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The Emperor's New Clothes: Sid Harth
The Emperor's New Clothes
From Wikisource
The Emperor's New Clothes
by Hans Christian Andersen, translated by H. P. Paull
The Emperor's New Clothes (Keiserens nye Klæder) is a fairy tale by
Danish poet and author Hans Christian Andersen about an emperor who
unwittingly hires two swindlers to create a new suit of clothes for
him. The tale was first published in 1837 as part of Eventyr, fortalte
for Børn (Fairy Tales, Told for Children).
— Excerpted from The Emperor's New Clothes on Wikipedia, the free
encyclopedia.
MANY, many years ago lived an emperor, who thought so much of new
clothes that he spent all his money in order to obtain them; his only
ambition was to be always well dressed. He did not care for his
soldiers, and the theatre did not amuse him; the only thing, in fact,
he thought anything of was to drive out and show a new suit of
clothes. He had a coat for every hour of the day; and as one would say
of a king "He is in his cabinet," so one could say of him, "The
emperor is in his dressing-room."
The great city where he resided was very gay; every day many strangers
from all parts of the globe arrived. One day two swindlers came to
this city; they made people believe that they were weavers, and
declared they could manufacture the finest cloth to be imagined. Their
colours and patterns, they said, were not only exceptionally
beautiful, but the clothes made of their material possessed the
wonderful quality of being invisible to any man who was unfit for his
office or unpardonably stupid.
"That must be wonderful cloth," thought the emperor. "If I were to be
dressed in a suit made of this cloth I should be able to find out
which men in my empire were unfit for their places, and I could
distinguish the clever from the stupid. I must have this cloth woven
for me without delay." And he gave a large sum of money to the
swindlers, in advance, that they should set to work without any loss
of time. They set up two looms, and pretended to be very hard at work,
but they did nothing whatever on the looms. They asked for the finest
silk and the most precious gold-cloth; all they got they did away
with, and worked at the empty looms till late at night.
"I should very much like to know how they are getting on with the
cloth," thought the emperor. But he felt rather uneasy when he
remembered that he who was not fit for his office could not see it.
Personally, he was of opinion that he had nothing to fear, yet he
thought it advisable to send somebody else first to see how matters
stood. Everybody in the town knew what a remarkable quality the stuff
possessed, and all were anxious to see how bad or stupid their
neighbours were.
"I shall send my honest old minister to the weavers," thought the
emperor. "He can judge best how the stuff looks, for he is
intelligent, and nobody understands his office better than he."
The good old minister went into the room where the swindlers sat
before the empty looms. "Heaven preserve us!" he thought, and opened
his eyes wide, "I cannot see anything at all," but he did not say so.
Both swindlers requested him to come near, and asked him if he did not
admire the exquisite pattern and the beautiful colours, pointing to
the empty looms. The poor old minister tried his very best, but he
could see nothing, for there was nothing to be seen. "Oh dear," he
thought, "can I be so stupid? I should never have thought so, and
nobody must know it! Is it possible that I am not fit for my office?
No, no, I cannot say that I was unable to see the cloth."
"Now, have you got nothing to say?" said one of the swindlers, while
he pretended to be busily weaving.
"Oh, it is very pretty, exceedingly beautiful," replied the old
minister looking through his glasses. "What a beautiful pattern, what
brilliant colours! I shall tell the emperor that I like the cloth very
much."
"We are pleased to hear that," said the two weavers, and described to
him the colours and explained the curious pattern. The old minister
listened attentively, that he might relate to the emperor what they
said; and so he did.
Now the swindlers asked for more money, silk and gold-cloth, which
they required for weaving. They kept everything for themselves, and
not a thread came near the loom, but they continued, as hitherto, to
work at the empty looms.
Soon afterwards the emperor sent another honest courtier to the
weavers to see how they were getting on, and if the cloth was nearly
finished. Like the old minister, he looked and looked but could see
nothing, as there was nothing to be seen.
"Is it not a beautiful piece of cloth?" asked the two swindlers,
showing and explaining the magnificent pattern, which, however, did
not exist.
"I am not stupid," said the man. "It is therefore my good appointment
for which I am not fit. It is very strange, but I must not let any one
know it;" and he praised the cloth, which he did not see, and
expressed his joy at the beautiful colours and the fine pattern. "It
is very excellent," he said to the emperor.
Everybody in the whole town talked about the precious cloth. At last
the emperor wished to see it himself, while it was still on the loom.
With a number of courtiers, including the two who had already been
there, he went to the two clever swindlers, who now worked as hard as
they could, but without using any thread.
"Is it not magnificent?" said the two old statesmen who had been there
before. "Your Majesty must admire the colours and the pattern." And
then they pointed to the empty looms, for they imagined the others
could see the cloth.
"What is this?" thought the emperor, "I do not see anything at all.
That is terrible! Am I stupid? Am I unfit to be emperor? That would
indeed be the most dreadful thing that could happen to me."
"Really," he said, turning to the weavers, "your cloth has our most
gracious approval;" and nodding contentedly he looked at the empty
loom, for he did not like to say that he saw nothing. All his
attendants, who were with him, looked and looked, and although they
could not see anything more than the others, they said, like the
emperor, "It is very beautiful." And all advised him to wear the new
magnificent clothes at a great procession which was soon to take
place. "It is magnificent, beautiful, excellent," one heard them say;
everybody seemed to be delighted, and the emperor appointed the two
swindlers "Imperial Court weavers."
The whole night previous to the day on which the procession was to
take place, the swindlers pretended to work, and burned more than
sixteen candles. People should see that they were busy to finish the
emperor's new suit. They pretended to take the cloth from the loom,
and worked about in the air with big scissors, and sewed with needles
without thread, and said at last: "The emperor's new suit is ready
now."
The emperor and all his barons then came to the hall; the swindlers
held their arms up as if they held something in their hands and said:
"These are the trousers!" "This is the coat!" and "Here is the cloak!"
and so on. "They are all as light as a cobweb, and one must feel as if
one had nothing at all upon the body; but that is just the beauty of
them."
"Indeed!" said all the courtiers; but they could not see anything, for
there was nothing to be seen.
"Does it please your Majesty now to graciously undress," said the
swindlers, "that we may assist your Majesty in putting on the new suit
before the large looking-glass?"
The emperor undressed, and the swindlers pretended to put the new suit
upon him, one piece after another; and the emperor looked at himself
in the glass from every side.
"How well they look! How well they fit!" said all. "What a beautiful
pattern! What fine colours! That is a magnificent suit of clothes!"
The master of the ceremonies announced that the bearers of the canopy,
which was to be carried in the procession, were ready.
"I am ready," said the emperor. "Does not my suit fit me
marvellously?" Then he turned once more to the looking-glass, that
people should think he admired his garments.
