- Seen in the four significance levels

"Mill Man with dancer and Sandman." Paper Clips by H.C. Andersen reproduced by Kjeld Heltoft in his book: "H.C. Andersens Billedkunst".

Paper Clips belonged to Louise Drewsen born Collin. © Kjeld Heltoft and Gyldendal 1969 - See interpreting later below.

Introduction

The fairy tale "The Windmill" was printed for the first time in New Tales and Stories, published November 17, 1865, but there is from Andersen's own hand only a little information about the actual work of the adventure. "The Windmill" was first mentioned in a letter of thanks to the Countess Mimi Holstein to Holsteinborg by Skælskør where Andersen had spent Christmas 1861. The letter is dated January 4, 1862 and includes the following remark: "A new fairy tale turned up, however, and that the New Year's Day, when I drove from Holsteinsborg; on the road to Sorø lies a cartwheel, it caught on and an adventure that already looked pretty on paper are to be seen, leading the name: The Windmill."(Anderseniana Vol. V, 1937, p. 74). According to this quote, it seems that Andersen had already started writing the story, and so it is really strange that you do not hear more about it from Andersen's own hand before the Comments on "Fairy Tales and Stories" in 1874, in which he writes "There is on the road between Sorø and Holsteinsborg one cartwheel, I often passed by, it always seemed as if it would be with in a fairy tale, and it got it, attached to a piece of creed. This is what I have to add on "The Windmill". (1)

Some might suggest that although the fairy tale "already so pretty is on paper", it has probably only been about a synopsis, to maintain the idea. It should probably indicate that Andersen first mentions the adventure again in 1865 and then in his diary entry for Friday, June 23: "Ended up, I think the story of the "Golden Treasure" and read it with "The Windmill" and a few older fairy tales and stories." Andersen stayed during its annual domestic summer travel on the estate Frijsenborg near Hammel close to Aarhus. At that time, both of these fairy tales probably only existed in handwritten manuscript and maybe in fair copy. In the following time read Andersen both of these fairy tales at the places, where he was a guest, as in the royal family, King Christian IX and Queen Louise, at Fredensborg, where Andersen was a guest in the days 5 to 6 of November 1865, the latter date he notes in his diary: "The king went into [the town] already at 8 o'clock, I was first then standing up, drank my coffee and then went to Bournonville, read a few fairy tales to him; he was completely fascinated by "The Windmill". I told him that the entire collection was dedicated to him and he kissed me with joy. [...] "(2)

The Royal. ballet master August Bournonville was Andersen's personal friends of the same age and so manifestly and supposedly one of the first, Andersen had read aloud the fairy tale "The Windmill", which not only liked it, but was even excited about it. After being retired in October 1861 Bournonville spent his last years in the peaceful and rural Fredensborg, north of Copenhagen. It was here that he was visited by the famous and celebrated fairy tale or story-telling poet, as in 1865, basked in the admiration of both civil as well as nobles and royal admirers. But as almost always for Andersen, he was rarely undivided happy and pleased with himself and his surroundings, except when he stayed in manors large park-like gardens or in the wild. Our Lord's great outdoors was, as he himself put it, his favourite church, of which he found peace and felt his God near. See here for example. The fairy tale "The Bell" (1845), where "the poor boy with the wooden shoes" (an image of Andersen himself) and the king’s son (a picture of his friend and mentor Hans Christian Ørsted) their own way to the final meet in the best interests of the God-given great nature. (3)

But when the fairy tale "The Windmill" is included here, it’s mainly because this fairy tale, in addition to being Andersen's personal confession of faith in reincarnation, is also an allegory of the relationship between the immortal soul and the perishable body, and also a piece of depth psychology. In this context, the speaking mill is a picture of human genital double-poled psyche, and the key words are "Mutter ... she is my soft mind. The old man is my hard; they are two and yet one, they also call each other "my half part" -. For Andersen himself was that about "my half womanliness," as he put it in a letter of September 24, 1833, to his friend Edvard Collin. The term can partly be seen as an allusion to the comedy writer Aristophanes' description of human nature, as he puts it in Plato's writing "Symposium". (4)

The fairy tale "The Windmill" seen in the 1st. significance level

In its literal sense, the fairy tale "The Windmill" be about a Dutch model of a windmill on a hilltop. But exactly this mill has the property that it can talk, why it presents and characterises itself, and that is including this one, which makes its history into a fairy tale:

There stood on the hill one cartwheel, proud to look at and proud too:

"Absolutely proud I am," said he, "but I am very enlightened without and within. Sun and moon, I for external use and for inward too, and then I also have candles, oil lamp and tallow candle; I dare say that I'm enlightened; I am a thinking being, and so well that it is a pleasure. I have a good grinder in the chest, I have four wings, and they sit outside my head, just under the cap; birds have only two wings and carry them on their backs. I am a Dutchman by birth, it can be seen on my template; A Flying Dutchman; they are considered supernatural, I know, and yet I am quite natural. I have a gallery on the stomach and living room beneath; that's where my thoughts are housed. My strongest thought, whom rules and reigns, called by others The Man in the mill. He knows what he wants, he stands over the meal and grits, but he has his mate, and she’s called Mutter; she is the heart layer; She does not run backwards, for she knows what she wants, she knows what she can, she is gentle as a zephyr, she's strong as a storm; she knows how to pry, to get her way. She is my soft temper, father is my hard; they are two and yet one, they also call each other "my half". They have toddlers the two: young thoughts that could grow. The little ones make a fuss! The other day, when I profundity let "the Old Man" and his men look grinder and wheel after in my chest, I wanted to know what was the matter, for there was something wrong inside me, and one should examine himself, so did the small ones a terrible track that does not take itself out, when you, like me, are high on the hill; you must remember that you are standing in lighting: the reputation is also lighting. [...] (5)

Like this initiate the mill its own history, whose point are that there are alien thoughts to the outside, impulses, that have led to the mill has changed and the "Old Man" apparent has changed half and got an even more loving mate with a milder and softer mind, the bitter disappeared. It was a pure delight. But the years pass, however, "always ahead of clarity and joy," but the mill knew that the time would come when the old mill body had been aged and worn out and had to be demolished. The mill, however, was optimistic, so he thought to himself:

