"The Emperor's New Clothes" or "The Kaalgat Emperor" - written by Hans Christian Andersen in 1837 for South Africa in 2011
It's about this vain Emperor who cares for nothing, but his appearance. And two tailors who are really swindlers (advisor/consultant) - The Emperor cannot see the cloth himself, a fabric invisible to anyone who is unfit for his position or "just hopelessly stupid", but pretends that he can for fear of appearing unfit for his position; his ministers do the same. When the swindlers report that the suit is finished, they mime dressing him and the Emperor then marches in procession before his subjects, who play along with the pretense. Suddenly, a child in the crowd, too young to understand the desirability of keeping up the pretense, blurts out that the Emperor is wearing nothing - Is it not time we blurt out that the emperor is in the nude (knows nothing and is being bull shitted by advisors, consultants, ministers and subjects (blind followers)? WAKE - UP South Africa - Become fearless and honest like the child...
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" (Danish: Kejserens nye Klæder) is a short tale by Hans Christian Andersen about two weavers who promise an Emperor a new suit of clothes that is invisible to those unfit for their positions, stupid, 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 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
A vain Emperor who cares for nothing but his appearance and attire hires two tailors who are really swindlers that 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; his ministers do the same. When the swindlers report that the suit is finished, they mime dressing him and the Emperor then marches in procession before his subjects, who play along with the pretense. Suddenly, a child in the crowd, too young to understand the desirability of keeping up the pretense, blurts 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, deciding never to be so vain again and to take his position more seriously.
Sources
Andersen's tale is based on a story from the Libro de los ejemplos (or El Conde Lucanor, 1335),[2] a medieval Spanish collection of fifty-one cautionary tales with various sources such as Aesop and other classical writers and Persian folktales, by Juan Manuel, Prince of Villena (1282–1348). Andersen did not know the Spanish original but read the tale in a German translation titled "So ist der Lauf der Welt".[3] 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.[4]
Composition
Andersen'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.[5] 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.[6]
Andersen’s decision to change the ending may have occurred after he read the manuscript tale to a child,[7] 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?" Whatever the reason, Andersen thought the change would prove more satirical.[8]
Publication
"The Emperor’s New Clothes" was first published with "The Little Mermaid" on 7 April 1837 by C.A. Reitzel in Copenhagen 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.[9] Andersen waited a year before publishing the third installment of the collection.[10]
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.[11]
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".[12]
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.[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 disrespect 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] In Hans Christian Andersen: The Life of a Storyteller, biographer 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.[15]
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."[16] 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".[17] 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".[18]
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.[19] 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."[20] 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."[21] 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."[22]
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]
The 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 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."
Le Roi nu (The Naked King), a 1935 ballet with music by Jean Françaix, libretto and choreography by Serge Lifar
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.
The tale was made into a stop-motion animated TV special from Rankin-Bass, again with Danny Kaye's involvement and narration, entitled: The Enchanted World of Danny Kaye: The Emperor's New Clothes.
The tale itself was adapted as an episode of the 2008 series Fairy Tales.
The Chinese novelist Ye Sheng Tao continued the story which Andersen had left off; it is also titled, The Emperor's New Clothes.
The song "Ready to Start" by The Arcade Fire contain the lyric "All the kids have always known, that the Emperor wears no clothes / but they bow down to him anyway, 'cause it's better than being alone".
A modern cartoon that revolves around an arrogant emperor is The Emperor's New Groove.
In the Doctor Who episode "Night Terrors" the Doctor jokingly mentions that one of the stories he enjoyed as a child was "The Emperor Dalek's New Clothes".
The sculpture group "The Emperor's New Clothes" by Keld Moseholm is placed in Odense, the native town of Andersen.
Keywords - Hennie Botes, kaalgat Emperor, The Emperors New Clothes, Hans Christian Andersen, a short tale, corruption, ministers, advisors, president, cheet, selfish, consultants
This is the work of Hennie Botes - not to be used without permission - Copy Right 2011
This is the work of Hennie Botes - not to be used without permission - Copy Right 2011
No comments:
Post a Comment