The chamberlains, who were to carry the train, stretched their hands
to the ground as if they lifted up a train, and pretended to hold
something in their hands; they did not like people to know that they
could not see anything.
The emperor marched in the procession under the beautiful canopy, and
all who saw him in the street and out of the windows exclaimed:
"Indeed, the emperor's new suit is incomparable! What a long train he
has! How well it fits him!" Nobody wished to let others know he saw
nothing, for then he would have been unfit for his office or too
stupid. Never emperor's clothes were more admired.
"But he has nothing on at all," said a little child at last. "Good
heavens! listen to the voice of an innocent child," said the father,
and one whispered to the other what the child had said. "But he has
nothing on at all," cried at last the whole people. That made a deep
impression upon the emperor, for it seemed to him that they were
right; but he thought to himself, "Now I must bear up to the end." And
the chamberlains walked with still greater dignity, as if they carried
the train which did not exist.
THE END
http://en.wikisource.org/wiki/The_Emperor%27s_New_Clothes
The Emperor's New Clothes
From Wikipedia, the free encyclopedia
This article is about the story by Hans Christian Andersen. For other
uses, see The Emperor's New Clothes (disambiguation).
"The Emperor’s New Clothes"
Author Hans Christian Andersen (2 April 1805 – 4 August 1875)
Original title "Kejserens nye Klæder"
Country Denmark
Language Danish
Genre(s) Literary folktale
Published in Fairy Tales Told for Children. First Collection. Third
Booklet. 1837. (Eventyr, fortalte for Børn. Første Samling. Tredie
Hefte. 1837.)
Publication type Folktale collection
Publisher C. A. Reitzel
Publication date 7 April 1837
Preceded by "The Little Mermaid"
Followed by "Only a Fiddler"
"The Emperor's New Clothes" (Danish: Kejserens nye Klæder) is a short
tale by Hans Christian Andersen about two weavers who promise an
Emperor a new suit of clothes invisible to those unfit for their
positions or incompetent. When the Emperor parades before his subjects
in his new clothes, a child cries out, "But he isn't wearing anything
at all!" The tale has been translated into over a hundred languages.
[1]
"The Emperor’s New Clothes" was first published with "The Little
Mermaid" in Copenhagen, Denmark by C. A. Reitzel on 7 April 1837 as
the third and final installment of Andersen's Fairy Tales Told for
Children. The tale has been adapted to various media including the
musical stage and animated film.
Plot
An Emperor who cares for nothing but his wardrobe hires two weavers
who promise him the finest suit of clothes from a fabric invisible to
anyone who is unfit for his position or "just hopelessly stupid". The
Emperor cannot see the cloth himself, but pretends that he can for
fear of appearing unfit for his position or stupid; his ministers do
the same. When the swindlers report that the suit is finished, they
dress him in mime and the Emperor then marches in procession before
his subjects. A child in the crowd calls out that the Emperor is
wearing nothing at all and the cry is taken up by others. The Emperor
cringes, suspecting the assertion is true, but holds himself up
proudly and continues the procession.
Sources and variants of the tale
Variants of the story are widely dispersed across the world. There are
versions from Sri Lanka, Turkey and India.[2] In the Sri Lankan
folktale[3] seven tricksters arrive at the court of a foolish king and
ask him, "Maharaja, what sort of robe is your majesty wearing? We have
woven a copper-coloured silk robe for the king of our city. It is like
the thin silk robes from the divine world. In comparison to our king,
you look like one of his servants." The tricksters go on to warn that
the silk cloth is "not visible to a low-born person".
Anderson's version is based on a story from the Libro de los ejemplos
(or El Conde Lucanor, 1335),[4] a medieval Spanish collection of fifty-
one cautionary tales with Arab and Jewish sources by Juan Manuel, Duke
of Peñafiel (1282–1348). Andersen did not know the Spanish original
but read the tale in a German translation titled "So ist der Lauf der
Welt". The main plot was derived from this version of the original.[5]
In the source tale, a king is hoodwinked by weavers who claim to make
a suit of clothes invisible to any man not the son of his presumed
father. Andersen avoided anything risqué in his work and altered the
source tale to direct the focus on courtly pride and intellectual
vanity rather than adulterous paternity.[6]
The weavers belong to the folkloric prototypes of tricksters and
rogues who outwit royalty, clergymen, merchants, and others.
Composition
Illustration by Vilhelm Pedersen, Andersen‘s first
illustratorAndersen's manuscript was at the printer’s when he was
suddenly inspired to change the original climax of the tale from the
emperor’s subjects admiring his invisible clothes to that of the
child's cry.[7] There are many theories about why he made this change.
Most scholars agree that from his earliest years in Copenhagen,
Andersen presented himself to the Danish bourgeoisie as the naively
precocious child not usually admitted to the adult salon. "The
Emperor’s New Clothes" became his expose of the hypocrisy and snobbery
he found there when he finally gained admission.[8]
Andersen’s decision to change the ending may have occurred after he
read the manuscript tale to a child,[9] or had its source in a
childhood incident similar to that in the tale. In 1872, he recalled
standing in a crowd with his mother waiting to see King Frederick VI.
When the king made his appearance, Andersen cried out, "Oh, he’s
nothing more than a human being!" His mother tried to silence him by
crying, "Have you gone mad, child?"[10] Whatever the reason, Andersen
thought the change would prove more satirical.
Publication
Andersen in 1836"The Emperor’s New Clothes" was first published with
"The Little Mermaid" on 7 April 1837 by C. A. Reitzel in Copenhagen,
Denmark as the third and final installment of the first collection of
Andersen's Fairy Tales Told for Children. The first two booklets of
the collection were published in May and December 1835 and met with
little critical enthusiasm.[11] Andersen waited a year before
publishing the third installment of the collection.[12]
Traditional Danish tales as well as German and French folktales were
regarded as a form of exotica in nineteenth century Denmark and were
read aloud to select gatherings by celebrated actors of the day.
Andersen’s tales eventually became a part of the repertoire and
readings of "The Emperor’s New Clothes" became a specialty of and a
big hit for the popular Danish actor Ludvig Phister.[13]
Alison Prince, author of Hans Christian Andersen: The Fan Dancer,
claims that Andersen received a gift of a ruby and diamond ring from
the king after publications of "The Emperor's New Clothes" and "The
Swineherd"—tales in which Andersen voices a satirical disrepect for
the court. Prince suggests the ring was an attempt to curb Andersen's
sudden bent for political satire by bringing him into the royal fold.
