Author

Hans Christian Andersen(1805–1875)

Hans Christian Andersen is documented in Fuller’s letters and published essays (1848–1849). 2 distinct works are named, most often in Letter to Richard F. Fuller, and the most intensive engagement recorded is “analyzed”.

Engagement
AnalyzedReadMentioned
Present in
Letters · Essays
Documented
1848–1849
Totals count documented engagements, once at the earliest witness. How we count →

Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this author is selective, not exhaustive. Methodology →

In Fuller’s words

“I live myself in the apartment described in Andersen's "Improvisatore" which get you and read as scene of the childhood of Antonio. I have the room, I suppose, indicated as being occupied by the Danish Sculptor.”
The Improvisatore; or, Life in Italy · Letter to Richard F. Fuller · 1849

When Fuller engaged with Hans Christian Andersen

I. Childhood
II. Adolescence
III. Self-Directed
IV. Transcendentalist
V. New York
VI. Europe2records
✦. Memoirs (1852)
1810
1820
1832
1836
1844
1846
1850

This page brings together documented engagements currently identified within the Fuller Reading Worlds catalog.

Andersen in Fuller’s reading world

Documentary evidence

Selected passages from Fuller’s own writings, in chronological order.

1848—

Things and Thoughts in Europe . . . XXII.

“Things and Thoughts in Europe . . . XXII.”
mentioned
“Many readers will remembers some account of this in Andersen’s “Improvisatore.”

Fuller, Margaret. "Things and Thoughts in Europe . . . XXII." New-York Daily Tribune, 13 March 1848. · 13 March 1848

1849—

Letter to Richard F. Fuller

p181
analyzed · read
“I live myself in the apartment described in Andersen's "Improvisatore" which get you and read as scene of the childhood of Antonio.”

Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. V. Ithaca: Cornell University Press, 1988.

Fuller explicitly names "Andersen's 'Improvisatore'" and is currently living in the apartment in Rome described in the novel as the scene of narrator Antonio's childhood; she identifies her own room with one described in the novel and identifies it with a young painter (Hudspeth's notes clarify it is Federigo, a painter rather than a sculptor).