysenium, Procida and Ischia lay large as life before me. I was in paradise! It was masterful!
Between 1835 and 1846, Andersen entered his most prolific creative period, during which he penned three novels, six collections of fairy tales, and six musical dramas. It was also then that his diaries got to their most expressive, suggesting that for Andersen, fairy tales were not a fancy but a record of his inner world and lived experience as he perceived it. For instance, he writes in a journal entry from November 3 of 1840, while traveling through Germany:
Yesterday we passed a forest; with its brown foliage it looked exactly like a copper forest. There was something so utterly magical about it that the big steers we encountered on the muddy road appeared to me to be enchanted people, for the one, of course, had to correspond to the other.
In 1841, he visits Athens, which he finds foreign and disorienting, but still revels in the whimsy of the new experience:
Imagine for yourself a town built in a hurry, as if for a big market, and that the market is in full swing — and there you have the new Athens. … The tall, solitary palm trees and cypresses nearby, the picturesque costumes! — I don’t understand it myself; I still don’t have any idea about it all, but I’m happy. I can’t really believe that I am in Greece, in Athens! The city is growing as I walk here!
From there, he visits Turkey — a brush with an even more unfamiliar culture. In a diary entry from April 29, 1841, he describes visiting a Turkish cemetery:
We went to the cemetery, which was very extensive. The graves of dervishes have dervish turbans; there are green turbans on the graves of those who themselves, or one of whose forefathers, have been to the Prophet’s grave. We walked so far that we could see the town Chalcedon and the Sea of Marmara. (In Scrutari we saw Ali Pasha’s grave, which had something like a wire birdcage over it and fountains.) Carved in the burial stones by the graves there is one big hole or two small ones for water, so that dogs can quench their thirst — this is a blessing for the dead.
But as a native Bulgarian who has frequently witnessed foreigners’ perplexity by traditional Balkan music, I was especially amused by Andersen’s description of the Turks’ singing and dancing:
A strange song with shifting rhythms was sung by a few of [the dervishes] and then by them all. It was something with scales and runs, as if a musically gifted savage had heard an Italian singer for the first time and now in his own way was trying to imitate him.
He describes a dancing dervish with the same bemused colonialist’s judgment:
His body moved to the one side, then into obscene positions; finally all his limbs were moving as if they were driven by a steam engine. All the dancers were groaning and drawing in deep breaths. The sweat was dripping from their pale faces; at last they sank to the ground. I felt really discomforted.
In a diary entry from the following day, April 30, he visits a monastery in Pera and observes another traditional dance, this time with more admiration than judgment. Incidentally, that particular dance embodied Carl Sagan’s assertion about ancient religions celebrating cosmology — the dervishes were dancing about astronomy:
The dervishes took off their tunics and now stood in their brimless, high-crowned white hats, in open green jackets and long green skirts that were extremely wide, looking like funnels on them when they whirled themselves around on the same spot with their arms stretched out and half raised. There were two in the middle; the others were turning around them and around themselves. A priest walked very quietly among the ones in the middle and those on the outside. Their faces were extremely pale. There was the sound of music and the singing. They stopped suddenly and stood still for a moment; then they began to dance the same dance again. They looked just like lifeless dolls; they were portraying the course of the planets.
The next day, May 1, another magical passage depicting nature as a fairy tale:
The nightingales were jugging, and the turtledoves were cooing in the high cypresses. The Sea of Marmara was like glass; the mountains in Asia seemed ethereal; in the clear air beyond lay a chain of snow-covered mountains. Ships with all their sails were lying at anchor like swans mirroring themselves in the water; the small boats were gliding like back snakes across the current.
But what made Andersen a particularly enchanting storyteller was that he was able to notice and convey not only the whimsical, but also the wistful. On May 6, upon arriving on the desolate and barren coast of Constanta, Romania, he writes:
A dead stork was lying by the sea; it had a melancholy effect on me — it had just reached the sea and then sunk down dead. … A wet, cold fog; the entire sea hidden from sight. Close to the dead stork there was a dead dog; I didn’t make a note of it — the stork appealed to my imagination; the dog had perhaps been noble and faithful, and now went unnoticed.
The irony, of course, is that he did make a note of it, and therein lies Andersen’s greatest, most timeless talent — his singular ability to notice what goes unnoticed by most, and to imbue it with a story that speaks to our deepest fears and our highest aspirations: In the dead dog, he saw the human virtues of honor and loyalty, as well as the tragedy of dying without having mattered, and what could be more resonant with the human condition than that?
The Diaries of Hans Christian Andersen is an enchanting read in its entirety, revealing the inner world of this legendary world-builder with unprecedented intimacy. Complement it with other famous creators’ little-known art, including Flannery O’Connor’s cartoons, William Faulkner’s Jazz-Age drawings, Richard Feynman’s sketches, Marilyn Monroe’s poetry, and Sylvia Plath’s drawings.