She points out that after The Swineherd, he never again wrote a tale
colored with political satire, but, within months of the gift, began
composing "The Ugly Duckling", a tale about a bird born in a henyard
who, after a lifetime of misery, matures into a swan, "one of those
royal birds".[14]
On 1 July 1844, the Hereditary Grand Duke Carl Alexander held a
literary soiree at Ettersburg in honor of Andersen. The author was on
the verge of vomiting after days of feasting and speaking various
foreign languages but managed to control his body and read aloud “The
Princess and the Pea”, "Little Ida's Flowers", and "The Emperor’s New
Clothes".[15]
Commentaries
Jack Zipes, in Hans Christian Andersen: The Misunderstood Storyteller,
suggests that seeing is presented in the tale as the courage of one's
convictions; Zipes believe this is the reason the story is popular
with children. Sight becomes insight, which, in turn, prompts action.
[16]
In Hans Christian Andersen: The Life of a Storyteller (2000), Jackie
Wullschlager points out that Andersen was not only a successful
adapter of existing lore and literary material such as the Spanish
source tale for "The Emperor's New Clothes" but also equally competent
at creating new material that entered the human collective
consciousness with the same mythic power as ancient, anonymous lore.
[17]
Hollis Robbins, in "The Emperor's New Critique" (2003), argues that
the tale is itself so transparent "that there has been little need for
critical scrutiny."[18] Robbins argues that Andersen's tale "quite
clearly rehearses four contemporary controversies: the institution of
a meritocratic civil service, the valuation of labor, the expansion of
democratic power, and the appraisal of art".[19] Robbins concludes
that the story's appeal lies in its "seductive resolution" of the
conflict by the truth-telling boy.
In The Annotated Hans Christian Andersen (2008), folk and fairy tale
researcher Maria Tatar offers a scholarly investigation and analysis
of the story, drawing on Robbins's political and sociological analysis
of the tale. Tatar points out that Robbins indicates the swindling
weavers are simply insisting that "the value of their labor be
recognized apart from its material embodiment", and notes that Robbins
considers the ability of some in the tale to see the invisible cloth
as "a successful enchantment".[20]
Tatar observes that "The Emperor's New Clothes" is one of Andersen's
best known tales and one that has acquired an iconic status globally
as it migrates across various cultures reshaping itself with each
retelling in the manner of oral folktales.[21] Scholars have noted
that the phrase 'Emperor's new clothes' has become a standard metaphor
for anything that smacks of pretentiousness, pomposity, social
hypocrisy, collective denial, or hollow ostentatiousness.
Historically, the tale established Andersen's reputation as a
children's author whose stories actually imparted lessons of value for
his juvenile audience, and "romanticized" children by "investing them
with the courage to challenge authority and to speak truth to
power."[22] With each successive description of the swindlers'
wonderful cloth, it becomes more substantial, more palpable, and a
thing of imaginative beauty for the reader even though it has no
material existence. Its beauty however is obscured at the end of the
tale with the obligatory moral message for children. Tatar is left
wondering if the real value of the tale is the creation of the
wonderful fabric in the reader's imagination or the tale's closing
message of speaking truth no matter how humiliating to the recipient.
Naomi Wood of Kansas State University challenges Robbins's reading,
arguing that before the World Trade Center attacks of 2001, "Robbins's
argument might seem merely playful, anti-intuitive, and
provocative."[23] Wood concludes: "Perhaps the truth of "The Emperor's
New Clothes" is not that the child's truth is mercifully free of adult
corruption, but that it recognizes the terrifying possibility that
whatever words we may use to clothe our fears, the fabric cannot
protect us from them."[24]
Adaptations and cultural references
Various adaptations of the tale have appeared since its first
publication including a 1919 Russian film directed by Yuri
Zhelyabuzhsky, a 1987 musical starring Sid Caesar, and numerous short
stories, plays, spoofs, and animated films.[1]
Vilhelm Pedersen illustrationThe story has been parodied numerous
times, including one story in the animated television series Alftales
where Alf plays a frustrated tailor of comfortable casual clothes who
pulls the trick on the uninterested emperor who refused his usual
goods. At the end, when the emperor's pretension is exposed by a girl
who makes some sarcastic comments about his state of undress, Alf's
character supplies the ruler some of his usual wares which the emperor
finds agreeable. However, the story ends with the emperor making the
best of his humiliation by indulging in his one opportunity to go
streaking.
The Emperor's New Clothes is the title of a fanciful 2001 film
starring Ian Holm as Napoleon.
The 1990 song "The Emperor's New Clothes" by recording artist Sinéad
O'Connor has the same general message as the original fairytale. The
song ends with the lines, "through their own words / they will be
exposed / they've got a severe case of / the emperor's new clothes."
In the 1952 film musical Hans Christian Andersen based on the life of
the Danish poet and story-teller Hans Christian Andersen, starring
Danny Kaye, the story of The Emperor's New Clothes is told in The
King's New Clothes as one of the film's eight songs.
Roald Dahl wrote a short story in line with Revolting Rhymes, in which
he tells the story of an emperor who was so cruel his tailors plot
against him. They fool him in believing they have a cloth which keeps
the wearer incredibly warm, but is invisible to fools. He then goes
skiing without any clothes on, freezing to death.
In The Romans, a 1965 episode of Doctor Who, the Doctor convinces
Emperor Nero that he can play the lyre by announcing before his
performance that "the music is so soft, so delicate, that only those
with keen, perceptive hearing will be able to distinguish this
melodious charm of music". He then pretends to play, making no actual
sound, and at the end of his performance he receives cheers and
applause from the other guests at the banquet. He later boasts to one
of his companions that he gave the idea to Hans Christian Andersen.
The tale itself was adapted as an episode of the 2008 series Fairy
Tales.
An episode in the fourth series of the British TV show Hustle, A
Designer's Paradise, bases a confidence trick around the story of The
Emperor's New Clothes.
The Emperor's New Mind by Roger Penrose is a book about physics and
complexity theory. Penrose concludes that computers, although they
appear to think, cannot think as we experience it. He attempts to
prove this hypothesis by examining all physics as we know it in a
small amount of detail.
The novel Naked Empire by Terry Goodkind makes an allusion to the tale
with its title and the book deals with similar themes.
Another book that alludes to the tale is "The Empire's Old Clothes:
What the Lone Ranger, Babar, and Other Innocent Heroes Do to Our
Minds," by Ariel Dorfman, the Chilean novelist, playwright, essayist,
academic, and human rights activist.
The Chinese novelist Ye Sheng Tao continued the story which Andersen
had left off; it is also titled, The Emperor's New Clothes.
The PBS series Sagwa also aired an adaptation of this classic tale.
The Barenaked Ladies included the lyrics "I felt a chill because I was
still wearing the emperor's new clothes" in the song "The Humour of
the Situation".
The games The Legend of Zelda: The Wind Waker and The Legend of Zelda:
The Phantom Hourglass contains a similar item called "Hero's New
Clothes," a set of clothes that does not actually exist.