[...] I must be pulled down to get up as a new and better, I must stop and yet continue to be! Become quite different and yet the same! It's difficult for me to understand, however enlightened I am, by sun, moon, candle, oil lamp and tallow candle! My old timber and masonry shall rise again from the dust. I would hope if I keep the old ideas: Man at the mill, Mutter, large and small, the family, for I call it all one and yet so many, all of the thoughts Company, because I cannot do without! And myself, I have to be, with the grinder in the chest, wings on my head, the stomach, otherwise I do not know myself, and the others could not recognise me and say that we have the mill on the hill, proud to see, and yet not proud."(6)

But the old mill body did not have to be torn down, before it got that far, it happened one day that caught fire in it so that it burned to the ground and there was only a heap of dust and ashes left of it. The fairy tale ends then with the following optimistic statement:

What living who had been at the mill was, it was not hurt by the event, it won at that. The miller's family, one soul, many thoughts and only one, got himself a new, splendid mill, it could be content with, it looked quite like the old one, they said, there is the mill on the hill, proud to look at! But this was better designed, more contemporary, because it always goes forward. The old timber that was worm-eaten and spongy, lay in dust and ashes; the body of the mill did not rise as it thought; it took it literally, and one should not take everything just by the words. (7)

The fairy tale "The Windmill" seen in the 2nd significance plan

The idea of the fairy tale "The Windmill" is quite simply the one that the individual has an immortal and thus eternal and essential structure called the soul, and that the part of the eternal life that takes place in the physical world, is subject to death and reincarnation. It is expressed with the words "must stop and yet continue to be! Become quite different and yet the same!" The morality is the culture optimistic that it is always moving forward, despite the sometimes seemingly is backwards. It's the same ethos found in the fairy tale "The Flax", 1849, and therein also expressed in allegorical form.

The optimism on behalf of humanity and culture did Andersen shared with his friend and mentor, physicist and philosopher Hans Christian Ørsted. This inspired Andersen to some of his poetry, which deals with inventions and scientific and technical progress. But just as important was Ørsted’s natural philosophical influence on the poet friend, for it was by him, Andersen learned to think with his mind and reason, and also to use the intellect in religious matters, just as it was by him, Andersen has got the perception of the soul’s moral development travel through space. (8)

In the fairy tale’s ending turns Andersen itself indirectly against the dogmatic Christian concept in general and the dogma of resurrection of the flesh (the body) on Judgement Day in particular. This is discussed in the following sections:

The fairy tale "The Windmill" seen in the 3rd significance level

As initially mentioned, Andersen mentions "The Windmill" the first time in a letter of thanks to the Countess Mimi Holstein to Holsteinborg by Skælskør where Andersen had spent Christmas 1861. The letter is dated January 4, 1862, and includes the following remark: "A new fairy tale turned up, however, and that the New Year's Day, when I drove from Holsteinsborg; on the road to Sorø lies a cartwheel, it caught on, and an adventure that already looked pretty on paper are to be seen, leading the name: The Windmill. "

In the indirect above quote, it was the aforesaid cartwheel on the hill somewhere between Holsteinborg and Sorø, who gave the idea and inspiration for the tale to him. However, this was not unusual, for it was often happened before in his writing career, he found inspiration for his literary works in real life or in everyday life, as he supposedly considered "a divine adventure in which we ourselves live," and as he saw it as his poetic mission to pass on to his fellow man. (9)

Already in his debut novel "The Improvisatore" from 1835, Andersen comes in at, from where he get his inspirations and ideas for literary works. It happens in the novel's second part of the ninth chapter, entitled "Bringing up. The small Abbess "in which he talks with the little abbess and including, among other things says the following:

"Have you not," I asked, "often in the monastery learned some beautiful hymn or sacred legend that was put into verse; often, as you least thought upon it, then is in some cases, an idea emerged from you, by which the memory is awakened about this or that poem, they have since been able to write it down on paper; the verse, the rhyme itself, has led you to remember the following, as the thought, the contents were you clear; so it goes also the Improvisatore and poet, me at least! Often, I think it's memories, lullabies from another world that wake up in my soul and as I must repeat."(10)

It is also in a letter dated November 20, 1843, to his friend and colleague B.S. Ingemann that Andersen tells us, from where he got his inspirations and ideas for his books, including, not least, to the fairy tales. It happens when discussing his then-latest adventure, "The Snow Queen" and "Elderberry Mom”, both published in 1844:

[...] - I think, and it will please me if I'm right; I have come to appreciate to write fairy tales! The first thing I did, was the most older I had heard as a child and I, by my nature and manner, retold and re-created; they I originally have created: f. example. The Little Mermaid, The Storks, The Daisy, etc., however, most won applause and it has given me the run! Now I tell of my own chest, grab an idea for the elderly - and then says to the little ones, while I remember that father and mother often listen to them, and you have to give them a bit of thought! - I have a lot of subjects, more than to any other poetry art; it is often for me, as every fence, every little flower said, look at me, and my history go up in you and if I want it, then I have the story! - (11)

In the "Comments" to Fairy Tales and Stories", 1874", Andersen writes about the fairy tale "The Windmill", it is "a piece of creed." This is as previously discussed above, together with the doubts he since his youth had had on the dogma of the resurrection, as he actually rejected on the grounds that the idea of the dead body’s resurrection would solely on the basis of the laws of nature be a total impossibility. The kind of immortality - even only for the elected who confessed to Jesus Christ - neither could nor would Andersen accept as something that could happen in a world where the all-loving God is prevailing. This view he had acquired during his time in grammar school 1822-27, and he insisted on it the rest of his life.

So far as it has been determined, Andersen primarily found inspiration for his concept of immortality of the soul in the Neo-Platonic myth of the soul's fate, on the basis of which he in 1825 wrote the poem "The Soul". An avid reader of the Bible and especially of the New Testament, he found moreover also the inspiration for his belief in the soul and its destiny after death of the physical body especially in Paul's first letter to the Corinthians, which is especially evident from his poem "Pauli 1 Cor. 15, 42-44 "(1831). It need only to cite the quote by Paul that Andersen has set over his poem, and only the first of the poem’s in all five verses:

(Notabene! Unfortunately, it is impossible to translate Danish rhyming poems and other rhyming text directly into English. But in some cases I still tried a translation without rhyme, but only to do so if and when the content may be of importance for the understanding of what the relevant topic is about):

"The body that dies -" that is sown in corruption,

it rise in incorruption; it is sown in fragility,

it rise in strength; it is sown a natural body, it rises

a spiritual body."

