Hoffmann's personality as an embodiment of the type of romantic artist. The ratio of the real and the ideal in the work of Hoffmann

Question number 10. Creativity of E. T. A. Hoffmann.

Ernst Theodor Amadeus Hoffmann (1776, Königsberg -1822, Berlin) - German writer, composer, artist of the romantic direction. Originally Ernst Theodor Wilhelm, but as an admirer of Mozart, he changed the name. Hoffmann was born into the family of a Prussian royal lawyer, but when the boy was three years old, his parents separated, and he was brought up in his grandmother's house under the influence of his uncle, a lawyer, an intelligent and talented man, prone to science fiction and mysticism. Hoffmann showed early aptitude for music and drawing. But, not without the influence of his uncle, Hoffmann chose the path of jurisprudence, from which all his subsequent life he tried to escape and earn money with the arts. Disgusted by philistine "tea" societies, Hoffmann spent most of the evenings, and sometimes part of the night, in the wine cellar. Having upset his nerves with wine and insomnia, Hoffmann would come home and sit down to write; the horrors created by his imagination sometimes brought fear to himself.

Hoffmann spends his worldview in a long series of fantastic stories and fairy tales, incomparable in their kind. In them, he skillfully mixes the miraculous of all ages and peoples with personal fiction.

Hoffmann and Romanticism. As an artist and thinker, Hoffmann is successively associated with the Jena romantics, with their understanding of art as the only possible source of transformation of the world. Hoffmann develops many of the ideas of F. Schlegel and Novalis, such as the doctrine of the universality of art, the concept of romantic irony and the synthesis of arts. The work of Hoffmann in the development of German romanticism represents a stage of a more acute and tragic understanding of reality, the rejection of a number of illusions of the Jena romantics, and a revision of the relationship between the ideal and reality. Hoffmann's hero tries to escape from the shackles of the world around him by means of irony, but, realizing the impotence of the romantic confrontation with real life, the writer himself laughs at his hero. Hoffmann's romantic irony changes its direction; unlike the Jensen, it never creates the illusion of absolute freedom. Hoffmann focuses close attention on the personality of the artist, believing that he is the most free from selfish motives and petty worries.

There are two periods in the writer's work: 1809-1814, 1814-1822. Both in the early and late periods, Hoffmann was attracted by approximately similar problems: the depersonalization of a person, the combination of dreams and reality in a person's life. Hoffmann reflects on this question in his early works, such as the fairy tale "The Golden Pot". In the second period, social and ethical problems are added to these problems, for example, in the fairy tale "Little Tsakhes". Here Hoffmann addresses the problem of the unfair distribution of material and spiritual goods. In 1819, the novel The Worldly Views of Cat Murr was published. Here arises the image of the musician Johannes Kreisler, who went through all his work with Hoffmann. The second main character is the image of the cat Murr - a philosopher - an inhabitant, parodying the type of a romantic artist and a person in general. Hoffmann used a surprisingly simple, at the same time based on a romantic perception of the world, technique, combining, quite mechanically, the autobiographical notes of a scientist cat and fragments of the biography of Kapellmeister Johannes Kreisler. The world of the cat, as it were, reveals from the inside the introduction of the artist's rushing soul into it. The cat's narrative flows measuredly and consistently, and excerpts from Kreisler's biography record only the most dramatic episodes of his life. The contrast between the worldviews of Murr and Kreisler is necessary for the writer to formulate the need for a person to choose between material well-being and the spiritual vocation of each individual. Hoffmann argues in the novel that only "musicians" can penetrate the essence of things and phenomena. Here the second problem is clearly indicated: what is the basis of the evil that reigns in the world, who is ultimately responsible for the disharmony that is tearing apart human society from the inside?

"The Golden Pot" (a fairy tale of modern times). The problem of two worlds and two-dimensionality affected the opposition of the real and the fantastic worlds and in accordance with the division of characters into two groups. The idea of the novel is the embodiment of the realm of fantasy in the world of art.

"Little Tsakhes" - two worlds. The idea is a protest against the unfair distribution of spiritual and material wealth. In society, nothingness is given power, and their nothingness turns into brilliance.

Brief description of Hoffmann's work.
The poetics of romanticism in the fairy tale "The Golden Pot".
Satire and grotesque in the fairy tale "Little Tsakhes".

1. Ernst Theodor Amadeus Hoffmann(1776-1822) Romantic writer, musician, artist.

Raised by an uncle, a lawyer, prone to fantasy and mysticism. He was an all-round gifted person. Was fond of music (played the piano, organ, violin, sang, conducted the orchestra. He knew music theory very well, was engaged in music criticism, was quite famous composer and a brilliant connoisseur of musical creations), drew ( was a graphic artist, painter and theater decorator), at the age of 33 he became a writer. Often he didn’t know what the idea could become: “... On weekdays I’m a lawyer and, at the most, a bit of a musician, on Sunday afternoon I draw, and in the evening until late at night I’m a very witty writer,” he tells a friend. He was forced to earn a living by jurisprudence, often living from hand to mouth.

The inability to earn money by doing what you love led to a double life and a dual personality. This existence in two worlds is originally expressed in the work of Hoffmann. Duality arises 1) due to the awareness of the gap between the ideal and the real, dream and life; 2) due to the awareness of the incompleteness of the individual in the modern world, which allows society to impose on her their roles and masks that do not correspond to her essence.

Thus, in the artistic consciousness of Hoffmann, two worlds are interconnected and opposed to each other - real-everyday and fantastic. The inhabitants of these worlds are philistines and enthusiasts (musicians).

Philistines: live in the real world, are happy with everything, do not know about the "higher worlds" because they do not feel the need for them. There are more of them, they make up a society where worldly prose and lack of spirit.

Enthusiasts: Reality disgusts them, they live by spiritual interests and art. Almost all are artists. They have a different system of values than the philistines.

The tragedy is that the philistines are gradually pushing enthusiasts out of real life, leaving them the realm of fantasy.

Hoffmann's work can be divided into 3 periods:

1) 1808-1816 - the first collection of "Fantasy in the manner of Callot" (1808 - 1814) ( Jacques Callot, Baroque painter known for his strange, grotesque paintings). The central image of the collection is Kapellmeister Chrysler, a musician and enthusiast doomed to loneliness and suffering in the real world. central theme- art and the artist in his relationship with society.

2) 1816-1818 - the novel Elixirs of Satan (1815), the collection Night Tales (1817), which includes the famous fairy tale The Nutcracker and the Mouse King. Fantasy takes on a different character: the ironic game disappears, humor, a gothic flavor appears, an atmosphere of horror. The scene changes (forest, castles), characters (members of feudal families, criminals, doubles, ghosts). Dominant motive - the dominion of demonic fate over human soul, omnipotence of evil, night side human soul.

3) 1818-1822 - the story-tale "Little Tsakhes" (1819), the collection "Serapion Brothers" (1819-1821), the novel "Everyday Views of the Cat Murr" (1819-1821), other short stories. Hoffmann's creative style is finally determined - grotesque-fantastic romanticism. Interest in the socio-philosophical and socio-psychological aspects of human life, denunciation of the process of human alienation and mechanism. Images of puppets and marionettes appear, reflecting the "theater of life".

(In The Sandman, a mechanical doll has become the legislator of the halls in a "well-meaning society." Olympia is an automaton doll, which, for fun, in order to laugh at people and amuse himself, a famous professor passed off as his daughter. And it goes well. He she hosts receptions at her house, young people take care of Olimpia, she can dance, she can listen very carefully when someone says something to her.