The title of the animated film The Emperor's New Groove comes from
this fairytale.
http://en.wikipedia.org/wiki/The_Emperor%27s_New_Groove
The book The Emperor's New Clothes: An (Un)popular Account of the
Origins of Christianity by Bill Johnston published in 2008 examines
the pagan content of Christianity, and casts doubt on the reliability
of the New Testament accounts.
In Star Trek Deep Space Nine, there were an episode called "The
Emperor's New Cloak" where Rom and Quark steal a Klingon Cloaking
Device in order to save the Grand Nagus.
http://en.wikipedia.org/wiki/Star_Trek_Deep_Space_Nine
http://en.wikipedia.org/wiki/Klingon
The final verse of the song "Sleepwalk Capsules" by At The Drive In
included the lyric " Held onto its tusks, naked and disrobed / and the
emperor still wears no clothes".
http://en.wikipedia.org/wiki/At_The_Drive_In
Footnotes
^ a b Andersen 2005a 4
^ Other tales of this type are given at D. L. Ashliman's page on The
Emperor's New Clothes. Accessed 2010-03-06. Similar tales are listed
at surlalunefairytales.com. Accessed 2010-03-06.
http://www.pitt.edu/~dash/type1620.html
http://www.pitt.edu/~dash/type1620.html#silkrobe
http://www.pitt.edu/~dash/type1620.html#turban
http://www.pitt.edu/~dash/type1620.html#clevergirl
http://www.pitt.edu/~dash/type1620.html#goldenthumb
http://www.pitt.edu/~dash/type1641.html
http://www.pitt.edu/~dash/type1641.html#harisarman
http://www.pitt.edu/~dash/type1641.html#bompas
http://www.pitt.edu/~dash/type1641.html#italy
http://www.pitt.edu/~dash/type1641.html#grimm
http://www.pitt.edu/~dash/type1641.html#denmark
http://www.pitt.edu/~dash/type1641.html#blackrobin
http://www.pitt.edu/~dash/type1641.html#links
http://www.pitt.edu/~dash/folktexts.html
http://www.pitt.edu/~dash/type1641c.html
http://www.pitt.edu/~dash/type1641c.html#twigmuntus
^ See Parker, Henry (1914). Village Folk-Tales of Ceylon, volume 2.
Luzac and Company. pp. 66-69. , given on Google books and, more
readably, on D. L. Ashliman's page on the tale. Accessed 2010-03-10.
^ In Spanish:Exemplo XXXIIº - De lo que contesció a un rey con los
burladores que fizieron el paño. In English: Of that which happened to
a King and three Impostors from Count Lucanor; of the Fifty Pleasant
Stories of Patronio, written by the Prince Don Juan Manuel and first
done into English by James York, M. D., 1868, Gibbings & Company,
Limited; London; 1899; pp. xiii-xvi. Accessed 2010-03-06. This version
of the tale is one of those collected by Idries Shah in World Tales.
http://es.wikisource.org/wiki/Conde_Lucanor:Ejemplo_32
http://www.elfinspell.com/CountLucanor3.html#ch7
http://en.wikipedia.org/wiki/Idries_Shah
http://en.wikipedia.org/wiki/World_Tales
^ Bredsdorff 312-3
^ Wullschlager 176
^ Wullschlager 177
^ Andersen 2005b 427
^ Bredsdorff 313
^ Frank 110
^ Wullschlager 165
^ Andersen 2005d 228
^ Andersen 2005d 246
^ Prince 210
^ Andersen 2005d 305
^ Zipes 2005 36
^ Andersen 2005a xvi
^ Robbins 659
^ Robbins, 670
^ Quoted in Tatar 8,15
^ Tatar xxii,xiii
^ Tatar xxiii
^ Wood 193-207
^ Wood 205
References
Andersen, Hans Christian; Tatar, Maria (Ed. and transl.); Allen, Julie
K. (Transl.) (2008). The Annotated Hans Christian Andersen. New York
and London: W. W. Norton & Company, Inc.. ISBN 978-0-393-06081-2.
Andersen, Hans Christian; Wullschlager, Jackie (Ed.); Nunnally, Tiina
(Transl.) (2005). Fairy Tales. New York: Viking. ISBN 0-670-03377-4.
Andersen, Hans Christian; Frank, Diane Crone (Ed. and transl.); Frank,
Jeffrey (Ed. and transl.) (2005). The Stories of Hans Christian
Andersen: A New Translation from the Danish. Durham and London: Duke
University Press. ISBN 0-8223-3693-6.
Andersen, Jens; Nunnally, Tiina (Transl.) (2005). Hans Christian
Andersen: A New Life. New York, Woodstock, London: Overlook Duckworth.
ISBN 1-58567-737-X.
Bredsdorff, Elias (1975). Hans Christian Andersen: The Story of His
Life and Work, 1805–75. London: Phaidon Press Ltd.. ISBN
0-7148-1636-1.
Prince, Alison (1998). Hans Christian Andersen: The Fan Dancer.
London: Allison & Busby Ltd.. ISBN 0-7490-0478-9.
Robbins, Hollis (Autumn 2003). Emperor's New Critique. 34. New
Literary History. pp. 659-675. ISSN 0028-6087.
http://muse.jhu.edu/login?uri=/journals/new_literary_history/v034/34.4robbins.html.
http://en.wikipedia.org/wiki/New_Literary_History
Wood, Naomi (2007). "The Ugly Duckling's Legacy: Adulteration,
Contemporary Fantasy, and the Dark". Marvels & Tales 20 (2):
193-207.
Wullschlager, Jackie (2000). Hans Christian Andersen: The Life of a
Storyteller. Chicago: University of Chicago Press. ISBN
0-226-91747-9.
Zipes, Jack David (2005). Hans Christian Andersen: The Misunderstood
Storyteller. New York and Middleton Park: Routledge. ISBN 0-415-97433-
X.
External links
Wikisource has original text related to this article:
The Emperor's New Clothes http://en.wikisource.org/wiki/The_Emperor%27s_New_Clothes
Wikimedia Commons has media related to: The Emperor's New Clothes
http://commons.wikimedia.org/wiki/The_Emperor%27s_New_Clothes
"Keiserens nye Klæder". Original Danish text
"Keiserens nye Klæder". Manuscript from the Odense City Museum
"The Emperor's New Clothes". English translation by Jean Hersholt
http://www.andersen.sdu.dk/vaerk/hersholt/TheEmperorsNewClothes_e.html
http://www.andersen.sdu.dk/vaerk/hersholt/TheEmperorsNewClothes_e.html
"The Emperor's New Clothes". Audio rendition by Sir Michael Redgrave
http://en.wikipedia.org/wiki/Michael_Redgrave
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...and I am Sid Harth
The Emperor's New Clothes
From Wikisource
The Emperor's New Clothes
by Hans Christian Andersen, translated by H. P. Paull
The Emperor's New Clothes (Keiserens nye Klæder) is a fairy tale by
Danish poet and author Hans Christian Andersen about an emperor who
unwittingly hires two swindlers to create a new suit of clothes for
him. The tale was first published in 1837 as part of Eventyr, fortalte
for Børn (Fairy Tales, Told for Children).
