deserved a European recognition. Within ten years the book was
translated into six languages. It bears the mark of its date in its
romantic sentiments. There is indeed no firm character-drawing, here or
in any of his novels; but the book still claims attention for its
exquisite descriptions of Italian life and scenery.

The year 1835 saw also Andersen's first essay in the 'Wonder Stories'
which were to give him his lasting title to grateful remembrance. He did
not think highly of this work at the time, though his little volume
contained the now-classic 'Tinderbox,' and 'Big Claus and Little Claus.'
Indeed, he always chafed a little at the modest fame of a writer for
children; but he continued for thirty-seven years to publish those
graceful fancies, which in their little domain still hold the first
rank, and certainly gave the freest scope to Andersen's qualities, while
they masked his faults and limitations.

He turned again from this "sleight of hand with Fancy's golden apples,"
to the novel, in the 'O.T.' (1836), which marks no advance on the
'Improvisatore'; and in the next year he published his best romance,
'Only a Fiddler,' which is still charming for its autobiographical
touches, its genuine humor, and its deep pathos. At the time, this book
assured his European reputation; though it has less interest for us
to-day than the 'Tales,' or the 'Picture Book without Pictures' (1840),
where, perhaps more than anywhere else in his work, the child speaks
with all the naïveté of his nature.

A journey to the East was reflected in 'A Poet's Bazaar' (1842); and
these years contain also his last unsuccessful dramatic efforts, 'The
King Dreams' and 'The New Lying-in Room.' In 1843 he was in Paris, in
1844 in Germany, and in the next year he extended his wanderings to