And now a certain student Nathanael falls in love with Olympia to death, not at all doubting that this is a living being. He believes that there is no one smarter than Olympia. She is a very sensitive being. He has no better companion than Olympia. These are all his illusions, selfish illusions. Since she is taught to listen and does not interrupt him and says he is alone all the time, he gets the impression that Olympia shares all his feelings. And he has no closer soul than Olympia.

All this ends with the fact that he once came to visit the professor at the wrong time and saw a strange picture: a fight over a doll. One held her by the legs, the other by her head. Everyone pulled in their direction. This is where the secret was revealed.

After the discovery of deceit in the society of "highly respected gentlemen", a strange atmosphere was established: "The story of the machine gun deeply sunk into their souls, and a disgusting distrust of human faces instilled in them. Many lovers, in order to make sure that they were not captivated by a wooden doll, demanded from their lovers, so that they sing slightly out of tune and dance out of time ... but most of all, so that they not only listen, but sometimes speak themselves, so much so that their speech really expresses thoughts and feelings. and became more sincere, others, on the contrary, calmly dispersed.")

The most popular artistic means are grotesque, irony, satirical fantasy, hyperbole, caricature. Grotesque, according to Hoffmann, is a bizarre combination of various images and motives, free play with them, ignoring rationality and external plausibility.

The novel "Worldly Views of the Cat Murr" is the pinnacle of Hoffmann's work, the embodiment of the features of his poetics. The main characters are Hoffmann's real-life cat and Hoffmann's alter ego Kapellmeister Johann Chrysler (the hero of the first collection "Fantasy in the manner of Callo").

Two storylines: the autobiography of the cat Murr and the life of Johann Chrysler. The cat, outlining his worldly views, tore apart the biography of Johannes Kreisler, which fell into his paws and used the torn pages "part for laying, part for drying." Due to the negligence of typesetters, these pages were also printed. The composition is two-dimensional: chryslerian (tragic pathos) and murriana (comedy-parodic pathos). Moreover, the cat, relative to the owner, represents the world of philistines, and in the cat-dog world, it appears to be an enthusiast.

The cat claims leading role in the novel - the role of the romantic "son of the century". Here he is, wise both by worldly experience and literary and philosophical studies, reasoning at the beginning of his biography: one young cat, endowed with mind and heart, the high flame of poetry ... and another noble young cat will be completely imbued with the lofty ideals of the book that I now hold in my paws, and will exclaim in an enthusiastic impulse: "Oh Murr, divine Murr, the greatest genius of our glorious feline kind! Only to you I owe everything, only your example made me great!" Remove the specifically feline realities in this passage - and you will have a completely romantic style, lexicon, pathos.

Or, for example: We read the sad story of the life of Kapellmeister Kreisler, a lonely, little-understood genius; inspired sometimes romantic, sometimes ironic tirades explode, fiery exclamations sound, fiery eyes blaze - and suddenly the narration breaks off, sometimes literally in mid-sentence (the torn page ends), and the learned cat mutters the same romantic tirades: "... I know for sure: my homeland is an attic! The climate of the motherland, its customs, how inextinguishable these impressions... Where does such an exalted way of thinking come from in me, such an irresistible desire for higher spheres? jumping? Oh, sweet longing fills my chest! Longing for my native attic rises in me with a powerful wave! I dedicate these tears to you, oh beautiful homeland ... "

Murriana is a satire on German society, its mechanistic nature. Chrysler is not a rebel, loyalty to art elevates him above society, irony and sarcasm is a way of protection in the world of philistines.

Creativity Hoffmann had a huge impact on E. Poe, C. Baudelaire, O. Balzac, C. Dickens, N. Gogol, F. Dostoevsky, O. Wilde, F. Kafka, M. Bulgakov.

2. "The Golden Pot: A Tale from New Times" (1814)

Hoffmann's duality manifests itself in different levels text. Already the genre definition combines two temporal poles: a fairy tale (immediately referring to the past) and modern times. In addition, the subtitle can also be interpreted as a combination of fantastic (fairy tale) and real (New time).

Structurally, the tale consists of 12 vigils (originally - night guards), 12 - a mystical number.

At the level of the chronotope, the tale is also dual: the action takes place in a very real Dresden, in mystical Dresden, which was revealed to the protagonist Anselm, and in the mysterious land of poets and enthusiasts, Atlantis. The time is also significant: the events of the tale take place on the day of the Ascension of the Lord, which partly hints at the further fate of Anselm.

The figurative system includes representatives of the fantastic and real world, Good and Evil. Anselm is a young man who has all the features of an enthusiast ("naive poetic soul”), but is still at the crossroads between two worlds (student Anselm - poet Anselm (in the last chapter)). For his soul, there is a struggle between the world of philistines, which is represented by Veronika, who hopes for his future brilliant career and dreams of becoming his wife, and Serpentina, a golden-green snake, the daughter of the archivist Lindgorst and part-time - the powerful wizard Salamander. Anselm feels uncomfortable in the real world, but in moments of special states of mind (caused by “useful tobacco”, “gastric liquor”) he is able to see another, Magic world.

The double world is also realized in the images of a mirror and mirror objects (a fortune-teller's mirror, a mirror made of rays of light from an archivist's ring), a color scheme, which is represented by shades of colors (golden-green snake, pike-gray tailcoat), dynamic and fluid sound images, playing with time and space (the office of the archivist, like the Tardis in the modern Doctor Who series, is larger inside than outside))).

Gold, jewelry and money have a mystical power that is detrimental to enthusiasts (precisely flattered by money, Anselm falls into a bottle under glass). The image of the Golden Pot is ambiguous. On the one hand, it is a symbol of creativity, from which the Fire Lily of poetry grows (analogous to the “blue flower” of romanticism in Novalis), on the other hand, it was originally conceived as an image of a chamber pot. The irony of the image allows us to reveal the real fate of Anselm: he lives with Serpentina in Atlantis, but actually lives somewhere in a cold attic here in Dresden. Instead of becoming a successful court adviser, he became a poet. The ending of the tale is ironic - the reader himself decides whether he is happy.

romantic essence heroes are manifested in their professions, appearance, everyday habits, behavior (Anselm is mistaken for a madman). Hoffmann's romantic style is in the use of grotesque images (the transformation of a doorknocker, an old woman), fantasy, irony, which is realized in portraits, author's digressions that set a certain tone in the perception of the text.

3. "Little Tsakhes, nicknamed Zinnober" (1819)

The story-tale also realizes the duality of Hoffmann's character. But, unlike The Golden Pot, it demonstrates the manner of the late Hoffmann and is a satire on German reality, supplemented by the motive of alienation of man from what he created. The content of the tale is updated: it is transferred to recognizable life circumstances and deals with issues of the socio-political life of the era.

The duality of the novel is revealed in the opposition of the world of poetic dreams, the fabulous country of Dzhinnistan, the world of real everyday life, the principality of Prince Barsanuf, in which the action of the novel takes place. Some characters and things lead a dual existence here, as they combine their fairy-tale magical existence with existence in the real world (the Rosabelverde fairy, Prosper Alpanus). Fantasy is often combined with everyday details, which gives it an ironic character.