— Excerpted from The Emperor's New Clothes on Wikipedia, the free
encyclopedia.
MANY, many years ago lived an emperor, who thought so much of new
clothes that he spent all his money in order to obtain them; his only
ambition was to be always well dressed. He did not care for his
soldiers, and the theatre did not amuse him; the only thing, in fact,
he thought anything of was to drive out and show a new suit of
clothes. He had a coat for every hour of the day; and as one would say
of a king "He is in his cabinet," so one could say of him, "The
emperor is in his dressing-room."
The great city where he resided was very gay; every day many strangers
from all parts of the globe arrived. One day two swindlers came to
this city; they made people believe that they were weavers, and
declared they could manufacture the finest cloth to be imagined. Their
colours and patterns, they said, were not only exceptionally
beautiful, but the clothes made of their material possessed the
wonderful quality of being invisible to any man who was unfit for his
office or unpardonably stupid.
"That must be wonderful cloth," thought the emperor. "If I were to be
dressed in a suit made of this cloth I should be able to find out
which men in my empire were unfit for their places, and I could
distinguish the clever from the stupid. I must have this cloth woven
for me without delay." And he gave a large sum of money to the
swindlers, in advance, that they should set to work without any loss
of time. They set up two looms, and pretended to be very hard at work,
but they did nothing whatever on the looms. They asked for the finest
silk and the most precious gold-cloth; all they got they did away
with, and worked at the empty looms till late at night.
"I should very much like to know how they are getting on with the
cloth," thought the emperor. But he felt rather uneasy when he
remembered that he who was not fit for his office could not see it.
Personally, he was of opinion that he had nothing to fear, yet he
thought it advisable to send somebody else first to see how matters
stood. Everybody in the town knew what a remarkable quality the stuff
possessed, and all were anxious to see how bad or stupid their
neighbours were.
"I shall send my honest old minister to the weavers," thought the
emperor. "He can judge best how the stuff looks, for he is
intelligent, and nobody understands his office better than he."
The good old minister went into the room where the swindlers sat
before the empty looms. "Heaven preserve us!" he thought, and opened
his eyes wide, "I cannot see anything at all," but he did not say so.
Both swindlers requested him to come near, and asked him if he did not
admire the exquisite pattern and the beautiful colours, pointing to
the empty looms. The poor old minister tried his very best, but he
could see nothing, for there was nothing to be seen. "Oh dear," he
thought, "can I be so stupid? I should never have thought so, and
nobody must know it! Is it possible that I am not fit for my office?
No, no, I cannot say that I was unable to see the cloth."
"Now, have you got nothing to say?" said one of the swindlers, while
he pretended to be busily weaving.
"Oh, it is very pretty, exceedingly beautiful," replied the old
minister looking through his glasses. "What a beautiful pattern, what
brilliant colours! I shall tell the emperor that I like the cloth very
much."
"We are pleased to hear that," said the two weavers, and described to
him the colours and explained the curious pattern. The old minister
listened attentively, that he might relate to the emperor what they
said; and so he did.
Now the swindlers asked for more money, silk and gold-cloth, which
they required for weaving. They kept everything for themselves, and
not a thread came near the loom, but they continued, as hitherto, to
work at the empty looms.
Soon afterwards the emperor sent another honest courtier to the
weavers to see how they were getting on, and if the cloth was nearly
finished. Like the old minister, he looked and looked but could see
nothing, as there was nothing to be seen.
"Is it not a beautiful piece of cloth?" asked the two swindlers,
showing and explaining the magnificent pattern, which, however, did
not exist.
"I am not stupid," said the man. "It is therefore my good appointment
for which I am not fit. It is very strange, but I must not let any one
know it;" and he praised the cloth, which he did not see, and
expressed his joy at the beautiful colours and the fine pattern. "It
is very excellent," he said to the emperor.
Everybody in the whole town talked about the precious cloth. At last
the emperor wished to see it himself, while it was still on the loom.
With a number of courtiers, including the two who had already been
there, he went to the two clever swindlers, who now worked as hard as
they could, but without using any thread.
"Is it not magnificent?" said the two old statesmen who had been there
before. "Your Majesty must admire the colours and the pattern." And
then they pointed to the empty looms, for they imagined the others
could see the cloth.
"What is this?" thought the emperor, "I do not see anything at all.
That is terrible! Am I stupid? Am I unfit to be emperor? That would
indeed be the most dreadful thing that could happen to me."
"Really," he said, turning to the weavers, "your cloth has our most
gracious approval;" and nodding contentedly he looked at the empty
loom, for he did not like to say that he saw nothing. All his
attendants, who were with him, looked and looked, and although they
could not see anything more than the others, they said, like the
emperor, "It is very beautiful." And all advised him to wear the new
magnificent clothes at a great procession which was soon to take
place. "It is magnificent, beautiful, excellent," one heard them say;
everybody seemed to be delighted, and the emperor appointed the two
swindlers "Imperial Court weavers."
The whole night previous to the day on which the procession was to
take place, the swindlers pretended to work, and burned more than
sixteen candles. People should see that they were busy to finish the
emperor's new suit. They pretended to take the cloth from the loom,
and worked about in the air with big scissors, and sewed with needles
without thread, and said at last: "The emperor's new suit is ready
now."
The emperor and all his barons then came to the hall; the swindlers
held their arms up as if they held something in their hands and said:
"These are the trousers!" "This is the coat!" and "Here is the cloak!"
and so on. "They are all as light as a cobweb, and one must feel as if
one had nothing at all upon the body; but that is just the beauty of
them."
"Indeed!" said all the courtiers; but they could not see anything, for
there was nothing to be seen.
"Does it please your Majesty now to graciously undress," said the
swindlers, "that we may assist your Majesty in putting on the new suit
before the large looking-glass?"
The emperor undressed, and the swindlers pretended to put the new suit
upon him, one piece after another; and the emperor looked at himself
in the glass from every side.
"How well they look! How well they fit!" said all. "What a beautiful
pattern! What fine colours! That is a magnificent suit of clothes!"
The master of the ceremonies announced that the bearers of the canopy,
which was to be carried in the procession, were ready.
"I am ready," said the emperor. "Does not my suit fit me
marvellously?" Then he turned once more to the looking-glass, that
people should think he admired his garments.
The chamberlains, who were to carry the train, stretched their hands
to the ground as if they lifted up a train, and pretended to hold
something in their hands; they did not like people to know that they
could not see anything.
