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||E(rnst) T(heodor) A(madeus) Wilhelm Hoffmann (1776-1822)|
German writer, composer, caricaturist, and painter, known for his stories in which supernatural characters reveal people's hidden secrets. However, Hoffmann was by training and profession a jurist. He changed his third name, Wilhelm, to Amadeus in 1813 in homage to the great composer Wolfgang Amadeus Mozart (1756-1791). Hoffmann's early aspirations were towards music and painting – he left behind a symphony, nine operas, and two masses. Other compositions include vocal, chamber, orchestral, and piano works. Hoffmann's opera The Water Sprite is still occasionally performed. In middle life he became interested in writing. Most of his best work was the product of his last ten years, before his early death following an illness. Hoffmann's fiction is considered the first flowering of the horror and fantasy short story. His work influenced among others Carl Jung and Sigmund Freud.
--The Pope was silent for a few moments. Then he continued with a serious expression:
Ernest Theodor Amadeus (originally Wilhelm) Hoffmann was born in Köningsberg, the son of Christoph Ludwig Hoffmann, a barrister, and Luise Albertine Dörffer. After his parents separated he was raised in the house of his maternal grandmother. In his youth he became interested both in sciences and arts – music, drawing, painting – and learned everything easily. He entered the university of Köningsberg, where he studied law and had then an unsettled career. In 1802 he married Maria Thekla Michaelina Rorer-Tracinska (Micha), the daughter of a town councillor. Their daughter, Cäzilia, was born in 1805; she died two years later.
Hoffmann worked as a Prussian law officer and then had several positions as conductor, critic, and theatrical musical director in Bamberg and Dresden until 1814. Recognizing that he would never be a great composer, he turned to writing. In 1813 he had written on Beethoven: "Beethoven's music sets in motion the lever of fear, of awe, of horror, of suffering, and awakens just that infinite longing which is essence of romanticism." These same themes became central in his literary works.
"It is the most romantic of all the arts – one might almost say, the only genuinely romantic art – for its own sole subject is the infinite." (Hoffmann about music)
'Ritter Gluck' (1809) was Hoffmann's first weid tale. It juxtaposed interpretations of madness and possession in a musician who believes that he is the composer Gluck. To pursue his interpretations of music, Hoffmann created an alter ego in the form of an imaginary musician, Johannes Kreisler. His musical background is seen among others in the stories 'Don Juan' (1813), in which a hotel guest undergoes supernatural experience while watching a performance of Mozart's opera Don Giovanni, 'Councillor Krespel' (1816), in which a young girl dies when encouraged to produce the perfect voice, and 'Der Kampf der Sänger' (1818), based on a 13th-century tale about a contest of minnesingers, in which one of the competitors has the devil on his side.
In 1816 Hoffmann attained a high position in the Supreme Court in Berlin; before it he had suffered from poverty in Leipzig. An additional problem was Napoleonic Wars which shook Europe from 1792 until 1815, and forced occasionally him to move from town to town. His struggle between two roles, as a bureaucrat and as an artist, underlined many of his works, which attacked against bourgeois world. In 'Der Goldene Topf' (1814) Hoffmann depicted the battle between the artistic world and the philistine, and 'Das Fräulein von Scuderi' (1819) was about a goldsmith, a highly respected citizen, who becomes at night a criminal.
There was also a divide between his private life, and his life in public: he had a satisfactory marriage but maintained an unconsummated love for an erstwhile music student, Julia Marc. She was only thirteen when Hoffmann began giving her voice lessons in Bamberg. At the age of sixteen she was married to a rich merchant from Hamburg. Hoffmann never saw her again. She inspired many of his heroines, including Aurelia in Die Elixiere des Teufels (1816). As a singer Hoffmann was a fine tenor.
Hoffmann's shorter tales were mostly published in the collections Phantasiestücke (1814) and Nachtstücke (1817), which inspired Offenbach (1819-1880) to compose his opera The Tales of Hoffmann. Offenbach portrayed the author as the dreamy central character. In the prologue the poet enters a tavern and tells the stories of his three great loves. Olympia is a mechanical doll who nearly danced him to death. Giulietta is encouraged to steal Hoffmann's reflection, after which he sings: "J'ai perdu mon reflet!!" She leaves him to fight with one Schlemil, who has been likewise bewitched. Hoffmann wins, but Giulietta disappears. Doctor Miracle treats Antonia for her disease by making her sing, and Hoffmann finds her dead from frantic singing. In the epilogue Stella, whom he loves, finds him dead drunk, and tosses a flower toward him and leaves. Among the musical highlight's of the opera is The Mechanical Doll's Song 'Les Oiseaux dans la Charmille'.
Hoffmann, and German Romanticism in general, influenced deeply
Russian theater. Adaptations from his tales were put on the
stage by almost every leading Russian director and they are
alluded to in Mayakovsky's The Backbone Flute. Delibes's ballet Coppélia and Tchaikovsky's Nutcracker
are based on Hoffmann's works. The original tale for Tchaikovsky's 'The
Nutcracker and The Mouse King' was from 1816; it was not so much a
story for children as about children and mystical events during the
Christmas. A contemporary review stated that the text was hardly a
fairy tale but made fun of decent people.Tchaikovsky read the story during a journey through Italy in 1882
in French adaptation, which Alexandre Dumas had published in 1844. He
was not satisfied with his own composition. The French choreographer
Marius Petipa, attached to the Maryinsky Theatre in St. Petersburg, had
made a highly detailed plan for him to follow; Tchaikovsky felt it
limited his artistic freedom. The première took place in St. Petersburg
on 18 December, 1892, without a great success.
