Thumbelina

Name	Thumbelina
Caption	Illustration by Vilhelm Pedersen, Andersen's first illustrator
Title orig	Tommelise
Translator	Mary Howitt
Author	Hans Christian Andersen
Country	Denmark
Language	Danish
Genre	Literary fairy tale
Published in	Fairy Tales Told for Children. First Collection. Second Booklet. 1835. (Eventyr, fortalte for Børn. Første Samling. Andet Hefte. 1835.)
Publication type	Fairy tale collection
Publisher	C. A. Reitzel
Media type	Print
Pub date	16 December 1835
English pub date	1846
Preceded by	Little Ida's Flowers
Followed by	The Naughty Boy

"Thumbelina" () is a literary fairy tale by Hans Christian Andersen first published by C. A. Reitzel on 16 December 1835 in Copenhagen, Denmark with "The Naughty Boy" and "The Traveling Companion" in the second installment of Fairy Tales Told for Children. "Thumbelina" is about a tiny girl and her adventures with appearance- and marriage-minded toads, moles, and cockchafers. She successfully avoids their intentions before falling in love with a flower-fairy prince just her size.

"Thumbelina" is chiefly Andersen's invention, though he did take inspiration from tales of miniature people such as "Tom Thumb". "Thumbelina" was published as one of a series of seven fairy tales in 1835 which were not well received by the Danish critics who disliked their informal style and their lack of morals. One critic, however, applauded "Thumbelina". The earliest English translation of "Thumbelina" is dated 1846. The tale has been adapted to various media including song and animated film.

Plot

In the first English translation of 1847 by Mary Howitt, the tale opens with a beggar woman giving a peasant's wife a barleycorn in exchange for food. Once planted, a tiny girl, Thumbelina (Tommelise), emerges from its flower. One night, Thumbelina, asleep in her walnut-shell cradle, is carried off by a toad who wants the miniature maiden as a bride for her son. With the help of friendly fish and a butterfly, Thumbelina escapes the toad and her son, and drifts on a lily pad until captured by a stag-beetle. The insect discards her when his friends reject her company. Thumbelina tries to protect herself from the elements, but when winter comes, she is in desperate straits. She is finally given shelter by an old fieldmouse and tends her dwelling in gratitude. The mouse suggests Thumbelina marry her neighbor, a mole, but Thumbelina finds repulsive the prospect of being married to such a creature. She escapes the situation by fleeing to a far land with a swallow she nursed back to health during the winter. In a sunny field of flowers, Thumbelina meets a tiny flower-fairy prince just her size and to her liking, and they wed. She receives a pair of wings to accompany her husband on his travels from flower to flower, and a new name, Maia.

Background

Hans Christian Andersen was born in Odense, Denmark on 2 April 1805 to Hans Andersen, a shoemaker, and Anne Marie Andersdatter. An only and a spoiled child, Andersen shared a love of literature with his father who read him The Arabian Nights and the fables of Jean de la Fontaine. Together, they constructed panoramas, pop-up pictures, and toy theatres, and took long jaunts into the countryside.

Andersen's father died in 1816, and from then on, Andersen was left to his own devices. In order to escape his poor, illiterate mother, he promoted his artistic inclinations and courted the cultured middle class of Odense, singing and reciting in their drawing-rooms. On 4 September 1819, the fourteen-year-old Andersen left Odense for Copenhagen with the few savings he had acquired from his performances, a letter of reference to the ballerina Madame Schall, and youthful dreams and intentions of becoming a poet or an actor.

After three years of rejections and disappointments, he finally found a patron in Jonas Collin, the director of the Royal Theatre, who, believing in the boy's potential, secured funds from the king to send Andersen to a grammar school in Slagelse, a provincial town in west Zealand, with the expectation that the boy would continue his education at Copenhagen University at the appropriate time.

At Slagelse, Andersen fell under the tutelage of Simon Meisling, a short. stout, balding thirty-five-year-old classicist and translator of Virgil's Aeneid. Andersen was not the quickest student in the class and was given generous doses of Meisling's contempt. "You're a stupid boy who will never make it," Meisling told him. Meisling is believed to be the model for the learned mole in "Thumbelina". and a literary image similar to Andersen’s tiny being inside a flower is found in E. T. A. Hoffmann’s "Princess Brambilla” (1821).

Publication and critical reception

Andersen published two installments of his first collection of Fairy Tales Told for Children in 1835, the first in May and the second in December. "Thumbelina" was first published in the December installment by C. A. Reitzel on 16 December 1835 in Copenhagen. "Thumbelina" was the first tale in the booklet which included two other tales: "The Naughty Boy" and "The Traveling Companion". The story was republished in collected editions of Andersen's works in 1850 and 1862.