The irony and satire in The Golden Pot is aimed at philistinism and has a moral and ethical character, but here it is sharper and gets a social sound. The image of the dwarf principality of Barsanuf in a grotesque form reproduces the orders of many German states with their despotic rulers, mediocre ministers, forcibly introduced "enlightenment", false science (Professor Moshe Terpin, who studies nature and for this receives “the rarest game and unique animals from the princely forests, which he devours in a fried form in order to explore their nature.” In addition, he writes a treatise on why wine differs from water and “already studied half a barrel of old Rhine and several dozen bottles of champagne and now proceeded to a barrel of alicante").

The writer paints an abnormal world, devoid of logic. The symbolic expression of this abnormality is the title character of the tale Little Tsakhes, who is not accidentally depicted negatively. Tsakhes is a grotesque image of an ugly dwarf who was bewitched by a good fairy so that people would stop noticing his ugliness. Magic power three golden hairs, symbolizing the power of gold, leads to the fact that all the virtues of others are attributed to Tsakhes, and all the miscalculations to others, which allows him to become the first minister. Tsakhes is both scary and funny. Tsakhes is terrible because he has a clear power in the state. The attitude of the crowd towards him is also terrible. Mass psychology, irrationally blinded by appearances, exalts nothingness, obeys it and worships it.

The antagonist of Tsakhes, with the help of the sorcerer Alpanus, who discovers the true essence of the freak, is the student Balthazar. This is partly Anselm's double, able to see not only the real, but also the magical world. At the same time, his desires are entirely in the real world - he dreams of marrying the sweet girl Candida, and the wealth gained by them is a philistine paradise: "country house", on the plot of which grows "excellent cabbage, and all sorts of other good-quality vegetables"; in the magical kitchen of the house "pots never boil over", in the dining room porcelain does not beat, in the living room carpets and chair covers do not get dirty ... ". It is no coincidence that the “vigil 12th”, which speaks of the unfinished fate of Anselm and his continuing life in Atlantis, is replaced here by the “head of the latter”, which indicates the finale of Balthazar's poetic quest and his preoccupation with everyday life.

Hoffmann's romantic irony is bidirectional. Its object is both miserable reality and the position of an enthusiastic dreamer, which testifies to the weakening of the positions of romanticism in Germany.

The fantastic novels and novels of Hoffmann are the most significant achievement of German romanticism. He bizarrely combined elements of reality with a fantastic game of the author's imagination.

Assimilates the traditions of his predecessors, synthesizes these achievements and creates his own unique romantic world.

Perceived reality as an objective reality.

Two worlds are vividly represented in his work. The real world is opposed to the unreal world. They collide. Hoffmann not only recites them, he depicts them (there was a figurative embodiment for the first time). He showed that these two worlds are interconnected, it is difficult to separate them, they are interpenetrating.

He did not try to ignore reality, replacing it with artistic imagination. By creating fantastic pictures he was aware of their illusory nature. Fantasy served him as a means of comprehending the conditions of life.

In the works of Hoffmann, there is often a bifurcation of characters. The appearance of twins is associated with the peculiarities of the romantic worldview. The double in the author's fantasy arises from the fact that the writer notices with surprise the lack of integrity of the personality - the consciousness of a person is torn, striving for good, he, obeying a mysterious impulse, commits villainy.

Like all predecessors in the romantic school, Hoffmann is looking for ideals in art. The ideal hero of Hoffmann is a musician, artist, poet, who, with a burst of imagination, with the power of his talent, creates new world, more perfect than the one where he is doomed to exist daily. Music seemed to him the most romantic art, because it is not directly connected with the surrounding sensory world, but expresses a person's attraction to the unknown, the beautiful, the infinite.
Hoffman divided the heroes into 2 unequal parts: true musicians and just good people, but bad musicians. An enthusiast, a romantic is a creative person. Philistines (highlighted as good people) are philistines, people with a narrow outlook. They are not born, they are made. In his work, they are subjected to constant satire. They preferred not to develop, but to live for the sake of "purse and stomach." This is an irreversible process.

The other half of humanity - musicians - are creative people (the writer himself belongs to them - some works have elements of autobiography). These people are extraordinarily gifted, able to turn on all the senses, their world is much more complex and subtle. They find it difficult to connect with reality. But the world of musicians also has flaws (reason 1 - the world of philistines does not understand them, 2 - they often become prisoners of their own illusions, begin to experience fear of reality = tragic result). It is true musicians who are very often unhappy because they themselves cannot find a charitable connection with reality. The artificially created world is not a way out for the soul.

Question 20. Hoffmann's work - a general characteristic.

Hoffman (1776 Koenigsberg - 1822 Berlin), German romantic writer, composer, music critic, conductor, decorator. He combined subtle philosophical irony and bizarre fantasy, reaching the mystical grotesque, with a critical perception of reality, a satire on the German bourgeoisie and feudal absolutism. Brilliant fantasy, combined with a strict and transparent style, gave Hoffmann a special place in German literature. The action of his works almost never took place in distant lands - as a rule, he placed his incredible heroes in an everyday setting. One of the founders of romantic musical aesthetics and criticism, the author of one of the first romantic operas, Ondine (1814). Hoffmann realized poetic images in his writings ("The Nutcracker"). Son of an official. He studied law at the University of Königsberg. In Berlin was public service legal adviser. Hoffmann's short stories Cavalier Gluck (1809), Musical Sufferings of Johann Kreisler, Kapellmeister (1810), Don Giovanni (1813) were later included in the collection Fantasies in the Spirit of Callo. In the story "The Golden Pot" (1814), the world is presented, as it were, in two planes: real and fantastic. In the novel The Devil's Elixir (1815–1816), reality appears as an element of dark, supernatural forces. In The Amazing Sufferings of a Theater Director (1819), theatrical manners are depicted. His symbolic-fantastic story-tale "Little Tsakhes, nicknamed Zinnober" (1819) is clearly satirical. In Night Stories (parts 1–2, 1817), in the collection The Serapion Brothers, in Last Stories (1825), Hoffmann sometimes satirically, sometimes tragically draws the conflicts of life, romantically interpreting them as the eternal struggle of the bright and dark forces. The unfinished novel The Worldly Views of Cat Murr (1820–1822) is a satire on German philistinism and feudal-absolutist orders. The novel The Lord of the Fleas (1822) contains bold attacks against the police regime in Prussia. A vivid expression of Hoffmann's aesthetic views are his short stories "Cavalier Gluck", "Don Giovanni", the dialogue "Poet and Composer" (1813). In the short stories, as well as in Fragments of the Biography of Johannes Kreisler, introduced into the novel The Worldly Views of Cat Murr, Hoffmann created the tragic image of the inspired musician Kreisler, who rebels against philistinism and is doomed to suffering. Acquaintance with Hoffmann in Russia began in the 1920s. 19th century Hoffmann studied music with his uncle, then with the organist Chr. Podbelsky, later took composition lessons from. Hoffmann organized the Philharmonic Society, Symphony Orchestra in Warsaw, where he served as a state councillor. In 1807–1813 he worked as a conductor, composer and decorator in theaters in Berlin, Leipzig and Dresden. One of the founders of romantic musical aesthetics and criticism, Hoffmann already at an early stage in the development of romanticism in music formulated its essential tendencies and showed the tragic position of a romantic musician in society. He imagined music as a special world (“an unknown kingdom”), capable of revealing to a person the meaning of his feelings and passions, the nature of the mysterious and inexpressible. Hoffmann wrote about the essence of music, about musical compositions, about composers and performers. Hoffmann is the author of the first German. romantic opera Ondine (1813), opera Aurora (1812), symphonies, choirs, chamber compositions.