When the earthly land larva bursts

with its brittle ribbon,

a spiritual body encircle

around the strong spirit;

it is the same forms,

but in a newborn spring,

and airy, clear and glorious

the known image stand. (12)

The quote of Paul is also not quite correctly reproduced unless the Bible, Andersen has taken advantage of, have had a different translation of the text. In a recent edition of the Bible's New Testament says the quote so here added the explanatory verse 41:

"The sun has its shine, the moon its shine and the stars again their shine:

star differs from star in glory. So it also is with

the resurrection of the dead; what is sown in corruption,

rises in incorruption; what is sown in dishonour, arises in glory;

what is sown in weakness rises in force; there is sown a physical body,

there rises a spiritual body. When there is given a mental body

there are also given a spiritual one."

The theological explanation of the word "soul" is as follows: The soul is that which lies between carnal (material) and spiritual, i.e. the natural, by the Spirit of God unaffected human. Otherwise called the duality of human nature, either with spirit and flesh or soul and body; spirit and soul is thus used on the higher side of man, flesh and body on the lower, carnal. See more on this later in the description of the fairy tale "The Windmill" seen in the 4th significance level.

Additional explanation: In connection with the biblical concepts of flesh and body, it is important to realise that these terms are not only pertinent to what we usually mean by "flesh": the animal meat mass, but also for the living organism, as in the Old Testament mindset reflects the whole man, so also the soul and spirit. The dualism between spirit, soul and body, found in Hellenistic philosophy is alien to the ancient Jewish thought. This is not in the same degree of New Testament’s conception of the world, where an expression as resurrection of the flesh, which is to say: resurrection of the body is a concept that is particularly referred to by Paul (1 Cor. 35-55). But when Paul speaks of the resurrection of the dead, and including not only on humans but also all other classes of individuals resurrection, that he believes the resurrection at the last day, when the last enemy, death, shall be destroyed, and here cover the situation upon which he, among other things says: "[...] we must all be changed, in an instant, in a moment when the last trumpet sounds; for the trumpet shall sound, and the dead shall be raised incorruptible [indestructible], and we shall be changed. For this corruptible [perishable body] must put on incorruption, and this mortal must put on immortality. So when this corruptible shall have put on incorruption, and this mortal shall have put on immortality, then the saying that is written: "Death is swallowed up in victory." "Death, where is thy victory? Death, where is thy sting? "[...]. (13)

Seen on the background of Martinus' cosmic analyses, then correspond what Paul here refers to as “the resurrection", to "the great birth" to "cosmic consciousness", which means the situation that the individual's consciousness has been giving permanent access to God's primary consciousness and not least to God's own knowledge and wisdom. This is when the individual has been totally transformed since the perishable will have put on the imperishable, and the mortal put on immortality, and victory over death and darkness has won. This situation, according to Martinus, gradually occur for more and more people concerned over the next three thousand years, except that only after three thousand years later, the vast majority of people will have achieved cosmic consciousness. But mind you, not as something automatic, but as something they have earned through their ethical and moral development, leading to the practice of charity as a natural and of course kind of mental attitude and practical behaviour.

The fairy tale "The Windmill" is then partly facing the Christian dogmatic belief in the resurrection, which Andersen expresses in and with the following statements:

"The old timber that was worm-eaten and spongy, lay in dust and ashes; the body of the mill did not rise as it thought; it took it literally, and one should not take everything just by the words. "(14)

This means that you should not take everything - in this case the claim or the dogma of the resurrection - literally, that is literally after the words. In the Collin's and Drewsen's family that Andersen consorted with fairly often, they were Orthodox Christians, not least applied to Ingeborg Drewsen, born Collin and her daughter, Jonna Stampe, born Drewsen. That the two brave women in the Christian dogmas also firmly believed in the resurrection on Judgement Day, when Christ came on the clouds of heaven, to judge the living and the dead and separate the sheeps from the bucks, Andersen has actually given a direct expression of in its diary for Tuesday, March 3, 1868, although it is simply only referred to Ingeborg Drewsen:

Went out in Rosenvænget when the streetcar was filled up; near come in conflict with Ingeborg Drewsen, but turned off when she can not bear to get excited, she believes in "the resurrection", I do not. [...] (15)

But Ingeborg Drewsen's daughter, Jonna, was also a dogmatic devoted Christian, Evidence of partly her and Andersen's correspondence with one another and also his portrayal of her in the guise of the Jewish girl Esther in the novel "To be or not to be", 1857, that the daughter Jonna was not inferior to her dear mother, when it came to assert the Christian dogmas bears witness especially a note, probably from around 1850 in the part of Andersen’s notebook, which was not intended for publication. The situation described took place in Jonas Collin, the Elder's home in Amaliegade, where in addition to her daughter Louise Collin also daughter’s daughter Jonna Drewsen was present. For understanding the problem must the note here be reproduced in its entirety:

As it the day of C.s house was talked about "Judas" that in one of my poems had asked his betrayal of a human, but probably wrong position, Louise, because it concerned the discussion about the Bible frightened, that the children should hear it. - Today, when there was talk of Mrs Zytphens madness and I said I already felt it, when she said to me on the occasion of Ørsted's Spirit in Nature, "yes he gets second thoughts when the stars of heaven fall down and lie on the ground like dead leaves!" It's madness. "It has you no right to say," said Jonna, she has the Bible for themselves and that is it. "But it is figuratively; otherwise it is madness," I replied, "every enlightened person knows it is wrong."- No, she went on and joined herself to the truth of the Bible! I was surprised, affected by this foolishness that I never would have thought it, and since I could not shout with Erasmus: The Earth is flak as a pancake, I went home, but much affected. - (16)