The emperor marched in the procession under the beautiful canopy, and
all who saw him in the street and out of the windows exclaimed:
"Indeed, the emperor's new suit is incomparable! What a long train he
has! How well it fits him!" Nobody wished to let others know he saw
nothing, for then he would have been unfit for his office or too
stupid. Never emperor's clothes were more admired.
"But he has nothing on at all," said a little child at last. "Good
heavens! listen to the voice of an innocent child," said the father,
and one whispered to the other what the child had said. "But he has
nothing on at all," cried at last the whole people. That made a deep
impression upon the emperor, for it seemed to him that they were
right; but he thought to himself, "Now I must bear up to the end." And
the chamberlains walked with still greater dignity, as if they carried
the train which did not exist.
THE END
http://en.wikisource.org/wiki/The_Emperor%27s_New_Clothes
The Emperor's New Clothes
From Wikipedia, the free encyclopedia
This article is about the story by Hans Christian Andersen. For other
uses, see The Emperor's New Clothes (disambiguation).
"The Emperor’s New Clothes"
Author Hans Christian Andersen (2 April 1805 – 4 August 1875)
Original title "Kejserens nye Klæder"
Country Denmark
Language Danish
Genre(s) Literary folktale
Published in Fairy Tales Told for Children. First Collection. Third
Booklet. 1837. (Eventyr, fortalte for Børn. Første Samling. Tredie
Hefte. 1837.)
Publication type Folktale collection
Publisher C. A. Reitzel
Publication date 7 April 1837
Preceded by "The Little Mermaid"
Followed by "Only a Fiddler"
"The Emperor's New Clothes" (Danish: Kejserens nye Klæder) is a short
tale by Hans Christian Andersen about two weavers who promise an
Emperor a new suit of clothes invisible to those unfit for their
positions or incompetent. When the Emperor parades before his subjects
in his new clothes, a child cries out, "But he isn't wearing anything
at all!" The tale has been translated into over a hundred languages.
[1]
"The Emperor’s New Clothes" was first published with "The Little
Mermaid" in Copenhagen, Denmark by C. A. Reitzel on 7 April 1837 as
the third and final installment of Andersen's Fairy Tales Told for
Children. The tale has been adapted to various media including the
musical stage and animated film.
Plot
An Emperor who cares for nothing but his wardrobe hires two weavers
who promise him the finest suit of clothes from a fabric invisible to
anyone who is unfit for his position or "just hopelessly stupid". The
Emperor cannot see the cloth himself, but pretends that he can for
fear of appearing unfit for his position or stupid; his ministers do
the same. When the swindlers report that the suit is finished, they
dress him in mime and the Emperor then marches in procession before
his subjects. A child in the crowd calls out that the Emperor is
wearing nothing at all and the cry is taken up by others. The Emperor
cringes, suspecting the assertion is true, but holds himself up
proudly and continues the procession.
Sources and variants of the tale
Variants of the story are widely dispersed across the world. There are
versions from Sri Lanka, Turkey and India.[2] In the Sri Lankan
folktale[3] seven tricksters arrive at the court of a foolish king and
ask him, "Maharaja, what sort of robe is your majesty wearing? We have
woven a copper-coloured silk robe for the king of our city. It is like
the thin silk robes from the divine world. In comparison to our king,
you look like one of his servants." The tricksters go on to warn that
the silk cloth is "not visible to a low-born person".
Anderson's version is based on a story from the Libro de los ejemplos
(or El Conde Lucanor, 1335),[4] a medieval Spanish collection of fifty-
one cautionary tales with Arab and Jewish sources by Juan Manuel, Duke
of Peñafiel (1282–1348). Andersen did not know the Spanish original
but read the tale in a German translation titled "So ist der Lauf der
Welt". The main plot was derived from this version of the original.[5]
In the source tale, a king is hoodwinked by weavers who claim to make
a suit of clothes invisible to any man not the son of his presumed
father. Andersen avoided anything risqué in his work and altered the
source tale to direct the focus on courtly pride and intellectual
vanity rather than adulterous paternity.[6]
The weavers belong to the folkloric prototypes of tricksters and
rogues who outwit royalty, clergymen, merchants, and others.
Composition
Illustration by Vilhelm Pedersen, Andersen‘s first
illustratorAndersen's manuscript was at the printer’s when he was
suddenly inspired to change the original climax of the tale from the
emperor’s subjects admiring his invisible clothes to that of the
child's cry.[7] There are many theories about why he made this change.
Most scholars agree that from his earliest years in Copenhagen,
Andersen presented himself to the Danish bourgeoisie as the naively
precocious child not usually admitted to the adult salon. "The
Emperor’s New Clothes" became his expose of the hypocrisy and snobbery
he found there when he finally gained admission.[8]
Andersen’s decision to change the ending may have occurred after he
read the manuscript tale to a child,[9] or had its source in a
childhood incident similar to that in the tale. In 1872, he recalled
standing in a crowd with his mother waiting to see King Frederick VI.
When the king made his appearance, Andersen cried out, "Oh, he’s
nothing more than a human being!" His mother tried to silence him by
crying, "Have you gone mad, child?"[10] Whatever the reason, Andersen
thought the change would prove more satirical.
Publication
Andersen in 1836"The Emperor’s New Clothes" was first published with
"The Little Mermaid" on 7 April 1837 by C. A. Reitzel in Copenhagen,
Denmark as the third and final installment of the first collection of
Andersen's Fairy Tales Told for Children. The first two booklets of
the collection were published in May and December 1835 and met with
little critical enthusiasm.[11] Andersen waited a year before
publishing the third installment of the collection.[12]
Traditional Danish tales as well as German and French folktales were
regarded as a form of exotica in nineteenth century Denmark and were
read aloud to select gatherings by celebrated actors of the day.
Andersen’s tales eventually became a part of the repertoire and
readings of "The Emperor’s New Clothes" became a specialty of and a
big hit for the popular Danish actor Ludvig Phister.[13]
Alison Prince, author of Hans Christian Andersen: The Fan Dancer,
claims that Andersen received a gift of a ruby and diamond ring from
the king after publications of "The Emperor's New Clothes" and "The
Swineherd"—tales in which Andersen voices a satirical disrepect for
the court. Prince suggests the ring was an attempt to curb Andersen's
sudden bent for political satire by bringing him into the royal fold.
She points out that after The Swineherd, he never again wrote a tale
colored with political satire, but, within months of the gift, began
composing "The Ugly Duckling", a tale about a bird born in a henyard
who, after a lifetime of misery, matures into a swan, "one of those
royal birds".[14]
On 1 July 1844, the Hereditary Grand Duke Carl Alexander held a
literary soiree at Ettersburg in honor of Andersen. The author was on
the verge of vomiting after days of feasting and speaking various
foreign languages but managed to control his body and read aloud “The
Princess and the Pea”, "Little Ida's Flowers", and "The Emperor’s New
Clothes".[15]
Commentaries
Jack Zipes, in Hans Christian Andersen: The Misunderstood Storyteller,
suggests that seeing is presented in the tale as the courage of one's
convictions; Zipes believe this is the reason the story is popular
with children. Sight becomes insight, which, in turn, prompts action.