Hoffmann, a sharp realist satirist, opposes feudal reaction, philistine narrow-mindedness, stupidity and complacency of the German bourgeoisie. It was this quality that Heine highly appreciated in his work. The heroes of Hoffmann are modest and poor workers, most often intellectuals-raznochintsy, suffering from the stupidity, ignorance and cruelty of the environment.

Question 21

Question 22. Romantic irony as the basis for seeing the world and creating the main symbol in Hoffmann's Little Tsakhes.

Fairy tale novel golden pot”(1814), the title of which is accompanied by the eloquent subtitle “A Tale from Modern Times”. The meaning of this subtitle is that the characters in this tale are contemporaries of Hoffmann, and the action takes place in the real Dresden early XIX in. This is how Hoffmann rethinks the Jena tradition of the fairy tale genre - the writer includes a plan of real everyday life in its ideological and artistic structure. The hero of the novel, student Anselm, is an eccentric loser, endowed with a "naive poetic soul", and this makes the world of the fabulous and wonderful accessible to him. Faced with him, Anselm begins to lead a dual existence, falling from his prosaic existence into the realm of a fairy tale, adjacent to ordinary real life. In accordance with this, the short story is compositionally built on the interweaving and interpenetration of the fabulous-fantastic plan with the real. Romantic fairy-tale fantasy in its subtle poetry and elegance finds here in Hoffmann one of its best exponents. At the same time, the real plan is clearly outlined in the novel. Not without reason, some researchers of Hoffmann believed that this novel could be used to successfully reconstruct the topography of the streets of Dresden at the beginning of the last century. A significant role in the characterization of the characters is played by a realistic detail. A widely and vividly developed fairy-tale plan with many bizarre episodes, so unexpectedly and seemingly randomly invading the story of real everyday life, is subject to a clear, logical ideological and artistic structure of the short story, in contrast to the deliberate fragmentation and inconsistency in the narrative manner of most early romantics. The two-dimensional nature of Hoffmann's creative method, the two-world nature in his worldview, were reflected in the opposition of the real and the fantastic world and in the corresponding division of the characters into two groups. Konrektor Paulman, his daughter Veronika, registrar Geerbrand - prosaically thinking Dresden townsfolk, which can be attributed, in the author's own terminology, to good people, devoid of any poetic flair. They are opposed by the archivist Lindhorst with his daughter Serpentina, who came to this philistine world from a fantastic fairy tale, and the dear eccentric Anselm, whose poetic soul opened the fairy-tale world of the archivist. In the happy ending of the novel, which ends with two weddings, its ideological intent is fully interpreted. The court adviser becomes the registrar Geerbrand, to whom Veronika gives her hand without hesitation, having abandoned her passion for Anselm. Her dream comes true - “she lives in a beautiful house in the New Market”, she has “a hat of the latest style, a new Turkish shawl”, and, having breakfast in an elegant negligee by the window, she gives orders to the servants. Anselm marries Serpentina and, having become a poet, settles with her in fabulous Atlantis. At the same time, he receives as a dowry a “pretty estate” and a golden pot, which he saw in the archivist’s house. The golden pot - this peculiar ironic transformation of Novalis' "blue flower" - retains the original function of this romantic symbol. It can hardly be considered that the end storyline Anselm - Serpentina is a parallel to the philistine ideal, embodied in the union of Veronica and Geerbrand, and the golden pot is a symbol of bourgeois happiness. After all, Anselm does not give up his poetic dream, he only finds its realization. The philosophical idea of the short story about the incarnation, the realm of poetic fantasy in the world of art, in the world of poetry, is affirmed in the last paragraph of the short story. Its author, suffering from the thought that he has to leave the fabulous Atlantis and return to the miserable squalor of his attic, hears the encouraging words of Lindhorst: “Weren’t you yourself just in Atlantis and don’t you own there, at least, a decent manor the poetic property of your mind? Is Anselm's bliss nothing else than life in poetry, which reveals the sacred harmony of all that exists as the deepest of the mysteries of nature! highly appreciated Hoffmann's satirical talent, noting that he was able to "depict reality in all its truth and execute philistinism ... his compatriots with poisonous sarcasm."

Question 23. Romantic. grotesque as the basis for seeing the world and creating the main symbol in "Little Tsakhes".

The years 1815-1830 in Germany, as well as throughout Europe, are the dead time of the regime of the Holy Alliance. In German romanticism, complex processes take place during this period that significantly change its character. In particular, the features of tragedy are intensified, evidence of which is primarily the work of Ernst Theodor Amadeus Hoffmann (1776-1822). Relatively short creative way writer - 1808-1822 - covers mainly the time of the post-Napoleonic reaction in Germany. As an artist and thinker, Hoffmann is successively associated with the Jena school. He develops many of the ideas of F. Schlegel and Novalis, such as the doctrine of universal poetry, the concept of romantic irony and the synthesis of arts. A musician and composer, the author of the first romantic opera (Ondine, 1814), a decorative artist and a master of graphic drawing, Hoffmann, like no one else, was close to not only comprehending, but also practically implementing the idea of synthesis. The tale "Little Tsakhes, nicknamed Zinnober" (1819), like the "Golden Pot", stuns with its bizarre fantasy. Hoffmann's program hero Balthazar belongs to the romantic tribe of enthusiastic artists, he has the ability to penetrate the essence of phenomena, secrets that are inaccessible to reason are revealed to him. ordinary people. At the same time, the career of Tsakhes - Zinnober, who became a minister at the princely court and a holder of the Order of the Green-Spotted Tiger with twenty buttons, is grotesquely presented here. Satire is socially specific: Hoffmann denounces the mechanism of power in the feudal principalities, and the social psychology generated by autocratic power, and the poverty of the townsfolk, and, finally, the dogmatism of university science. At the same time, it is not limited to denunciation of specific carriers of social evil. The reader is invited to reflect on the nature of power, on how public opinion is formed, political myths are created. The tale of the three golden hairs of Tsakhes acquires an ominous generalizing meaning, becoming a story about how the alienation of the results of human labor is brought to the point of absurdity. Before the power of the three golden hairs, talents, knowledge, moral qualities lose their meaning, even love is wrecked. And although the tale has a happy ending, it, like in the Golden Pot, is quite ironic. Within the framework of the romantic worldview and the artistic means of the romantic method, one of the great evils of modern public system. However, the unfair distribution of spiritual and material wealth seemed fatal to the writer, arising under the influence of irrational fantastic forces in this society, where power and wealth are endowed with insignificant people, and their insignificance, in turn, by the power of power and gold turns into an imaginary brilliance of mind and talents. The debunking and overthrowing of these false idols, in accordance with the nature of the writer's worldview, comes from outside, thanks to the intervention of the same irrational fairy-tale-magical forces (the sorcerer Prosper Alpanus, in his confrontation with the fairy Rosabelverde, patronizing Balthazar), which, according to Hoffmann, gave rise to this ugly social phenomenon. The scene of indignation of the crowd bursting into the house of the all-powerful minister Zinnober after he lost his magical charm, of course, should not be taken as an attempt by the author to seek a radical means of eliminating the social evil that is symbolized in the fantastically fabulous image of the freak Tsakhes. This is just one of the minor details of the plot, which by no means has a programmatic character. The people are not rebelling against the evil temporary minister, but only mocking the disgusting freak, whose appearance finally appeared before them in its true form. Grotesque within the framework of the fairy-tale plan of the novel, and not socially symbolic, is the death of Tsakhes, who, fleeing the raging crowd, drowns in a silver chamber pot.