The question or problem about the "resurrection" was preoccupied Andersen for many years, and especially in the novel "To be or not to be", in 1857, he settled with the traditional Christian view of this dogma. It happens in the conversations, the novel's protagonist Niels Bryde - Andersen's alter ego - has with the Jewish girl Esther - as mentioned an alter ego for Jonna Stampe, born Drewsen. These interviews are conducted partly in the novel's second part IV. Chapter: "Goethe's" Faust "and Esther", and in its Part III. Chapter: "More about Esther and an old acquaintance, self-searching". During the talks, especially those dealing with the Christian dogmas, shows Esther alias Jonna herself as a convinced traditional Christian, defending its positions and the Christian dogma with great eagerness, but at the same time with the respect, if not love, she has to her friend Niels Bryde alias Andersen. It with her respect and clearly loving attitude towards him is abundantly clear from Andersen’s and Jonna Stampe’s mutual correspondence in real life. Jonna was 22 years younger than her friend, who had known her since her birth in 1827, and he came to play an important and even crucial dual role in her love relationship and engagement with the young Baron Henrik Stampe, who she married in her 23-year in 1850. A double role, because Andersen in the context experienced one of its many double infatuations, in which he was in love with both the female and male party. The difference between this double love and the other double infatuations, he had seen and been through, probably due to that the female partner, Jonna, this time in reality and also in deeper and more loving sense was in love with Andersen. About this witnesses her letters to him and after his death, for example. to her uncle, Edvard. (17)

As will be clear from what here so far has been said about Andersen's work, so is this very much based on his personal experiences, like his own person plays a major role in most of his literary works, whether it These are plays, poems, fairy tales and stories or novellas, novels and travelogues. So, in a sense, his entire oeuvre is characterised as a mirror image of Andersen himself. As we here have noted, makes this relationship also exists in the context of the fairy tale "The Windmill", although Andersen herein puts on the guise of a nice cartwheel, which grumble about life in general and his own life in particular.

One might wonder just why Andersen chose to let a Windmill - or more accurately a mill man - be the protagonist of a fairy tale, but it is not so difficult to understand when one considers that Andersen wrote the fairy tale "The Ice Maiden" the year before he supposedly got the idea for the fairy tale "The Windmill". "The Ice Maiden" (1861) is about peasant boy Rudy, who lives in the small Swiss mountain village of Grindelwald, where he guards the goats and sheep. As an adolescent he goes out into the world, to learn something, and end up in the Canton Wallis. There he meets the miller's daughter Babette, with whom he falls in deeply love. A part of the story takes place in the mill with the miller's family, and it is an exciting and dramatic story that ends up with Rudy drowning and being taken over by nature spirit "The Ice Maiden", death’s icy Representative. But here we merely note that Rudy will visit the mill and he and Babette are lovers, and that Andersen thus so to speak, had a mill and its family in mind. (18)

But more importantly, it is perhaps to know and remember that the mill man walks again especially in Andersen's paper cuttings for both children and adults. With a little imagination one might think that the mill looks like a male person. Hans Andersen researcher Johan de Mylius indicate that the mill man's figure was likely to be a symbol for the open and the whole person, taking that the figure is both a human, a thing and a son figure, where the mill wings as four rotating arms are forming the circle. The figure of Andersen's clip at the top of this article has two hearts and an open entrance to his home, and at the same time to be a fairy tale figure, the mill also is a dream figure, which is symbolised by the two symbols of dreams god, in the shape of two Sandmen’s. The dancer, as the mill in his one is hand holding on one leg, so she hangs upside down, suggests de Mylius could be a symbol of love, so that the rotating turbine blades could be seen as symbolic of that round dance, as love in a sense can be compared to. (19)

However, here I dare attempt to interpret "The Mill Man" based on Martinus' cosmology, and in that context can the mill as mentioned also be a symbol or picture on the whole person, while the mill wings as already mentioned, can be interpreted as a symbol of circuit principle. The two hearts can be seen as a symbol of the sexual pole principle with its male sexual pole and feminine sexual pole. The dancer also in this interpretation can be seen as a symbol of love, while the two Sandmen as well can be interpreted as, respectively, the masculine dream consciousness and the feminine dream consciousness. The open door or gate into the mill's body might symbolise the "open" or perfect man who does not keep anything hidden, either in its interior or its exterior.

Apart from the above interpretation attempt, then it is prosaic seen so that many of Andersen's paper cuttings they are often cut out of folded paper, so the figures get the character of symmetry. This is also the case with clip "The Mill Man", where the symmetry is observed, apart from the sprawling dancer, which is probably the clip's original appearance, unless the 'symmetrical' dancer in the clip left side later has been disconnected. Therefore, it may well be that they here given interpretations of the clip is not in accordance with Andersen's own perception of it, but this is so far as known not known.

The fairy tale "The Windmill" seen in the 4th significance level

Here is the fairy tale "The Windmill" viewed and analysed in the fourth significance level, i.e. the universal or cosmic plan, and it can be based on these here established criteria for when a text, in this case an adventure text can be judged as being cosmic, immediately confirmed that the fairy tale content meets the criteria no. 1, 2, 3, 5, 6, 7, 8, 9. As far as criterion. 1, it is only the side of this that is termed as the principle of life units and the organism principle, and which even in just the last part of this is involved. It is also only the first part of the criterion. 4, namely the spiritual kingdoms or the spiritual worlds that remains to be discussed directly, whereas the physical kingdoms and the physical world are clearly implicated. (Re. These criteria please see Appendix at the end of the notes).

However, one certainly have a right to say that the criteria no. 2, 3, 5 and 6 are fulfilled to the letter, as the tale’s basic idea is the soul's immortality and eternal life, including the repeating cycles and developmental interactions between incarnation and discarnation. But the overall priority of the sexual pole principle and the sexual pole transformation is the heart of the fairy tale, which also criterion. 8: the fate principle and criterion. 9: the cosmic evolution from lower to higher levels of consciousness is presupposed.

The good mill declares themselves to be "enlightened" and says of himself:

[...] I am a thinking being, and so well that it is a pleasure. I have a good grinder in the chest, I have four wings, and they sit outside my head, just under the cap; birds have only two wings and carry them on their backs. I am a Dutchman by birth, it can be seen on my template; A Flying Dutchman; they are considered supernatural, I know, and yet I am quite natural. I have a gallery on the stomach and living room beneath; that's where my thoughts live. My strongest thought, whom rules and reigns, called by others The Man in the mill. He knows what he wants, he stands over the meal and grits, but he has his mate, and she is called Mutter; she is the heart layer; She does not run backwards, for she knows what she wants, she knows what she can, she is gentle as a zephyr, she's strong as a storm; she knows how to pry, to get her way. She is my soft temper, father is my hard; they are two and yet one, they also call each other "my half part". They have toddlers the two, young thoughts that could grow. (20)

The mill can be said to be a symbol of the I, X 1, which is the upper instance of the subject, and just below is what drives millwork, namely the wings belonging to the "supernatural" or superphysical, the high psychic part, X 2, which is consisting of the over-consciousness (with the therein fitted creative principles of perception and manifestation, and including the circuit principle and the contrast principle). The gallery on the stomach and dwelling in the skirt represents X 3, which is the spiritual part, the psychic organism that is related to the natural, which means the part consisting of the physical organism. The mill's strongest thought is "the man at the mill," which here means the male sexual pole, while "Mutter" is the sexual feminine pole, "they are two and yet one, they call each other" my half part". Yes, the two sexual poles represent one half of the whole, which is represented by the sexual pole principle.