[16]
In Hans Christian Andersen: The Life of a Storyteller (2000), Jackie
Wullschlager points out that Andersen was not only a successful
adapter of existing lore and literary material such as the Spanish
source tale for "The Emperor's New Clothes" but also equally competent
at creating new material that entered the human collective
consciousness with the same mythic power as ancient, anonymous lore.
[17]
Hollis Robbins, in "The Emperor's New Critique" (2003), argues that
the tale is itself so transparent "that there has been little need for
critical scrutiny."[18] Robbins argues that Andersen's tale "quite
clearly rehearses four contemporary controversies: the institution of
a meritocratic civil service, the valuation of labor, the expansion of
democratic power, and the appraisal of art".[19] Robbins concludes
that the story's appeal lies in its "seductive resolution" of the
conflict by the truth-telling boy.
In The Annotated Hans Christian Andersen (2008), folk and fairy tale
researcher Maria Tatar offers a scholarly investigation and analysis
of the story, drawing on Robbins's political and sociological analysis
of the tale. Tatar points out that Robbins indicates the swindling
weavers are simply insisting that "the value of their labor be
recognized apart from its material embodiment", and notes that Robbins
considers the ability of some in the tale to see the invisible cloth
as "a successful enchantment".[20]
Tatar observes that "The Emperor's New Clothes" is one of Andersen's
best known tales and one that has acquired an iconic status globally
as it migrates across various cultures reshaping itself with each
retelling in the manner of oral folktales.[21] Scholars have noted
that the phrase 'Emperor's new clothes' has become a standard metaphor
for anything that smacks of pretentiousness, pomposity, social
hypocrisy, collective denial, or hollow ostentatiousness.
Historically, the tale established Andersen's reputation as a
children's author whose stories actually imparted lessons of value for
his juvenile audience, and "romanticized" children by "investing them
with the courage to challenge authority and to speak truth to
power."[22] With each successive description of the swindlers'
wonderful cloth, it becomes more substantial, more palpable, and a
thing of imaginative beauty for the reader even though it has no
material existence. Its beauty however is obscured at the end of the
tale with the obligatory moral message for children. Tatar is left
wondering if the real value of the tale is the creation of the
wonderful fabric in the reader's imagination or the tale's closing
message of speaking truth no matter how humiliating to the recipient.
Naomi Wood of Kansas State University challenges Robbins's reading,
arguing that before the World Trade Center attacks of 2001, "Robbins's
argument might seem merely playful, anti-intuitive, and
provocative."[23] Wood concludes: "Perhaps the truth of "The Emperor's
New Clothes" is not that the child's truth is mercifully free of adult
corruption, but that it recognizes the terrifying possibility that
whatever words we may use to clothe our fears, the fabric cannot
protect us from them."[24]
Adaptations and cultural references
Various adaptations of the tale have appeared since its first
publication including a 1919 Russian film directed by Yuri
Zhelyabuzhsky, a 1987 musical starring Sid Caesar, and numerous short
stories, plays, spoofs, and animated films.[1]
Vilhelm Pedersen illustrationThe story has been parodied numerous
times, including one story in the animated television series Alftales
where Alf plays a frustrated tailor of comfortable casual clothes who
pulls the trick on the uninterested emperor who refused his usual
goods. At the end, when the emperor's pretension is exposed by a girl
who makes some sarcastic comments about his state of undress, Alf's
character supplies the ruler some of his usual wares which the emperor
finds agreeable. However, the story ends with the emperor making the
best of his humiliation by indulging in his one opportunity to go
streaking.
The Emperor's New Clothes is the title of a fanciful 2001 film
starring Ian Holm as Napoleon.
The 1990 song "The Emperor's New Clothes" by recording artist Sinéad
O'Connor has the same general message as the original fairytale. The
song ends with the lines, "through their own words / they will be
exposed / they've got a severe case of / the emperor's new clothes."
In the 1952 film musical Hans Christian Andersen based on the life of
the Danish poet and story-teller Hans Christian Andersen, starring
Danny Kaye, the story of The Emperor's New Clothes is told in The
King's New Clothes as one of the film's eight songs.
Roald Dahl wrote a short story in line with Revolting Rhymes, in which
he tells the story of an emperor who was so cruel his tailors plot
against him. They fool him in believing they have a cloth which keeps
the wearer incredibly warm, but is invisible to fools. He then goes
skiing without any clothes on, freezing to death.
In The Romans, a 1965 episode of Doctor Who, the Doctor convinces
Emperor Nero that he can play the lyre by announcing before his
performance that "the music is so soft, so delicate, that only those
with keen, perceptive hearing will be able to distinguish this
melodious charm of music". He then pretends to play, making no actual
sound, and at the end of his performance he receives cheers and
applause from the other guests at the banquet. He later boasts to one
of his companions that he gave the idea to Hans Christian Andersen.
The tale itself was adapted as an episode of the 2008 series Fairy
Tales.
An episode in the fourth series of the British TV show Hustle, A
Designer's Paradise, bases a confidence trick around the story of The
Emperor's New Clothes.
The Emperor's New Mind by Roger Penrose is a book about physics and
complexity theory. Penrose concludes that computers, although they
appear to think, cannot think as we experience it. He attempts to
prove this hypothesis by examining all physics as we know it in a
small amount of detail.
The novel Naked Empire by Terry Goodkind makes an allusion to the tale
with its title and the book deals with similar themes.
Another book that alludes to the tale is "The Empire's Old Clothes:
What the Lone Ranger, Babar, and Other Innocent Heroes Do to Our
Minds," by Ariel Dorfman, the Chilean novelist, playwright, essayist,
academic, and human rights activist.
The Chinese novelist Ye Sheng Tao continued the story which Andersen
had left off; it is also titled, The Emperor's New Clothes.
The PBS series Sagwa also aired an adaptation of this classic tale.
The Barenaked Ladies included the lyrics "I felt a chill because I was
still wearing the emperor's new clothes" in the song "The Humour of
the Situation".
The games The Legend of Zelda: The Wind Waker and The Legend of Zelda:
The Phantom Hourglass contains a similar item called "Hero's New
Clothes," a set of clothes that does not actually exist.
The title of the animated film The Emperor's New Groove comes from
this fairytale.
http://en.wikipedia.org/wiki/The_Emperor%27s_New_Groove
The book The Emperor's New Clothes: An (Un)popular Account of the
Origins of Christianity by Bill Johnston published in 2008 examines
the pagan content of Christianity, and casts doubt on the reliability
of the New Testament accounts.