Question 24. The originality of the composition in Hoffmann's Cat Murre.

The satirical plan of the novel is extensive: court morals are subjected to critical ridicule - intrigues, hypocrisy, a constant desire to hide behind the pompous conventions of etiquette and feigned politeness mental squalor and moral uncleanliness, the psychology of a German philistine, at the same time a philistine with pretensions. At the same time, this is a kind of parody of the romantic fad, when romanticism becomes a fashion or rather a pose behind which vulgarity and spiritual poverty hide. It can be said that in Hoffmann, along with the romantic hero, a kind of romantic “anti-hero” appears. All the more significant against this background is the image of the program hero - Johannes Kreisler. It is Kreisler who personifies conscience and the highest truth in this world. The bearer of the idea of justice, he is more insightful than others and sees what others do not notice. Illness and death prevented Hoffmann from writing the last, third volume of this novel. But even in its unfinished form, it is one of the most significant works of the writer, representing in the most perfect artistic embodiment almost all the main motives of his work and artistic style. The composition of the novel is peculiar and unusual, based on the principle of duality, the opposition of two antithetical principles, which in their development are skillfully combined by the writer into a single line of narration. A purely formal technique becomes the main ideological and artistic principle of the embodiment of the author's idea, philosophical understanding of moral, ethical and social categories. The autobiographical narrative of a certain scientist cat Murr is interspersed with excerpts from the life of the composer Johannes Kreisler. Already in the combination of these two ideological and plot plans, not only by their mechanical combination in one book, but also by the plot detail that the owner of the cat Murra, Meister Abraham is one of the main characters in Kreisler's biography, a deep ironic parodic meaning is laid. dramatic destiny true artist, a musician, tormented in an atmosphere of petty intrigues, surrounded by high-born nonentities of the chimerical Principality of Sighartsweiler, the being of the “enlightened” philistine Murr is contrasted. Moreover, such an opposition is given in a simultaneous comparison, because Murr is not only the antipode of Kreisler.

The whole cat-and-dog world in the novel is a satirical parody of the estate society of the German states: on the “enlightened” philistine burghers, on student unions - burschenschafts, on the police (yard dog Achilles), on the bureaucratic nobility (spitz), on the highest aristocracy (poodle Scaramouche , Salon of the Italian Greyhound Badina).

Question 25

“The Serapion Brothers” (vols. 1-2 - 1819, vol. 3 - 1820, vol. 4 - 1821) - a collection of short stories very different in genre, united by a framing short story, in which a circle of four friends performs, taking turns reading their works and representing, in fact, different aesthetic positions. The story told here about how a person created his own imaginary world in the middle of the real world, having retired to live in the forest and imagining himself as a hermit Serapion, represents a whole aesthetic concept: an illusion must be recognized as reality. However, in the disputes of fellow writers, the opposite principle is also indicated: the basis for any fantasy must certainly be real life. The frame of The Serapion Brothers is very arbitrary: Hoffmann included stories from different years in it, and there is no direct connection between them. Among them are novels historical theme(“Doge and Dogaressa”), and a number of short stories about musicians and artists (“Fermata”, “Artus Hall”), and a radiant and festive fairy tale “The Nutcracker and the Mouse King”. The “Serapion principle” is also interpreted in the sense that the artist must fence himself off from public life modernity and serve only art. The latter, in turn, is a self-sufficient world, rising above life, standing apart from the political struggle. With the undoubted fruitfulness of this aesthetic thesis for many of Hoffmann's works, it cannot be emphasized that his work itself, in its certain strengths, by no means always fully corresponded to these aesthetic principles, as evidenced by a number of his works. recent years life, in particular the fairy tale "Little Tsakhes, nicknamed Zinnober" (1819).

Question 26

The years 1815-1830 in Germany, as well as throughout Europe, are the dead time of the regime of the Holy Alliance. In German romanticism, complex processes take place during this period that significantly change its character. In particular, the features of tragedy are intensified, evidence of which is primarily the work of Ernst Theodor Amadeus Hoffmann (1776-1822). The relatively short career of the writer - 1808-1822. - covers mainly the time of the post-Napoleonic reaction in Germany. As an artist and thinker, Hoffmann is successively associated with the Jena school. He develops many of the ideas of F. Schlegel and Novalis, such as the doctrine of universal poetry, the concept of romantic irony and the synthesis of arts. A musician and composer, the author of the first romantic opera (Ondine, 1814), a decorative artist and a master of graphic drawing, Hoffmann, like no one else, was close to not only comprehending, but also practically implementing the idea of synthesis. The fate of the human person remains, as for other romantics, central to Hoffmann. Developing the ideas of Wackenroder, Novalis and other Yenese, Hoffmann focuses especially close attention on the personality of the artist, in which, in his opinion, all the best that is inherent in a person and is not spoiled by selfish motives and petty worries is most fully revealed. The short stories "Cavalier Gluck" and "Don Juan" not only provide a brilliant example of the poetic reproduction of musical images - the collisions presented there reveal the most important theme of Hoffmann: the clash between the artist and the vulgar environment surrounding him. These short stories were included in the book “Fantasy in the manner of Callot. Leaflets from the diary of a wandering enthusiast" (1814-1815). This theme runs through many works: the artist is forced to serve those who, with all their worldview, interests, tastes, are deeply alien to real art. An artist for Hoffmann is not a profession, but a vocation. It can be a person who is not engaged in this or that art, but gifted with the ability to see and feel. Such is Anselm from the story "The Golden Pot" (1814). The story has a subtitle: "A Tale from New Times". This is one of those genre transformations that literature owes to the German Romantics. Like the Jensen, most of Hoffmann's works are based on the artist's conflict with society. The original romantic antithesis of the artist and society is at the heart of the writer's attitude. Following the Jens, Hoffmann considers the creative person to be the highest embodiment of the human "I" - an artist, an "enthusiast", in his terminology, who has access to the world of art, the world of fairy tale fantasy, those are the only areas where he can fully realize himself and find refuge from the real philistine everyday life. But the embodiment and resolution of the romantic conflict in Hoffmann are different than in the early romantics. Through the denial of reality, through the artist's conflict with it, the Jensen rose to the highest level of their worldview - aesthetic monism, when the whole world became for them the sphere of poetic utopia, fairy tale, the sphere of harmony in which the artist comprehends himself and the Universe. romantic hero Hoffmann lives in the real world (starting with Gluck's gentleman and ending with Kreisler). With all his attempts to break out of it into the world of art, into the fantastic fairy-tale realm of Jinnistan, he remains surrounded by real, concrete historical reality. Neither a fairy tale nor art can bring him harmony in this real world, which ultimately subjugates them. Hence the constant tragic contradiction between the hero and his ideals, on the one hand, and reality, on the other. Hence the dualism from which Hoffmann's heroes suffer, the two worlds in his works, the insolubility of the conflict between the hero and outside world in most of them, the characteristic duality of the writer's creative manner.

Question 27. English romanticism: general characteristics.