The term "they are two and yet one, they call each other" my half part" associate involuntarily to the following passage in the fairy tale "The Snow Queen" (1844), where the two main characters, the girl Gerda and the boy Kay says: "They were not brother and sister, but they loved as much of each other as if they were." To explain how I interpret this phrase, I quote the following paragraph from my article" Except ye become as little children, ye shall not enter into the kingdom of God", part 2:

(Quote) Therefore, when we read the fairy tale "The Snow Queen" with "cosmological glasses" we see that Andersen let the story take its starting point in a "paradise" situation and condition ("the childhood home"), based on that the two sexual polarities ("the two children Kay and Gerda") works together in the same way and to complete and complement each other. The masculine pole ("Kay") are equal to the feminine pole ("Gerda"), and therefore their existence are characterised by mutual love and understanding and harmony with the environment. And that in fact is that the two poles (again, "the two children") acts as players in a larger drama of life, is symbolised by the old grandmother, who tells the adventures and reading from the Bible. She therefore also represents the force, namely the circuit principle and the contrast principle (alternatively the principle of hunger and satiation), which starts the line of action. Similar to Martinus and other 'viewers' knew the wise poet Andersen also that life's eternal laws, it Martinus calls "the create principles”, periodically require change and renewal, so that the life experience ability can continue to be promoted and maintained: the two sexual poles must be separated from each other ("the two children must each leave childhood environment and staying away from each other"), to allow the implementation of the vital contrast formation on which all existence is in fact reliant. (Unquote) (21)

But like everything else in the psychical and physical world is also the mill subject to its conditions of life, which among other things is that there are changes to it, in the inner, the psyche, as in the outer, the physical body. In the mental part rummage all the small and slightly larger thoughts about everything that the very existence brings with it, and in particular moments of the fundamental questions of life, such as for Andersen was God, immortality and justice, and the latter requires and is subject to reincarnation. In this context it is important to keep in mind that the mill at one level is Andersen's self-portrayal. The mill must therefore with him ascertain:

[...] that "from without also come thoughts and not quite of my family, I do not see any of it, so far I see no one but myself; but the wingless houses, whose grinder are not heard, they also have thoughts, they come to my mind and become engaged to them, as they call it. […] (22)

With the strange thoughts means Andersen probably the naturalistic, atheistic and materialistic beliefs, which he certainly did not feel akin to, for they were not of his mind, as opposed hailed the idealistic, pantheistic and spiritualistic beliefs and values. The people who shared his spiritualist beliefs were rare; therefore he had to admit that not many of his peers shared his thoughts and ideas about life and the world. By "the wingless houses, whose grinder are not heard, they also have thoughts", is Andersen presumably thinking on people who only do the daily musings about life and the world. At the time when he wrote the fairy tale "The Windmill", he was not himself nagged and plagued by its periodic doubt on his life’s cardinal question: Is the soul immortal and survives with the personal consciousness and its memories intact? - In the novel "To be or not to be" (1857) he let its protagonist, Niels Bryde, come to the realisation that "God exists, but one still necessary in addition to "God" that we could not do without and that is immortality with consciousness and memory. It's a need, it is a hope, but that fact can not be proved." - No, as a matter of fact in the scientific sense, the immortality of the soul is not proved, but in the fairy tale "The Windmill" confirm Andersen in the form of religious certainty its belief in the immortality of the soul and in addition: the belief in physical rebirth or reincarnation, though he did not either here or in his other writings use the latter word. (23)

But something, which seemed to be of the good, had eventually changed the mill’s psyche, and that something was the sexual pole-transformation, which had caused that it like had undergone a rejuvenation since its second half, the feminine half, had been more loving, softer and milder, which caused the negative and bitter thoughts and feelings to disappear. Instead appeared life rather as the great and joyous adventure that life really was, is and always has been. This experience will only really take place as the two sexual poles approach each other, i.e., when the hitherto latent pole grow and develop, and together with the intellectual pole organ, makes itself increasingly present in influence on the psyche and thus to the conscious mental life. But the big breakthrough and expansion of consciousness to the sight to see life in an eternal perspective, occurs only in and with it, Martinus calls "the great birth". So enlightened was the mill - and thus Andersen itself - not yet or had not yet experienced, but they felt both precursor symptoms of this life's big and decisive event:

[...] Strangely enough, yes it is very weird. Something has come over me or in me; something has changed in the millwork, it is as if father had changed half part, got an even milder mind, an even more loving mate, so young and good, and yet the same, but more gentle and good with time. What was bitter are passed away; it is much more delightful throughout. [...] (24)

But even if the soul is immortal and live eternally, so do the regularities of the circuit principle and the contrast principle persist, which among other things means that the physical body of the mill age and inevitably goes to meet its death and decomposition. But it did not disturb the mill, it has now come to clarity about life and themselves, which it expresses in the following words:

[...] The days go by and the days are always ahead to clarity and joy, and so, yes it is said and written, so there will be one day, it's all over with me, and certainly not over; I must be pulled down to get up as a new and better, I must stop and yet continue to be! be quite different and yet the same! It's difficult for me to comprehend, however enlightened I be with sun, moon, candles, oil lamp and tallow candle! My old timber and masonry shall rise again from the dust. I would hope if I keep the old ideas: Man at the mill, Mutter, large and small, the family, for I call it all one and yet so many, all the thought Company, because I cannot do without! And myself, I have to be, with the grinder in the chest, wings on my head, balcony on the stomach, otherwise I do not know myself, and the others could not recognise me and say that we have the mill on the hill, proud to see, and yet not proud. "(25)