The first reviews of the seven tales of 1835 did not appear until 1836 and the Danish critics were not enthusiastic. The informal, chatty style of the tales and their lack of morals were considered inappropriate in children’s literature. One critic however acknowledged "Thumbelina" to be “the most delightful fairy tale you could wish for.”

The critics offered Andersen no further encouragement. One literary journal never mentioned the tales at all while another advised Andersen not to waste his time writing fairy tales. One critic stated that Andersen "lacked the usual form of that kind of poetry [...] and would not study models". Andersen felt he was working against their preconceived notions of what a fairy tale should be, and returned to novel-writing, believing it was his true calling. The critical reaction to the 1835 tales was so harsh that he waited an entire year before publishing "The Little Mermaid" and "The Emperor's New Clothes" in the third and final installment of Fairy Tales Told for Children.

English translations

Mary Howitt was the first to translate "Thumbelina" into English and published it as "Tommelise" in Wonderful Stories for Children in 1846. However, she did not approve of the opening scene with the witch, and, instead, had the childless woman provide bread and milk to a hungry beggar woman who then rewarded her hostess with a barleycorn. Mrs. H.B. Paulli translated the name as 'Little Tiny' in the late-nineteenth century.

In the twentieth century, Erik Christian Haugaard translated the name as 'Inchelina' in 1974, and Jeffrey and Diane Crone Frank translated the name as 'Thumbelisa' in 2005.

Commentaries

For fairy tale researchers and folklorists Iona and Peter Opie, "Thumbelina" is an adventure story from the feminine point of view with its moral being people are happiest with their own kind. They point out that Thumbelina is a passive character, the victim of circumstances whereas her male counterpart Tom Thumb (one of the tale’s inspirations) is an active character, makes himself felt, and exerts himself.

Andersen biographer Jackie Wullschlager indicates that “Thumbelina” was the first of Andersen's tales to dramatize the sufferings of one who is different, and, as a result of being different, becomes the object of mockery. It was also the first of Andersen's tales to incorporate the swallow as the symbol of the poetic soul and Andersen’s identification with the swallow as a migratory bird whose pattern of life his own traveling days were beginning to resemble.

Roger Sale believes Andersen expressed his feelings of social and sexual inferiority by creating characters who are inferior to their beloveds. The Little Mermaid, for example, has no soul while her human beloved has a soul as his birthright. In “Thumbelina”, Andersen suggests the toad, the beetle, and the mole are Thumbelina’s inferiors and should remain in their places rather than wanting their superior. Sale indicates they are not inferior to Thumbelina but simply different. He suggests that Andersen may have done some damage to the animal world when he colored his animal characters with his own feelings of inferiority.

Jacqueline Banerjee views the tale as a failure story. “Not surprisingly,“ she writes, “”Thumbelina“ is now often read as a story of specifically female empowerment.“ Susie Stephens believes Thumbelina herself is a grotesque, and observes that “the grotesque in children’s literature is [...] a necessary and beneficial component that enhances the psychological welfare of the young reader“. Children are attracted to the cathartic qualities of the grotesque, she suggests. Sidney Rosenblatt in his essay "Thumbelina and the Development of Female Sexuality" believes the tale may be analyzed, from the perspective of Freudian psychoanalysis, as the story of female masturbation. Thumbelina herself, he posits, could symbolize the clitoris, her rose petal coverlet the labia, the white butterfly "the budding genitals", and the mole and the prince the anal and vaginal openings respectively.

Adaptations

Animation

Animated films include the video release of "H.C. Andersens eventyrlige verden: Tommelise" (2005), the Warner Bros. release of the Don Bluth and Gary Goldman -directed Thumbelina (1994), and the Golden Films release of Thumbelina (1993). Oyayubihime is a Japanese version of 1983, and Dyuymovochka, a Russian version of 1964. In 1954, Lotte Reiniger released a 10-minute cinematic adaptation featuring her "silhouette" puppets. The earliest animated version of the tale is a silent, black-and-white release by director Herbert M. Dawley in 1924.

Live action

On June 11, 1984, a television dramatization of the tale was broadcast as the 12th episode of the anthology series Faerie Tale Theatre. The production starred Carrie Fisher. A Barry Mahon-directed psychedelic version of the tale was filmed in 1970 with Shay Garner in the title role and Glenn Chaika's in 2002.

Music

In 1952, the musical biopic Hans Christian Andersen featured actor Danny Kaye singing Frank Loesser’s “Thumbelina”, a song which is perhaps more familiar than the tale on which it is based. Loesser referred to the song as a “ditty” and said, “I could write that junk any day of the week.” The song was nominated for an Academy Award but lost to “The Ballad of High Noon”.

Footnotes

References

External links

"Tommelise" original text at the Archive for Danish Literature

"Thumbelina" English translation by Jean Hersholt

Category:1835 short stories Category:Fairy tales Category:Fictional princesses Category:Works by Hans Christian Andersen