England can be considered, to a certain extent, the ancestral home of romanticism. The early bourgeois development there also gave rise to the first anti-bourgeois aspirations, which later became characteristic of all romantics. The very concept of "romantic" arose in English literature as early as the 17th century, during the era of the bourgeois revolution. Throughout the XVIII century. in England, many essential features of the romantic worldview were outlined - ironic self-esteem, anti-rationalism, the idea of \u200b\u200bthe "original", "extraordinary", "inexplicable", craving for antiquity. And critical philosophy, and the ethics of rebellious individualism, and the principles of historicism, including the idea of "people" and "folk", developed over time precisely from English sources, but already in other countries, primarily in Germany and France. So the initial romantic impulses that arose in England returned to their native soil in a roundabout way. The decisive impetus that crystallized romanticism as a spiritual trend came to the British from outside. It was the impact of the Great french revolution. In England, at the same time, the so-called “quiet”, although in fact it was not at all quiet and very painful, revolution was taking place - industrial; its consequences were not only the replacement of the spinning wheel with a loom, and muscle strength with a steam engine, but also profound social changes: the peasantry disappeared, the proletariat, rural and urban, was born and grew, the middle class, the bourgeoisie, finally conquered the position of “master of life”. The chronological framework of English romanticism almost coincides with German (1790–1820). The English, in comparison with the Germans, tend to be less theorizing and more oriented towards poetic genres. Exemplary German romanticism is associated with prose (although almost all of its adherents wrote poetry), English with poetry (although novels and essays were also popular). English romanticism is focused on the problems of the development of society and humanity as a whole. English romantics have a sense of catastrophic historical process. The poets of the "lake school" (W. Wordsworth, R. Southey) idealize antiquity, sing of patriarchal relations, nature, simple, natural feelings. The work of the poets of the "lake school" is imbued with Christian humility, they tend to appeal to the subconscious in man. Romantic poems on medieval subjects and historical novels V. Scott is distinguished by an interest in his native antiquity, in oral folk poetry.
The main theme of the work of J. Keats, a member of the "London Romantics" group, which in addition to him included Ch. Lam, W. Hazlitt, Lee Hunt, is the beauty of the world and human nature. The greatest poets of English romanticism are Byron and Shelley, poets of the "storm" who were carried away by the ideas of struggle. Their element is political pathos, sympathy for the oppressed and disadvantaged, protection of individual freedom. Byron remained true to his poetic ideals until the end of his life, death found him in the thick of the "romantic" events of the Greek War of Independence. The images of rebel heroes, individualists with a sense of tragic doom, for a long time retained their influence on the entire European literature, and following the Byronian ideal was called "Byronism".
Poetry Blake contains all the main ideas that will become the main ones for romanticism, although in its contrasts an echo of the rationalism of the previous era is still felt. Blake perceived the world as an eternal renewal and movement, which makes his philosophy related to the ideas of the German philosophers of the romantic period. At the same time, he was able to see only what his imagination revealed to him. Blake wrote: "The world is an endless vision of Fantasy or Imagination." These words define the foundations of his work: Democracy and humanism.

Question 28. Images and ideas of W. Blake.

An early, bright and at the same time insufficiently recognized phenomenon of English romanticism was the work of William Blake (1757-1827). He was the son of an average London merchant, his haberdasher father, noticing his son's ability to draw early, sent him first to an art school, and then as an apprentice to an engraver. In London, Blake spent his whole life and became, to a certain extent, the poet of this city, although his imagination was torn upwards, into transcendental spheres. In drawings and poems, which he did not print, but engraved like drawings, Blake created his own special world. These are like waking dreams, and in his life Blake from an early age said that he saw miracles in broad daylight, golden birds in the trees, and in later years he said that he talked with Dante, Christ and Socrates. Although the professional environment did not accept him, Blake found true friends who helped him financially under the guise of "orders"; at the end of his life, which nevertheless turned out to be very difficult (especially in 1810-1819), a kind of friendly cult developed around him, as if as a reward. Blake was buried in the center of the City of London, next to Defoe, in the old Puritan cemetery, where preachers, propagandists and commanders of the times of the 17th century revolution had previously found peace. Just as Blake made homemade engraved books, so did he create an original homemade mythology, the components of which turned out to be taken by him in heaven and in the underworld, in the Christian and pagan religions, from old and new mystics. The task of this special, rationalized religion is a universal synthesis. The combination of extremes, their connection through struggle - such is the principle of building Blake's world. Blake seeks to bring heaven to earth, or rather, to reunite them, the crown of his faith is a deified person. Blake created his main works in the 18th century. These are “Songs of Innocence” (1789) and “Songs of Experience” (1794), “The Marriage of Heaven and Hell” (1790), “The Book of Urizen” (1794). In the 19th century he wrote "Milton" (1804), "Jerusalem, or the Incarnation of the Giant Albion" (1804), "The Ghost of Abel" (1821). In terms of genre and form, Blake's poetry is also a picture of contrasts. Sometimes these are lyrical sketches, short poems that capture a street scene or a movement of feeling; sometimes these are grandiose poems, dramatic dialogues, illustrated with equally large-scale author's drawings, on which there are giants, gods, powerful human figures symbolizing Love, Knowledge, Happiness, or unconventional symbolic creatures invented by Blake himself, like Urizen and Los, personifying the forces of knowledge and creativity, or, for example, Theotormon - the embodiment of weakness and doubt. Blake's whimsical gods are meant to fill in the gaps in the already known mythology. These are symbols of those forces that are not indicated either in ancient or biblical myths, but which, according to the poet, exist in the world and determine the fate of man. Everywhere and in everything, Blake sought to look deeper, further than was customary. “In one moment to see eternity and the sky - in a cup of a flower” is Blake's central principle. It's about about the vision of the inner - not the outer. In every grain of sand, Blake sought to see a reflection of the spiritual essence. Blake's poetry and all his work is a protest against the leading tradition of British thinking, empiricism. The notes left by Blake in the margins of the writings of Bacon, the "father of modern science," really show how alien Blake was from the beginning to this fundamental principle of modern thinking. For him, Baconian "certainty" is the worst lie, just as Newton appears in Blake's pantheon as a symbol of evil and deceit. Poetry Blake contains all the main ideas that will become the main ones for romanticism, although in its contrasts an echo of the rationalism of the previous era is still felt.

Blake perceived the world as an eternal renewal and movement, which makes his philosophy related to the ideas of the German philosophers of the romantic period. At the same time, he was able to see only what his imagination revealed to him. Blake wrote: "The world is an endless vision of Fantasy or Imagination." These words define the foundations of his work: Democracy and humanism. Beautiful and bright images appear in the first cycle (Songs of Innocence), they are overshadowed by the image of Jesus Christ. In the introduction to the second cycle, one can feel the tension and uncertainty that arose during this period in the world, the author sets a different task, and among his poems there is "Tiger". In the first two lines, an image contrasting with the Lamb (lamb) is created. For Blake, the world is one, although it consists of opposites. This idea would become fundamental to romanticism.

As a revolutionary romantic, Blake consistently rejects the gospel's central message of humility and submissiveness. Blake firmly believed that in the end the people would win, that on the green soil of England "Jerusalem" would be built - a just, classless society of the future.

Question 29. Leikist poetry: main themes and genres.