But fate - the law of fate is also true in life - would that the mill one day had an accident, because there was fire in it and it burned to the ground and only left a heap of dust and ashes, such as at last the case for all living creatures, including human beings, regardless of death by accident, illness or old age, the body stops its functions and die and its solutes pass into the natural cycle. This does not mean that the living in the being or man, the soul, dies, on the contrary survive this or that the death of the body and continues its eternal existence, as in a transitional period is characterised by reincarnation and discarnation, which Andersen fairy tale "The Windmill" expresses in the following uplifting and beautiful words:

What living who had been at the mill was, it was not hurt by the event, it won at it. The miller's family, one soul, many thoughts and only one, got himself a new, splendid mill, it could be satisfied with, it looked quite like the old one, so they said, there is the mill on the hill, proud to look! But this was better designed, more contemporary, so that is progress. The old timber that was worm-eaten and spongy, lay in dust and ashes; the body of the mill did not rise as it thought; it took it literally, and one should not take everything just by words. (26)

This is not an affirmation of faith in the dogma of the resurrection on Judgement Day, but in short, on conviction of physical rebirth, in Latin called reincarnation. The conviction should Andersen with his "pendulum-like mind" - despite occasional doubts and scepticism – come to confirm several times during his following writings after 1865, right up to and including his own death 1875. It was particularly in the fairy tale "Aunty Toothache", in 1872, he once again reaffirmed his belief in reincarnation, and it happens in the section where the I-protagonist, a young boy, talks about her aunt, who had a good, now older friend, brewer Rasmussen, she sometimes was angry at because he always said things straight:

Later she said that it had only been teasing from her old friend; he was the finest man on Earth, and when he died, he became a little angel of God in heaven.

I thought a lot about the transformation, and if I would be able to recognise him in this new guise.

As aunt was young and he also was young, he proposed to her. She hesitated too long over this, had far too long sitting, was always an old maid, but always a faithful friend.

And so died brewer Rasmussen.

He was taken to the grave in the most expensive hearse and has great company, people with orders and in uniform.

My aunt was dressed in mourning and stood at the window with all of us children, except the little brother, the stork had brought a week ago.

Now the hearse and the procession passed, the streets empty, aunt would go, but I did not think to go, I was waiting for the angel, brewer Rasmussen; He had by now become a small winged child of God, and had to appear.

"Aunty," I said. "Do not you think that he comes now! or when the stork again brings us a little brother, he brings us the angel Rasmussen."(27)

So simple, straightforward and childish it may be said that the reincarnation like birth is one of life's great wonders, especially since every birth is a rebirth, whether it takes place among men or among animals. The difference is largely that man consciously can marvel at the miracle of birth, while those animals can feel instinctive life affirmation. (28)

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Notes and sources:

1. Hans Andersen's Collected Works, Volume 15, C.A. Reitzel Publisher. Copenhagen 1878 - Countess Holstein Mimi: Mimi Holstein, b. Zahrtmann (1830-76), daughter of C.C. Zahrtmann (1793-1853), commander, adjutant of King Christian VIII, the Admiralty 1848-50, commander 1849, Rear Admiral in 1851, Vice-Admiral 1852. Mimi Zarhtmann was in 1850 married to Count Ludvig Holstein-Holsteinborg (1815-92), politician and 1870-74 Prime Minister. She was the sister of the famous painter Kristian Zahrtmann (1843-1917).

2. New Tales and Stories, 2nd Row, 3rd Collection 1865 – the Diary Entry June 23, 1865: Hans Christian Andersen's Diaries, Volume VI, p. 241 - Diary Memo November 6, 1865: Hans Christian Andersen's Diaries, Volume VI, p. 319, - the king went already into at 8: This is probably to understand such that the king in an official capacity went to the residence of the Palace at Amalienborg Palace in Copenhagen. – Bournonville’s: August Bournonville (1805-79), ballet master and ballet composer at the Royal. Theatre, married in 1830 with Helene Bournonville, b. Håkansson (1809-95). The couple had five children: Augusta Bournonville (1831-1906), a ballet dancer, Charlotte Bournonville (1832-1911), opera singer at the Royal. Theatre, Edmund Bournonville (1846-1904), physician, Mathilde Bournonville (1835-90), governess and later teacher, Wilhelmine Bournonville (1833-1908), adopted daughter.

3. Bournonville: See August Bournonville: My Theater Life. Memories and Time images. Volume 2, pp. 160-165. - The fairy tale "The Bell": Dal and Nielsen II, pp. 204-208.

4. Re. Andersen's letter of Sept. 24,1833 to his friend Edvard Collin, see e.g. H3-06. Andersen's fourth double-infatuation (2) – His double falling in love with Edvard Collin and its sister Louise. - Re. Plato: "Symposium", see e.g. H1-08. Introduction to "The sexual pole principle". See also. the articles H3-02. Hans Christian Andersen - his personality and sexuality. A contribution to the understanding of his unique personality, and H3-02. H.C.ANDERSEN - his alleged homosexuality. The problem seen pros and cons. In the latter article quoted from comedy writer Aristophanes' speech about Eros and gender origins and history. – Sorry, but some of these articles mentioned are so far only available in Danish.

5. Dal and Nielsen IV, p. 195.

6. Dal and Nielsen IV, p. 196.

7. Dal and Nielsen IV, p. 197. Confer with the fairy tale "The Flax" (1849): Dal & Nielsen II, pp. 204-208. – Se also the article: 3.39. The fairy tale “The Flax”

8. See article: 3.14. Poetry and science - the relationship between Hans Christian Andersen and the scientist Hans Christian Ørsted. The article is so far only available in Danish: 3.14. Poesi og videnskab – om forholdet mellem digteren H.C.Andersen og videnskabsmanden H.C.Ørsted. See also. Harry Rasmussen: H.C. Andersen, H.C. Ørsted and Martinus – a comparative study. The publisher Cosmological Information 1997. Available only in Danish.

9. Re. "a divine adventure in which we ourselves live," see the novel Only a Fiddler, R & R III, p. 128 - Re. "His poetic task", as Andersen had ever since his youth felt and believed himself as a poet and writer should be "God's minister". See Diaries I, p. 2. - See also the essay "Images of the Infinite", R &R VII, p. 9.

