Presumably in this tendency there is a social or political engagement; but one must be careful about generalizing. For instance, one need not expect Russian and other artists from anti-imperialist or anti-bourgeois societies to o¥erdo the satire against emperors or sympathy for the poor and weak in Andersen’s tales. It is an exceptional case when the final scene in ‘The Tinderbox’ represents a crudely caricatured court with a pig’s head in the coat of arms, as opposed to a stout soldier in Russian working clothes. The specimen can be seen in V. Konasevic’s drawing for an edition in Tartar (Kazan 1952).