From English. Lake - a lake. LAKE SCHOOL poets, a group of English, romantic poets con. 18 - beg. 19th centuries, who lived in the north of England, in the so-called. "Land of the Lakes" (Counties of Westmoreland and Cumberland). Poets "O. sh." U. Wordsworth, S. T. Coleridge and R. Southey also known under the name of "leukists" (from English, lake-lake). Contrasting his work with the classicist and enlightening. traditions of the 18th century, they carried out the romantic. reform in English. poetry. At first, warmly welcoming the Great French. revolution, the poets "O. sh." subsequently recoiled from it, not accepting the Jacobin terror; political the views of the "leukists" became more and more reactionary over time. Rejecting rationalism. ideals of the Enlightenment, poets "O. sh." opposed them with faith in the irrational, in the traditional. Christ. values, in the idealized Middle Ages. past. Over the years, there has been a decline in the very poetic. creativity of the "leukists". However, their early, best products. are still the pride of English poetry. "O. sh." had a great influence on the English, romantic poets of the younger generation (J. G. Byron, J. Keats). The poets of the "lake school" (W. Wordsworth, R. Southey) idealize antiquity, sing of patriarchal relations, nature, simple, natural feelings. The work of the poets of the "lake school" is imbued with Christian humility, they tend to appeal to the subconscious in man. Romantic poems on medieval plots and historical novels by W. Scott are distinguished by an interest in native antiquity, in oral folk poetry. Wordsworth's legacy, in proportion to his long life, is quite extensive. These are lyrical poems, ballads, poems, of which the most famous are "The Walk" (1814), "Peter Bell" (1819), "The Charioteer" (1805-1819), "Prelude" (1805-1850), which is a spiritual autobiography of the poet . He left, in addition, several volumes of correspondence, a lengthy description of the lake district and a number of articles, among which a special place is occupied by the preface to the second edition (1800) of Lyrical Ballads, which played in English literature the role is so significant that it is called the "Foreword": it is like an "introduction" to a whole poetic era.

The work of Ernst Theodor Amadeus Hoffmann (1776-1822)

One of the brightest representatives of late German romanticism - THIS. Hoffman who was a unique individual. He combined the talent of a composer, conductor, director, painter, writer and critic. Quite original described the biography of Hoffmann A.I. Herzen in his early article “Hoffmann”: “Every single day, late in the evening, some person appeared in a wine cellar in Berlin; drank one bottle after another and sat until dawn. But don't imagine an ordinary drunkard; No! The more he drank, the higher his fantasy soared, the brighter, the more fiery humor poured out on everything around him, the more abundantly the witticisms flared up.About the very work of Hoffmann, Herzen wrote the following: “Some stories breathe something gloomy, deep, mysterious; others are pranks of unbridled fantasy, written in the fumes of bacchanalia.<…>Idiosyncrasy, convulsively wrapping around a person's whole life around some thought, madness, subverting the poles of mental life; magnetism, a magical power that powerfully subjugates one person to the will of another - opens up a huge field for Hoffmann's fiery imagination.

The main principle of Hoffmann's poetics is the combination of the real and the fantastic, the ordinary with the unusual, showing the ordinary through the unusual. In "Little Tsakhes", as in "The Golden Pot", treating the material ironically, Hoffmann puts the fantastic in a paradoxical relationship with the most everyday phenomena. Reality, everyday life becomes interesting for him with the help of romantic means. Almost the first among the romantics, Hoffmann introduced modern city in the sphere of artistic reflection of life. The high opposition of romantic spirituality to the surrounding being takes place in him against the background and on the basis of real German life, which in the art of this romance turns into a fantastically evil force. Spirituality and materiality come into conflict here. Hoffmann showed with great force the deadening power of things.

The acuteness of the feeling of contradiction between the ideal and reality was realized in the famous Hoffmannian dual world. The dull and vulgar prose of everyday life was opposed to the sphere of high feelings, the ability to hear the music of the universe. Typologically, all the heroes of Hoffmann are divided into musicians and non-musicians. Musicians are spiritual enthusiasts, romantic dreamers, people endowed with inner fragmentation. Non-musicians are people reconciled with life and with themselves. The musician is forced to live not only in the realm of the golden dreams of a poetic dream, but also constantly confronted with non-poetic reality. This gives rise to irony, which is directed not only to the real world, but also to the world of poetic dreams. Irony becomes a way to resolve contradictions modern life. The sublime is reduced to the ordinary, the ordinary rises to the sublime - this is seen as the duality of romantic irony. For Hoffmann, the idea of a romantic synthesis of the arts was important, which is achieved through the interpenetration of literature, music and painting. Hoffmann's heroes constantly listen to the music of his favorite composers: Christoph Gluck, Wolfgang Amadeus Mozart, turn to the painting of Leonardo da Vinci, Jacques Callot. Being both a poet and a painter, Hoffmann created a musical-pictorial-poetic style.

The synthesis of arts determined the originality of the internal structure of the text. The composition of prose texts resembles a sonata-symphonic form, which consists of four parts. The first part outlines the main themes of the work. In the second and third parts there is their contrasting opposition, in the fourth part they merge, forming a synthesis.

There are two types of fantasy in Hoffmann's work. On the one hand, joyful, poetic, fairy-tale fantasy, dating back to folklore ("The Golden Pot", "The Nutcracker"). On the other hand, dark, gothic fantasy of nightmares and horrors, associated with mental deviations of a person (“ Sandman"," Elixirs of Satan "). The main theme of Hoffmann's work is the relationship between art (artists) and life (philistine philistines).

Examples of such a division of heroes are found in the novel "Worldly views of the cat Murr", in short stories from the collection "Fantasy in the manner of Callo": "Cavalier Glitch", "Don Juan", "Golden Pot".

Novella "Cavalier Glitch"(1809) - Hoffmann's first published work. The short story has a subtitle: "Memories of 1809". The dual poetics of titles is characteristic of almost all of Hoffmann's works. It also determined other features of the writer's artistic system: the duality of the narrative, the deep interpenetration of the real and the fantastic principles. Gluck died in 1787, the events of the novel date back to 1809, and the composer in the novel acts as a living person. The meeting between the deceased musician and the hero can be interpreted in several contexts: either this is a mental conversation between the hero and Gluck, or a game of imagination, or the fact of the hero's intoxication, or a fantastic reality.

In the center of the novel is the opposition of art and real life, the society of art consumers. Hoffmann seeks to express the tragedy of the misunderstood artist. “I gave out the sacred to the uninitiated…” says Cavalier Gluck. His appearance on Unter den Linden, where the townsfolk drink carrot coffee and talk about shoes, is blatantly absurd, and therefore phantasmagoric. Gluck in the context of the story becomes the highest type of artist who continues to create and improve his works even after death. The idea of the immortality of art was embodied in his image. Music is interpreted by Hoffmann as a secret sound-writing, an expression of the inexpressible.

The short story presents a double chronotope: on the one hand, there is a real chronotope (1809, Berlin), and on the other hand, another fantastic chronotope is superimposed on this chronotope, which expands thanks to the composer and music, which breaks all spatial and temporal restrictions.

In this short story, for the first time, the idea of a romantic synthesis of different artistic styles reveals itself. It is present due to the mutual transitions of musical images into literary ones and literary ones into musical ones. The whole short story is full of musical images and fragments. "Cavalier Gluck" is a musical novella, a fictional essay about Gluck's music and about the composer himself.