10. R & R I, pp. 252-253. - Re. Martinus' analyzes about the sources of inspiration, see e.g. article 3.01. Fairytale and Cosmology - the adventure genre in relation to particularly Martinus' Cosmology

11. Kirsten Dreyer: Hans Christian Andersen's correspondence with Lucie & B. S. Ingemann, letter 95, p. 191. Museum Tusculanum. University of Copenhagen 1997.

12. H.C. Andersen’s Collected Works, Volume 15, pp. 245-246.

13. Paul, 1 Cor. 52-55.

14. Dal and Nielsen IV, p. 197.

15. H.C. Andersen's Diaries VIII, p. 31.

16. H.C. Andersen: "To be or not to be". Novel in three parts, 1857. R&R V. - Discoveries and Research IX, 1962 H. Topsøe-Jensen: Hans Christian Andersen Notebooks, p. 165 - "Judas": There must be in the verse drama Ahasverus, 1847, that Andersen mentions Jesus' disciple Judas Iscariot with human traits. H.C. Andersen's Collected Works, Volume 11, pp. 549-656. C. A. Reitzel Publisher. Copenhagen 1878. - Mrs Zytphen: Louise Augusta von Zytphen, b. Baroness Pechlin (1787-1869)... – H.C. Ørsted: Spirit in Nature: 1st and 2nd Part. Published respectively. 1849 and 1850. Republished in four editions, the preliminary final in 1978 by Vintens Publishers, Copenhagen, with the opening of Knud Bjarne Gjesing. In 1851, Andersen published "In Sweden. A Travel Account", which he in his essay "Poetry's California" discloses an old noble lady who when she heard about the infinite and perhaps inhabited starry sky exclaimed: "Is every star a planet like our Earth, and have kingdoms and courts – how infinite a number of courts! humans must dizzy!"- R & R, Volume VII, pp.121-122. - The stars of heaven fall down and lie on the ground like dead leaves!: There must be a free quote from Revelation, chapter 6, verses 13-14. - Erasmus: Ludvig Holberg: Erasmus Montanus or Rasmus Berg, Comoedie udi five Acts (1722).

17. Andersen’s and Jonna Stampe’s, born Drewsen’s correspondence with each other are mainly printed in Jonna Stampe's eldest daughter, Rigmor Stampe's book: "H.C. Andersen and his closest Associates". Published by H. Aschehoug & Co., Copenhagen 1918. - See if necessary also the articles H3-14. Andersen's seventh double-infatuation (1) - Double infatuation in Henrik Stampe and his wife Jonna Stampe, born Drewsen, and H3-15. Andersen's seventh double-infatuation (2) - Double infatuation in Henrik Stampe and his wife Jonna Stampe, born Drewsen. Unfortunately Rigmor Stampe’s book and the articles mentioned are NOT yet translated into English. – Sorry, but these articles are so far only available in Danish.

18. Dal and Nielsen IV, pp. 121-162. - It should be added that Andersen already in 1830 had written a poem titled "The Windmill on the Hill", but weather this mill is the mill on the road between Sorø and Holsteinsborg, is uncertain, as far as can be ascertained, he began first to comment on Holsteinsborg - and incidentally also the relatively nearby freight Basnæs - around 1855-56. However, it is conceivable that the poem of 1830 may have haunted his subconscious when he wrote the fairy tale "The Windmill", in 1865, I shall now recount the first two verses of the poem’s in all five verses:

Nota Bene! Unfortunately, it is impossible to translate Danish rhyming poems and other rhyming text directly into English. But in some cases I still tried a translation without rhyme, but only to do so if and when the content may be of importance for the understanding of what the relevant topic is about.

Our landscape here is almost flat;

but the moon shines in the night.

However, what we by its light have seen,

Is only that everything goes into one.

In the foreground we must stay.

There is a bit high at this place;

The windmill, as we must pass,

do that we get a painting.

So merrily all the wheels now go,

A light one looks behind the scuttle stand,

And journeyman carries the bag away;

his comrades are playing cards,

the beer pot in the middle of the table stand.

See the millwing, where it goes!

But between the clouds the moon laugh,

and distinguished it all looks.

(In Danish does H. Topsøe-Jensen reproduce the poem with modern orthography: Hans Christian Andersen’s Poems. In committee by H. Topsøe-Jensen, pp. 59-60. Publisher Spectrum, Copenhagen 1966)

19. Johan de Mylius: Hans Christian Andersen’s Paper Clips, p. 26. Komma & Clausen, 1992.

20. Dal and Nielsen IV, p. 195.

21. See article 3.05. "Except ye become as little children, ye shall not enter the kingdom of God" (II) - the necessity of the 'child mind'.

22. Dal and Nielsen IV, p. 196.

23. The novel "To be or not to be": R & R, Volume V, p. 194.

24. Dal and Nielsen IV, p. 196.

25. Dal and Nielsen IV, p. 196.

26. Dal and Nielsen IV, p. 197.

27. Dal and Nielsen V, p. 216.

28. For the record, it should be noted that in the traditional Bible’s, including the New Testament’s conception of the world, it does not appear that animals have a soul. It is probably related to that in the creation story in the first book of Genesis said that God created man in his image, first Adam, "then the Lord God formed man of the dust of the ground and breathed into his nostrils, and man became a living being. "(1st Gen. 1,27 and 2,7). This view, along with the notion that man was set to rule over the animals, expresses much the view of the animals, which to some extent seems even in the present. But the perception of animals as inferior human beings and the resulting disrespectful treatment of these, of course, especially his cause and explanation of man's own biological origin and evolutionary history. The biblical concept of the relationship between humans and animals belong to a later stage culture whose living and understanding the world, we in Europe only in recent centuries is beginning to leave.

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Re. the nine criteria for what characterises cosmic stories, see below after notes and sources.

Sorry to say, but English readers must in some cases find the texts in English editions of Andersen’s Fairy Tales and Stories.

1. Here one can also refer to the series of Article Collection 3: Articles related to Hans Christian Andersen and his writings

2. Hans Christian Andersen: "Fairy Tales and Stories", Vol. II, pp. 209-12 in DSL / Reitzel edition 1963-86 by Erik Dal and Erling Nielsen.

3. The article Thoughts about a waste paper can so far only be read in Danish: 3.33. Tanker omkring en makulatur – om H.C.Andersens første bog ”Ungdoms-Forsøg”.