In Star Trek Deep Space Nine, there were an episode called "The
Emperor's New Cloak" where Rom and Quark steal a Klingon Cloaking
Device in order to save the Grand Nagus.
http://en.wikipedia.org/wiki/Star_Trek_Deep_Space_Nine
http://en.wikipedia.org/wiki/Klingon
The final verse of the song "Sleepwalk Capsules" by At The Drive In
included the lyric " Held onto its tusks, naked and disrobed / and the
emperor still wears no clothes".
http://en.wikipedia.org/wiki/At_The_Drive_In
Footnotes
^ a b Andersen 2005a 4
^ Other tales of this type are given at D. L. Ashliman's page on The
Emperor's New Clothes. Accessed 2010-03-06. Similar tales are listed
at surlalunefairytales.com. Accessed 2010-03-06.
http://www.pitt.edu/~dash/type1620.html
http://www.pitt.edu/~dash/type1620.html#silkrobe
http://www.pitt.edu/~dash/type1620.html#turban
http://www.pitt.edu/~dash/type1620.html#clevergirl
http://www.pitt.edu/~dash/type1620.html#goldenthumb
http://www.pitt.edu/~dash/type1641.html
http://www.pitt.edu/~dash/type1641.html#harisarman
http://www.pitt.edu/~dash/type1641.html#bompas
http://www.pitt.edu/~dash/type1641.html#italy
http://www.pitt.edu/~dash/type1641.html#grimm
http://www.pitt.edu/~dash/type1641.html#denmark
http://www.pitt.edu/~dash/type1641.html#blackrobin
http://www.pitt.edu/~dash/type1641.html#links
http://www.pitt.edu/~dash/folktexts.html
http://www.pitt.edu/~dash/type1641c.html
http://www.pitt.edu/~dash/type1641c.html#twigmuntus
^ See Parker, Henry (1914). Village Folk-Tales of Ceylon, volume 2.
Luzac and Company. pp. 66-69. , given on Google books and, more
readably, on D. L. Ashliman's page on the tale. Accessed 2010-03-10.
^ In Spanish:Exemplo XXXIIº - De lo que contesció a un rey con los
burladores que fizieron el paño. In English: Of that which happened to
a King and three Impostors from Count Lucanor; of the Fifty Pleasant
Stories of Patronio, written by the Prince Don Juan Manuel and first
done into English by James York, M. D., 1868, Gibbings & Company,
Limited; London; 1899; pp. xiii-xvi. Accessed 2010-03-06. This version
of the tale is one of those collected by Idries Shah in World Tales.
http://es.wikisource.org/wiki/Conde_Lucanor:Ejemplo_32
http://www.elfinspell.com/CountLucanor3.html#ch7
http://en.wikipedia.org/wiki/Idries_Shah
http://en.wikipedia.org/wiki/World_Tales
^ Bredsdorff 312-3
^ Wullschlager 176
^ Wullschlager 177
^ Andersen 2005b 427
^ Bredsdorff 313
^ Frank 110
^ Wullschlager 165
^ Andersen 2005d 228
^ Andersen 2005d 246
^ Prince 210
^ Andersen 2005d 305
^ Zipes 2005 36
^ Andersen 2005a xvi
^ Robbins 659
^ Robbins, 670
^ Quoted in Tatar 8,15
^ Tatar xxii,xiii
^ Tatar xxiii
^ Wood 193-207
^ Wood 205
References
Andersen, Hans Christian; Tatar, Maria (Ed. and transl.); Allen, Julie
K. (Transl.) (2008). The Annotated Hans Christian Andersen. New York
and London: W. W. Norton & Company, Inc.. ISBN 978-0-393-06081-2.
Andersen, Hans Christian; Wullschlager, Jackie (Ed.); Nunnally, Tiina
(Transl.) (2005). Fairy Tales. New York: Viking. ISBN 0-670-03377-4.
Andersen, Hans Christian; Frank, Diane Crone (Ed. and transl.); Frank,
Jeffrey (Ed. and transl.) (2005). The Stories of Hans Christian
Andersen: A New Translation from the Danish. Durham and London: Duke
University Press. ISBN 0-8223-3693-6.
Andersen, Jens; Nunnally, Tiina (Transl.) (2005). Hans Christian
Andersen: A New Life. New York, Woodstock, London: Overlook Duckworth.
ISBN 1-58567-737-X.
Bredsdorff, Elias (1975). Hans Christian Andersen: The Story of His
Life and Work, 1805–75. London: Phaidon Press Ltd.. ISBN
0-7148-1636-1.
Prince, Alison (1998). Hans Christian Andersen: The Fan Dancer.
London: Allison & Busby Ltd.. ISBN 0-7490-0478-9.
Robbins, Hollis (Autumn 2003). Emperor's New Critique. 34. New
Literary History. pp. 659-675. ISSN 0028-6087.
http://muse.jhu.edu/login?uri=/journals/new_literary_history/v034/34.4robbins.html.
http://en.wikipedia.org/wiki/New_Literary_History
Wood, Naomi (2007). "The Ugly Duckling's Legacy: Adulteration,
Contemporary Fantasy, and the Dark". Marvels & Tales 20 (2):
193-207.
Wullschlager, Jackie (2000). Hans Christian Andersen: The Life of a
Storyteller. Chicago: University of Chicago Press. ISBN
0-226-91747-9.
Zipes, Jack David (2005). Hans Christian Andersen: The Misunderstood
Storyteller. New York and Middleton Park: Routledge. ISBN 0-415-97433-
X.
External links
Wikisource has original text related to this article:
The Emperor's New Clothes http://en.wikisource.org/wiki/The_Emperor%27s_New_Clothes
Wikimedia Commons has media related to: The Emperor's New Clothes
http://commons.wikimedia.org/wiki/The_Emperor%27s_New_Clothes
"Keiserens nye Klæder". Original Danish text
"Keiserens nye Klæder". Manuscript from the Odense City Museum
"The Emperor's New Clothes". English translation by Jean Hersholt
http://www.andersen.sdu.dk/vaerk/hersholt/TheEmperorsNewClothes_e.html
http://www.andersen.sdu.dk/vaerk/hersholt/TheEmperorsNewClothes_e.html
"The Emperor's New Clothes". Audio rendition by Sir Michael Redgrave
http://en.wikipedia.org/wiki/Michael_Redgrave
Retrieved from "http://en.wikipedia.org/wiki/The_Emperor
%27s_New_Clothes"
http://www.dr.dk/hca/en/eventyrteatret/dokumentar/default.asp?page=2
http://en.wikipedia.org/wiki/The_Emperor%27s_New_Clothes
http://navanavonmilita.wordpress.com/category/news-views-and-reviews/hindu-society/
...and I am Sid Harth