Another type of musical novel - "Don Juan"(1813). The central theme of the novel is the staging of Mozart's opera on the stage of one of the German theaters, as well as its interpretation in a romantic vein. The novella has a subtitle - "An unprecedented incident that happened to a certain traveling enthusiast." This subtitle reveals the peculiarity of the conflict and the type of hero. The conflict is based on the clash of art and everyday life, the confrontation between a true artist and a layman. Main character- a traveler, a wanderer, on behalf of whom the story is being told. In the perception of the hero, Donna Anna is the embodiment of the spirit of music, musical harmony. Through music, the higher world opens up to her, she comprehends the transcendental reality: “She admitted that for her all life is in music, and sometimes it seems to her that something reserved, which is closed in the secrets of the soul and cannot be expressed in words, she comprehends when she sings ". For the first time, the motive of life and play, or the motive of life-creation, which appears for the first time, is comprehended in a philosophical context. However, the attempt to achieve the highest ideal ends tragically: the death of the heroine on stage turns into the death of the actress in real life.

Hoffmann creates his own literary myth about Don Juan. He refuses the traditional interpretation of the image of Don Juan as a tempter. He is the embodiment of the spirit of love, Eros. It is love that becomes a form of communion with the higher world, with the divine fundamental principle of being. In love, Don Juan tries to show his divine essence: “Perhaps, nothing here on earth exalts a person in his innermost essence like love. Yes, love is that mighty mysterious force that shakes and transforms the deepest foundations of being; what a marvel, if Don Juan in love sought to satisfy the passionate anguish that oppressed his chest. The tragedy of the hero is seen in his duality: he combines the divine and satanic, creative and destructive principles. At some point, the hero forgets about his divine nature and begins to mock nature and the creator. Donna Anna was supposed to save him from the search for evil, as she becomes an angel of salvation, but Don Juan rejects repentance and becomes the prey of hellish forces: “Well, if heaven itself chose Anna, so that it was in love, through the machinations of the devil that ruined him, to reveal to him the divine essence of his nature and save him from the hopelessness of empty aspirations? But he met her too late, when his wickedness reached its peak, and only the demonic temptation to destroy her could wake up in him.

Novella "Golden Pot"(1814), like those discussed above, has a subtitle: "A Tale from Modern Times." The fairy tale genre reflects the dual worldview of the artist. The basis of the tale is the everyday life of Germany at the end XVIII- start XIXcentury. Fantasy is layered on this background, due to this, a fabulously everyday world image of the novel is created, in which everything is plausible and at the same time unusual.

The protagonist of the tale is the student Anselm. Worldly awkwardness is combined in it with deep dreaminess, poetic imagination, and this, in turn, is complemented by thoughts about the rank of a court adviser and a good salary. The plot center of the novel is associated with the opposition of two worlds: the world of the philistines and the world of romantic enthusiasts. In accordance with the type of conflict, all the characters form symmetrical pairs: Student Anselm, archivist Lindgorst, snake Serpentina - heroes-musicians; their counterparts from the everyday world: the registrar Geerbrand, the con-rector Paulman, Veronica. The theme of duality plays an important role, as it is genetically linked to the concept of duality, the bifurcation of an internally unified world. In his works, Hoffmann tried to present a person in two opposite images of spiritual and earthly life and to depict an existential and everyday person. In the emergence of doubles, the author sees the tragedy of human existence, because with the appearance of a double, the hero loses integrity and breaks up into many separate human destinies. There is no unity in Anselm; love for Veronica and for the embodiment of the highest spiritual principle, Serpentina, live in him at the same time. As a result, the spiritual principle wins, the hero overcomes the fragmentation of the soul by the power of his love for Serpentina, and becomes a true musician. As a reward, he receives a golden pot and settles in Atlantis - the world of endless topos. This is a fabulously poetic world in which the archivist rules. The world of the final topos is connected with Dresden, which is dominated by dark forces.

The image of the golden pot in the title of the novel takes on a symbolic meaning. This is a symbol of the hero's romantic dream, and at the same time a rather prosaic thing necessary in everyday life. From here arises the relativity of all values, which, together with the author's irony, helps to overcome the romantic dual world.

Short stories of 1819-1821: "Little Tsakhes", "Mademoiselle de Scudery", "Corner Window".

Based on the fairy tale novel "Little Tsakhes called Zinnober" (1819) there is a folklore motif: the plot of appropriating the hero's feat to others, appropriating the success of one person to others. The short story is distinguished by complex socio-philosophical issues. The main conflict reflects the contradiction between the mysterious nature and the hostile laws of society. Hoffman opposes personal and mass consciousness, pushing individual and mass man.

Tsakhes is a lower, primitive being, embodying the dark forces of nature, an elemental, unconscious principle that is present in nature. He does not seek to overcome the contradiction between how others perceive him and who he really is: “It was folly to think that the external beautiful gift with which I endowed you, like a ray, would penetrate your soul and awaken a voice that would tell you : "You are not the one for whom you are revered, but strive to be equal to the one on whose wings you, weak, wingless, fly up." But the inner voice did not wake up. Your inert, lifeless spirit could not rise, you did not lag behind stupidity, rudeness, obscenity. The death of the hero is perceived as something equivalent to his essence and his whole life. With the image of Tsakhes, the story includes the problem of alienation, the hero alienates all the best from other people: external data, creativity, love. Thus, the theme of alienation turns into a situation of duality, the loss of inner freedom by the hero.

The only hero who is not subject to fairy magic is Balthazar, a poet in love with Candida. He is the only hero who is endowed with a personal, individual consciousness. Balthazar becomes a symbol of inner, spiritual vision, which everyone around is deprived of. As a reward for exposing Tsakhes, he receives a bride and a wonderful estate. However, the well-being of the hero is shown at the end of the work in an ironic manner.

Novella "Mademoiselle de Scudery"(1820) is one of the earliest examples of a detective story. The plot is based on a dialogue between two personalities: Mademoiselle de Scudery, a French writerXVIIcentury - and Rene Cardillac - the best jeweler in Paris. One of the main problems is the problem of the fate of the creator and his creations. According to Hoffmann, the creator and his art are inseparable from each other, the creator continues in his work, the artist - in his text. The alienation of works of art from the artist is tantamount to his physical and moral death. A thing created by a master cannot be a subject of sale; a living soul dies in a product. Cardillac gets his creations back by killing customers.

Another important theme of the novel is the theme of duality. Everything in the world is dual double life leads Cardillac. His double life reflects the day and night sides of his soul. This duality is already present in the portrait description. The fate of man is also dual. Art, on the one hand, is an ideal model of the world, it embodies the spiritual essence of life and man. On the other hand, in the modern world, art becomes a commodity, and thus it loses its originality, its spiritual meaning. Paris itself, in which the action takes place, turns out to be dual. Paris appears in day and night images. Daytime and nighttime chronotope become a model modern world, the fate of the artist and art in this world. Thus, the motif of duality includes the following issues: the very essence of the world, the fate of the artist and art.

Hoffmann's latest short story - "corner window"(1822) - becomes the writer's aesthetic manifesto. The artistic principle of the novel is the principle of the corner window, that is, the depiction of life in its real manifestations. Market life for the hero is a source of inspiration and creativity, it is a way of immersion in life. Hoffmann for the first time poetizes the corporeal world. The principle of the corner window includes the position of the artist-observer who does not interfere with life, but only generalizes it. It communicates to life the features of aesthetic completeness, inner integrity. The short story becomes a kind of model of a creative act, the essence of which is the fixation of the artist's life impressions and the rejection of their unambiguous assessment.

The general evolution of Hoffmann can be represented as a movement from the image unusual world to poeticization of everyday life. The type of hero also undergoes changes. The hero-observer comes to replace the hero-enthusiast, the subjective style of the image is replaced by an objective artistic image. Objectivity presupposes that the artist follows the logic of real facts.

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