4. Hans Christian Andersen: Collected Works. Fifteenth Vol. Second Edition. Copenhagen. C. A. Reitzel Publisher. 1880, p. 302. Moreover, it is one in itself an insignificant memorising error from Andersen's side, when he believes that the tale was written in 1849, it is supposedly written around the beginning of February 1848. – Re. About Andersen’s occasionally life pessimism, se for example the article 3.37. The tale of “The Fir-Tree” – Poetic life pessimism.

5. Dal and Nielsen II, pp. 209-212. The reference also applies to the following quotes from the fairy tale "The Flax".

6. The preceding text for the quote reads:

[...] And all the kids in the house stood around, they would see the flare, they would look into ashes and see the many red sparks, which, like ran away and vanished, one after the other, so rapidly - it's the children who go of school, and the very last spark is the schoolmaster; often they would think he have gone, but then he will come a little after all the others.

And all the paper lay in a bundle on the fire. Ugh! Where it broke up in flames. "Ugh!" it said, and just then, it was a great flame; it went high in the air, as never the Flax had been able to lift his little blue flower, and shone like the white linen never had been able to shine; all the written text was for a moment quite red, and the words and thoughts turned to fire.

7. Hans Christian Ørsted: The Spirit in Nature. With Introduction by Knud Bjarne Gjesing. The book was originally published in two volumes hhv.1849-50. Fourth edition: Stjernebøgernes Kulturbibliotek. (The Star Books Culture Library). The publisher Vinten, 1978. See p. 140. Unfortunately the book is not available in English.

8. Hans Christian Andersen: A Journey on Foot from Holmen's Canal to the East Point of Amager in the years 1828 and 1829. The book was published originally 2nd New Year's Day 1829. Text Publishing, Postscript and Notes by Johan de Mylius. Danish classics. Danish Language and Literary Society. Borgen Publisher, 1986. The quotation is from p. 41.

9. This version of the novel has been reprinted by H. C. Andersen: Collected Works. Fourth Volume. Second Edition. C. A. Reitzel Publisher. Copenhagen. 1877. See Part Two, p. 155. The novel has also been published in Gyldendals Trane Classics in 1970, and herein are the listed place pp. 140-141.

10. Dal and Nielsen II, pp. 209-212. This information applies to all the following quotes from the fairy tale.

11. See article 3.38. The fairy tale "The Windmill" - seen in four significance levels. Re. The fairy tale Aunty Toothache has not yet been subject for a special article, but a shorter analysis of it is to be found in my book H.C. Andersen, H.C. Ørsted and Martinus – a comparative study, 1997, pp. 135-146.

12. See here if necessary. Articles 2.15. The adventurous life cycle (1) - the individual’s cosmic 'journey' in the involution arch, and 2.16. The adventurous life cycle (2) - the individual’s cosmic 'journey' in the evolution arch.

13. Re. the cosmic laws, also referred to as create and experience principles, see e.g. article: Lesson 13: The cosmic creation principles. Sorry, so far only available in Danish: Lektion 13: De kosmiske skabeprincipper

14. Dal and Nielsen II, pp. 49-76. The article The Mystery of Life and the childhood Mind could also be read in English in The Magazine KOSMOS No. 2-2001. See here perhaps. Article 3.32. A cosmic adventure - the fairy tale "The Snow Queen" (Part 1)

15. Hans Christian Andersen: A Journey on Foot from Holmen's Canal to the East Point of Amager in the years 1828 and 1829, the book was published originally 2nd New Year's Day 1829, Text Publishing, Postscript and Notes by Johan de Mylius. Danish classics. Danish Language and Literary Society. Borgen Publisher, 1986, pp. 36-38. – Notice that Martinus also uses a book as a metaphor for life - including he therefore uses the term “Livets Bog” ("Book of Life").

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APPENDIX:

9 criteria for what characterises cosmic stories:

To a fairy tale or a story could be described as cosmic, it is essential that at least one or preferably more of the below schematic listed items 1-9 included more or less are pronounced in the text:

1. God's existence as him, in whom we live and move and are (the principle of life units and the organism principle). Note that in the context of Martinus' cosmology the Godhead is perceived as the highest and ultimate expression of both male and female. Therefore God also is perceived as the highest representative of the parents and the protection principle.

2. The immortality of the soul and eternal life.

3. Eternal life in the form of an ever-repeating cycle (the spiral cycle), with its days and nights, summers and winters.

4. The spiritual realms or kingdoms and the physical realms or kingdoms, or the spiritual world and the physical world.

5. The individual’s developmental alternation between physical and spiritual life (involution and evolution), or from a cosmic point of view periodically and alternately stay in God's primary and secondary consciousness.

6. The individual alternates between spiritual and physical life between lives (reincarnation and discarnation, birth and death).

7. The sexual Pole principle and sexual pole transformation.

8. Karma principle (the law of fate or the law of retaliation).

9. From the cosmic unconsciousness (cosmic "death") to cosmic consciousness (cosmic life). Birth pains and the great birth. At this point you might want to assign the Initiation of three degrees, which are divided and ritualised in the classic mysteries and some of which also appear in folk tales’ universe. Here we shall only mention that the three classical degrees of initiation can also be seen as the psychological factors: 1. The personal unconscious, 2. The collective unconscious, and 3. The cosmic consciousness and its cognition and experience that the individual soul is identical with the world soul, or with the one and universal Deity. This cognition is for example also fundamental in the Indian monistic identity learns Vedanta, and is expressed in the words: Atman (individual soul) and Brahman (world soul) are one. The three classical degrees of initiation can also be translated into 'metal values': 1. Copper, 2. Silver, and 3. Gold. The three classical degrees of initiation can also be compared with Martinus' description of temple initiations three phases: 1: The front yard, 2: The sacred temple, and 3: The holy of holiest.

Re. Mystery initiation’s three degrees, see The fairy tale "The Tinderbox" - seen and evaluated in four basic significance: See the section The three basic degrees of initiation. Very sorry, but that article is not yet translated into English.

See also: H5-00. The four significance levels in H.C. Andersen's work. So far only available in Danish: H5-00. De fire tydningsplaner i H.C. Andersens forfatterskab, og Kosmologien og eventyrene. Se also the article 3.01. Fairytale and Cosmology - the adventure genre in relation to particularly Martinus' Cosmology

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