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The motif God's Kingdom, heaven in HCA : The Marsh King's Daughter (1858)
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The motif God's Kingdom, heaven in HCA : The Marsh King's Daughter (1858)

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Religious motifs : Overview. Search. About religious motifs

See also Eternal life, Eternity, God

Keywords:

Soul, life, death, God, the sky

Example 1:

"Daughter of the marsh," the priest said, "out of the earth and the marsh you came, and from this earth you shall rise again. The light in you that is not of the sun but of God, shall return to its source, remembering the body in which it has lain. No soul shall be lost. Things temporal are full of emptiness, but things eternal are the source of life. I come from the land of the dead. Some day, you too shall pass through the deep valley to the shining mountain tops, where compassion and perfection dwell. I cannot lead you to receive Christian baptism at Hedeby, for you must first break the watery veil that covers the deep marsh, and bring out of its depths the living source of your birth and your being. You must perform a blessed act before you may be blessed."

He lifted her on the horse, and put in her hand a golden censer, like the ones she had seen in the Viking's castle. From it rose a sweet incense, and the wound in the martyr's forehead shone like a diadem. He took the cross from the grave, and raised it high as they rose swiftly through the air, over the rustling woods and over the mounds where the heroes of old are buried, each astride his dead war horse. These mighty warriors rose and rode up to the top of the mounds. Golden crowns shone on their foreheads in the moonlight, and their cloaks billowed behind them in the night wind. The dragon on guard over his treasure also lifted his head and watched them pass. Goblins peered up from their hills and hollows, where they swarmed to and fro with red, blue, and green lights as numerous as the sparks of burning paper.

Away over the forest and heath, river and swamp, they hastened until they circled over the Wild Marsh. The priest held aloft the cross, which shone like gold. From his lips fell holy prayers. Little Helga joined in the hymns that he sang, as a child follows its mother's song. She swung the censer, and it gave forth a churchly incense so miraculously fragrant that the reeds and sedges burst into bloom, every seed in the depths sent forth stalks, and all things flourished that had a spark of life within them. Water lilies spread over the surface of the pool like a carpet patterned with flowers, and on this carpet a young and beautiful woman lay asleep. Helga thought this was her own reflection, mirrored in the unruffled water. But what she saw was her mother, the Princess from the land of the Nile, who had become the Marsh King's wife.

The martyred priest commanded that the sleeper be lifted up on horseback. Under this new burden the horse sank down as though his body were an empty, wind-blown shroud. But the sign of the cross lent strength to the spectral horse, and he carried all three riders back to solid earth.

Then crowed the cock in the Viking's castle, and the spectral figures became a part of the mist that drove before the wind. But the Egyptian Princess and her daughter were left there, face to face.

Comment on this quote:

Especially the first sentences of this quote are curious:

"Daughter of the marsh," the priest said, "out of the earth and the marsh you came, and from this earth you shall rise again. The light in you that is not of the sun but of God, shall return to its source, remembering the body in which it has lain. (...)"

Baptism and burial in one! The word "body" does not refer to the flesh and blood, but to her inner nature – it means that her essence is of spirit, and that this spirit strives towards its source, i.e. God, who is characterized as light and spirit.

Example 2:

When Helga saw them, she rose from the table and went out on the veranda to stroke their backs. The old storks bowed their heads, while the youngest of their children looked on and appreciated the honor bestowed on them.

Helga looked up at the bright star, which grew yet more brilliant and clear. Between her and the star hovered a form even purer than the air, and therefore visible through it. As it floated down quite near her, she saw that it was the martyred priest. He too came to her wedding feast-came from the Kingdom of Heaven.

"The splendor and happiness up there," he said, "surpass all that is known on earth."

More humbly and fervently than she had ever yet prayed, Helga asked that for one brief moment she might be allowed to go there and cast a single glance into the bright Kingdom of Heaven. Then he raised her up in splendor and glory, through a stream of melody and thoughts. The sound and the brightness were not only around her but within her soul as well. They lay beyond all words.

"We must go back, or you will be missed," the martyred priest said to her.

"Only one more glance," she begged. "Only one brief moment more."

"We must go back to the earth, for all your guests are leaving."

"Only one more look! The last!"

Then Helga stood again on the veranda, but all the torches had been extinguished, and the banquet hall was dark. The storks were gone. No guests were to be seen, and no bridegroom. All had vanished in those three brief moments.

A great fear fell upon her. She wandered through the huge, empty hall into the next room, where foreign soldiers lay asleep. She opened the side door that led into her own bedroom. When she thought she had entered it, she found herself in the garden, but it wasn't the garden she knew. Red gleamed the sky, for it was the break of day. Only three moments in heaven, and a long time had passed on the earth.

Comment on this quote: The story about the moment in heavne, that equals a very long time on earth, is a variation of a Jewish myth from Talmud, known in various variations, among others one about a monk, who listens to the bird's song and, when he returns to his convict, finds out that several hundreds of years have passed. This story is treated by, among others, Andersen's friend H.W. Longfellow (1807-82) in The Golden Legend (1851). Andersen used it himself in the tale Urbanus, cf. Flemming Hovmann's commentary in vol. 7 of H.C. Andersens eventyr, Dansk Sprog- og Litteraturselskab / Borgen 1990, p. 190.
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