Here are a few frames from the Gene Deitch’s animated version of “The Emperor’s New Clothes.” The original Hans Christian Andersen story is essential reading for understanding our times, but, as I have noted before, you must pay close attention to the ending. I would also point out that in the Nunnally translation, the emperor’s new clothes are invisible to anyone “unfit for his position or inexcusably stupid.” (Show me a fairy tale more on-the-nose!)
The Emperor’s New Clothes
Yesterday, I was looking at this Stairway to Nowhere in my hotel — the kind of “luxury” hotel with lots of fancy finishes and no ice in the ice machine — and I was thinking about the news, and Hans Christian Andersen’s “The Emperor’s New Clothes” came to mind, as it often does these days:
Many years ago there was an Emperor so exceedingly fond of new clothes that he spent all his money on being well dressed. He cared nothing about reviewing his soldiers, going to the theatre, or going for a ride in his carriage, except to show off his new clothes…
“It’s strange people think they need Arendt or Orwell to figure things out,” Jeet Heer tweeted not long ago, “when everything was spelled out in ‘The Emperor’s New Clothes.’”
“But he hasn’t got anything on,” a little child said.
“Did you ever hear such innocent prattle?” said its father. And one person whispered to another what the child had said, “He hasn’t anything on. A child says he hasn’t anything on.”
“But he hasn’t got anything on!” the whole town cried out at last.
The Emperor shivered, for he suspected they were right. But he thought, “This procession has got to go on.” So he walked more proudly than ever, as his noblemen held high the train that wasn’t there at all.
After I finished the story again, I thought of 16-year-old climate change activist Greta Thunberg, whose autism informs her approach: “I don’t fall for lies as easily as regular people, I can see through things.”
To the politicians, she says: “You don’t listen to the science because you are only interested in the answers that will allow you to carry on as if nothing has happened.”
But will anybody listen? Will anybody change? “Is my microphone on?” she asks.
Children are able to see through our bullshit, but if we don’t respect them and listen to them, we learn nothing from them, and nothing changes. The Emperor is allowed to proceed, because “the procession has got to go on.”
BETTELHEIM ON THE POTENTIAL FOR EVIL
“There is a widespread refusal to let children know that the source of much that goes wrong in life is due to our very own natures– the propensity of all men for acting aggressively, asocially, selfishly, out of anger and anxiety. Instead we want our children to believe that, inherently all men are good. But children know that they are not always good; and often, even when they are, they would prefer not to be. This contradicts what they are told by their parents, and therefore makes the child a monster in his own eyes.
The dominant culture wishes to pretend, particularly where children are concerned, that the dark side of man does not exist, and professes a belief in an optimistic meliorism. Psychoanalysis itself is viewed as having the purpose of making life easy—but this is not what its founder intended. Psychoanalysis was created to enable man to accept the problematic nature of life without being defeated by it, or giving in to escapism. Freud’s prescription is that only by struggling courageously against what seem like overwhelming odds can man succeed in wringing meaning out of his existence.
This is exactly the message that fairy tales get across to the child in manifold form: that a struggle against severe difficulties in life is unavoidable, is an intrinsic part of human existence—but that if one does not shy away, but steadfastly meets unexpected and often unjust hardships, one masters all obstacles and at the end emerges victorious.
Modern stories written for young children mainly avoid these existential problems, although they are crucial issues for all of us. The child needs most particularly to be given suggestions in symbolic form about how he may deal with these issues and grow safely into maturity. “Safe?? stories mention neither death nor aging, the limits to our existence, nor the wish for eternal life. The fairy tale, by contrast, confronts the child squarely with the basic human predicaments.”
—Bruno Bettelheim, The Uses of Enchantment