Commentaries
Jack Zipes, in Hans Christian Andersen: The Misunderstood Storyteller, suggests that seeing is presented in the tale as the courage of one's convictions; Zipes believe this is the reason the story is popular with children. Sight becomes insight, which, in turn, prompts action.
Alison Prince, author of Hans Christian Andersen: The Fan Dancer, claims that Andersen received a gift of a ruby and diamond ring from the king after publications of "The Emperor's New Clothes" and "The Swineherd"—tales in which Andersen voices a satirical disrespect for the court. Prince suggests the ring was an attempt to curb Andersen's sudden bent for political satire by bringing him into the royal fold. She points out that after The Swineherd, he never again wrote a tale colored with political satire, but, within months of the gift, began composing "The Ugly Duckling", a tale about a bird born in a henyard who, after a lifetime of misery, matures into a swan, "one of those royal birds". In Hans Christian Andersen: The Life of a Storyteller, biographer Jackie Wullschlager points out that Andersen was not only a successful adapter of existing lore and literary material such as the Spanish source tale for "The Emperor's New Clothes" but also equally competent at creating new material that entered the human collective consciousness with the same mythic power as ancient, anonymous lore.
Hollis Robbins, in "The Emperor's New Critique" (2003), argues that the tale is itself so transparent "that there has been little need for critical scrutiny." Robbins argues that Andersen's tale "quite clearly rehearses four contemporary controversies: the institution of a meritocratic civil service, the valuation of labor, the expansion of democratic power, and the appraisal of art". Robbins concludes that the story's appeal lies in its "seductive resolution" of the conflict by the truth-telling boy.
In The Annotated Hans Christian Andersen (2008), folk and fairy tale researcher Maria Tatar offers a scholarly investigation and analysis of the story, drawing on Robbins's political and sociological analysis of the tale. Tatar points out that Robbins indicates the swindling weavers are simply insisting that "the value of their labor be recognized apart from its material embodiment", and notes that Robbins considers the ability of some in the tale to see the invisible cloth as "a successful enchantment".
Tatar observes that "The Emperor's New Clothes" is one of Andersen's best known tales and one that has acquired an iconic status globally as it migrates across various cultures reshaping itself with each retelling in the manner of oral folktales. Scholars have noted that the phrase 'Emperor's new clothes' has become a standard metaphor for anything that smacks of pretentiousness, pomposity, social hypocrisy, collective denial, or hollow ostentatiousness. Historically, the tale established Andersen's reputation as a children's author whose stories actually imparted lessons of value for his juvenile audience, and "romanticized" children by "investing them with the courage to challenge authority and to speak truth to power." With each successive description of the swindlers' wonderful cloth, it becomes more substantial, more palpable, and a thing of imaginative beauty for the reader even though it has no material existence. Its beauty however is obscured at the end of the tale with the obligatory moral message for children. Tatar is left wondering if the real value of the tale is the creation of the wonderful fabric in the reader's imagination or the tale's closing message of speaking truth no matter how humiliating to the recipient.
Naomi Wood of Kansas State University challenges Robbins's reading, arguing that before the World Trade Center attacks of 2001, "Robbins's argument might seem merely playful, anti-intuitive, and provocative." Wood concludes: "Perhaps the truth of 'The Emperor's New Clothes' is not that the child's truth is mercifully free of adult corruption, but that it recognizes the terrifying possibility that whatever words we may use to clothe our fears, the fabric cannot protect us from them."
Read more about this topic: The Emperor's New Clothes