Paul Hindemith's opera Cardillac (1926) drew from Hoffmann's 'Das Fräulein von Scuderi.' The libretto was written by Ferdinand Lion. In the story a town is plagued by a series of murders. The prime suspect is Cardillac, a goldsmith and artist of unsurpassed skill. Each of the victims is known to have bought an example of his work. A gold merchant suspects that the great artist's creations must be thought of as causes of the crimes. Cardillac states firmly that 'Was ich erschuf, is mein' (What I create is mine).
As described by his friends, Hoffmann was short of stature, he spoke quickly, in short sentences, and he gestured wildly when he was carried away by his enthusiasm. During the last years of his life, when he had lost some of his front teeth, he was difficult to understand. Possibly he was an alcoholic; he drank daily though his alcohol consumption varied. His favorite drink was rum, but he also consumed wine, punch, and champagne. Once he was involved in a brawl with Julia Marc's fiancé, Johann Gerhard Graepel, whom he portrayed later in 'Nachricht von den neuesten Schicksalen des Hundes Berganza' (1814) as a desperate drunkard.
Among Hoffmann's longer works is The Devil's Elixirs, which studied the theme of doppelgänger. Alternate personalities or their shallow equivalents can be found in 'Die Abenteuer der Silvester-Nacht' (1815), where a man meets both the shadowless Peter Schlemiel and Erasmus Spikher, who has lost his reflection. Lebens-Ansichten des Katers Murr, a fictional autobiography of a cat and a direct parody of Goethe's The Apprenticeship of Wilhelm Meister, was published in two volumes in 1820-21.
Hoffmann wrote the first part of Die Elixire des Teufels in 1814. It deals with the adventures of Brother Medardus, an eighteenth-century Capuchin monk. The second is from 1815 and gives more light to Medardus's extraordinary experiences. The novel takes the form of a collection of manuscripts which the editor has found. Brother Medardus is chosen to take a message to Rome and he leaves the monastery with a bottle of Syracusan wine, said to have been wrested from the devil by St Anthony. On his journey he goes through delirious experiences – he is involved in a game of double impersonation, attempts to rape a woman, Aurelia, and kills his brother, meets in prison a mysterious double of himself, escapes the murderous intrigues at the court of Pope, and eventually returns to his monastery. In his possession is a manuscript of The Old Painter, who occasionally appeared during his adventures, and who was bewitched by the very Syracusan in the beginning of the tale. Medardus and Aurelia are the last of the Old Painter's line. Aurelia appears at the monastery but is killed by Count Victor, and a year later Medardus dies.
"The age is moving irrevocable forwards, and the situation of our noble classes is rapidly deteriorating. This may well explain their tactless behaviour towards highly cultures commoners; a mixture of appreciative respect and intolerable condescension, the product of a deep despair that the triviality of their past glory will be exposed to the knowing gaze of the wise, and their insufficiencies held up to ridicule." (in The Devil's Elixirs)
Hoffmann died in Berlin from progressive paralysis on June 25, 1822. My Cousin's Corner Window (1822), about a paralyzed spectator observing a crowded Berlin market-place through a window, was the last work published during his lifetime. His tales, which weave the fantastic closely into real world, were received with enthusiasm particularly in the United States, and affected the writings of Washington Irving, Nathaniel Hawthorne and Edgar Allan Poe. However, in England his "black Romanticism" was scorned by Sir Walter Scott in the provocative article 'On the Supernatural in Fictitious Composition' (1827). Scott writes that "In fact, the inspirations of Hoffmann so often resemble the ideas produced by the immoderate use of opium, that we cannot help considering his case as one requiring the assistance of medicine rather than of criticism."
Hoffmann was well acquainted with the work of Anton Mesmer, who explored the concept of the unconscious and played a key role in the history of psychoanalysis. The Swiss psychiatrist Carl Jung read the The Devil's Elixirs in 1909. He found its problems "palpably real" and it also influenced his theory of the archetypes. John Kerr has later pointed out that all the major archetypes discovered by Jung in his self-analysis appear in Hoffmann's book. (Jung in Contexts, ed. Paul Bishop, 1999) Sigmund Freud referred to 'The Sandman' in his study 'The Uncanny' (1919). Already in 1885 he had written in a letter to Martha Bernays: "I have been reading off and on a few things by the 'mad' Hoffmann, mad, fantastic stuff, here and there a brilliant thought".
For further reading: E.T.A. Hoffmann and Alcohol: Biography, Reception and Art by Victoria Dutchman-Smith (2010); E.T.A. Hoffmann zur Einfürung by Detlef Kremer (1998); Horror, Ghost & Gothic Writers, ed. David Pringle (1998); Spätromatiker: Eichendorff und E.T.A. Hoffmann by Wolfgang Nehring (1997); E.T.A. Hoffmann, ed. by F. Schnapp (1974); Die Augen des Automaten by P.v. Matt (1971); Vieldeutige Welt by L. Köhn (1966); E.T.A. Hoffmann als bildender Künstler by T. Piana (1954); Hoffmann le fantastique by J. Mistler (1951); E.T.A. Hoffmann als Musiker by P. Greeff (1948); Hoffmann als Dichter des Unbewussten (1936); Hoffmann als Maler by C.G. v. Maassen (1926) - Suom.: Suomeksi Hoffmannilta on lisäksi suomeksi julkaistu Outo intohimo. Hoffmannin tarinoihin pohjautuvat mm. Delibesin baletti Coppélia ja Tsaikovskin baletti Pähkinänsärkijä. - See also: Little Blue Light