Carl Ewald - My Little Boy

My little boy is beginning to live.

Carefully, stumbling now and then on his little knock-kneed legs, he makes his way over the paving-stones, looks at everything that there is to look at and bites at every apple, both those which are his due and those which are forbidden him.

He is not a pretty child and is the more likely to grow into a fine lad. But he is charming.

His face can light up suddenly and become radiant; he can look at you with quite cold eyes. He has a strong intuition and he is incorruptible. He has never yet bartered a kiss for barley-sugar. There are people whom he likes and people whom he dislikes. There is one who has long courted his favour indefatigably and in vain; and, the other day, he formed a close friendship with another who had not so much as said "Good day" to him before he had crept into her lap and nestled there with glowing resolution.

He has a habit which I love.

When we are walking together and there is anything that impresses him, he lets go my hand for a moment. Then, when he has investigated the phenomenon and arrived at a result, I feel his little fist in mine again.

He has bad habits too.

He is apt, for instance, suddenly and without the slightest reason, to go up to people whom he meets in the street and hit them with his little stick. What is in his mind, when he does so, I do not know; and, so long as he does not hit me, it remains a matter between himself and the people concerned.

He has an odd trick of seizing big words in a grown-up conversation, storing them up for a while and then asking me for an explanation:

"Father," he says, "what is life?"

I give him a tap in his little stomach, roll him over on the carpet and conceal my emotion under a mighty romp. Then, when we sit breathless and tired, I answer, gravely:

"Life is delightful, my little boy. Don't you be afraid of it!"

Today my little boy gave me my first lesson.

It was in the garden.

I was writing in the shade of the big chestnut-tree, close to where the brook flows past. He was sitting a little way off, on the grass, in the sun, with Hans Christian Andersen in his lap.

Of course, he does not know how to read, but he lets you read to him, likes to hear the same tales over and over again. The better he knows them, the better he is pleased. He follows the story page by page, knows exactly where everything comes and catches you up immediately should you skip a line.

There are two tales which he loves more than anything in the world.

These are Grimm's Faithful John and Andersen's The Little Mermaid . When anyone comes whom he likes, he fetches the big Grimm, with those heaps of pictures, and asks for Faithful John . Then, if the reader stops, because it is so terribly sad, with all those little dead children, a bright smile lights up his small, long face and he says, reassuringly and pleased at "knowing better":

"Yes, but they come to life again."

Today, however, it is The Little Mermaid .

"Is that the sort of stories you write?" he asks.

"Yes," I say, "but I am afraid mine will not be so pretty."

"You must take pains," he says.

And I promise.

For a time he makes no sound. I go on writing and forget about him.

"Is there a little mermaid down there, in the water?" he asks.

"Yes, she swims up to the top in the summer."

He nods and looks out across the brook, which ripples so softly and smoothly that one can hardly see the water flow. On the opposite side, the rushes grow green and thick and there is also a bird, hidden in the rushes, which sings. The dragon-flies are whirling and humming. I am sitting with my head in my hand, absorbed in my work.

Suddenly, I hear a splash.

I jump from my chair, upset the table, dart forward and see that my little boy is gone. The brook is billowing and foaming; there are wide circles on the surface.

In a moment, I am in the water and find him and catch hold of him.

He stands on the grass, dripping with wet, spluttering and coughing. His thin clothes are clinging to his thin body, his face is black with mud. But out of the mud gleams a pair of angry eyes:

"There was no mermaid," he says.

I do not at once know what to reply and I have no time to think.

"Do you write that sort of stories?" he asks.

"Yes," I say, shamefaced.

"I don't like any of you," he says. "You make fun of a little boy."

He turns his back on me and, proud and wet, goes indoors without once looking round.

This evening, Grimm and Hans Christian Andersen disappear in a mysterious manner, which is never explained. He will miss them greatly, at first; but he will never be fooled again, not if I were to give him the sun and moon in his hand.

My little boy and I have had an exceedingly interesting walk in the Frederiksberg Park.

There was a mouse, which was irresistible. There were two chaffinches, husband and wife, which built their nest right before our eyes, and a snail, which had no secrets for us. And there were flowers, yellow and white, and there were green leaves, which told us the oddest adventures: in fact, as much as we can find room for in our little head.

Now we are sitting on a bench and digesting our impressions.

Suddenly the air is shaken by a tremendous roar:

"What was that?" asks my little boy.

"That was the lion in the Zoological Gardens," I reply.

No sooner have I said this than I curse my own stupidity.

I might have said that it was a gunshot announcing the birth of a prince; or an earthquake; or a china dish falling from the sky and breaking into pieces: anything whatever, rather than the truth.

For now my little boy wants to know what sort of thing the Zoological Gardens is.

I tell him.

The Zoological Gardens is a horrid place, where they lock up wild beasts who have done no wrong and who are accustomed to walk about freely in the distant foreign countries where they come from. The lion is there, whom we have just heard roaring. He is so strong that he can kill a policeman with one blow of his paw; he has great, haughty eyes and awfully sharp teeth. He lives in Africa and, at night, when he roars, all the other beasts tremble in their holes for fear. He is called the king of beasts. They caught him one day in a cunning trap and bound him and dragged him here and locked him up in a cage with iron bars to it. The cage is no more than half as big as Petrine's room. And there the king walks up and down, up and down, and gnashes his teeth with sorrow and rage and roars so that you can hear him ever so far away. Outside his cage stand cowardly people and laugh at him, because he can't get out and eat them up, and poke their sticks through the rails and tease him.

My little boy stands in front of me and looks at me with wide-open eyes:

"Would he eat them up, if he got out?" he asks.

"In a moment."

"But he can't get out, can he?"

"No. That's awfully sad. He can't get out."

"Father, let us go and look at the lion."

I pretend not to hear and go on to tell him of the strange birds there: great eagles, which used to fly over every church-steeple and over the highest trees and mountains and swoop down upon lambs and hares and carry them up to their young in the nest. Now they are sitting in cages, on a perch, like canaries, with clipped wings and blind eyes. I tell him of gulls, which used to fly all day long over the stormy sea: now they splash about in a puddle of water, screaming pitifully. I tell him of wonderful blue and red birds, which, in their youth, used to live among wonderful blue and red flowers, in balmy forests a thousand times bigger than the Frederiksberg Park, where it was as dark as night under the trees with the brightest sun shining down upon the tree-tops: now they sit there in very small cages and hang their beaks while they stare at tiresome boys in dark-blue suits and black stockings and waterproof boots and sailor-hats.