What Odysseus looks like description. Odysseus (mythology) - king of Ithaca, son of Laertes and Anticlea, husband of Penelope and father of Telemachus
Subject.Hoffmann "The Golden Pot".
Target: introduce students to the work of one of the outstanding romanticists of Europe; show features romantic concept Hoffman; analysis training romantic work; strengthening questioning skills; practicing the skills of a coherent answer to a question.
Equipment: portrait of the writer, filmstrip on the biography and creative path of the writer; book exhibition works by Hoffmann, a selection of illustrations for the “Golden Pot” by various artists.
Epigraph: Just a minute, I wanted to ask:
Is it easy for Hoffmann to have three names?
Oh, to grieve and get tired for three people
To the one who is Ernst, and Theodore, and Amadeus.
A. Kushner
During the classes
1. Check homework according to the writer's biography .
W/D - Group 3 (reproducing level) – answer the quiz questions.
Quiz questions
1. Where and when was E. born? (January 24, 1776 in Konigsberg)
2. What is the tragedy of the Hoffmann family? (In 1778, my parents divorced, I stayed with my mother)
3. Name the people whose friendship the writer treasured throughout his life. (Theodor Hippel, Eduard Gitzig)
4. What was Hoffmann's reading range in his youth? (“The Sorrows of Young Werther” by Goethe, “Confession” by Rousseau, Shakespeare, Stern, Jean-Paul)
5. Yours Hoffmann replaced the third name “Wilhelm” with “Amadeus”. What was the reason for this replacement? (Love of Mozart's music - took Mozart's name)
6. What kind of education did Hoffman receive and what did he do after graduation? (Legal, efficient judicial officer)
7. Why was he exiled to Plock and then often persecuted, even before his death? (For caricatures of the authorities and for the fact that the authorities recognized themselves in his heroes)
8. How it started creative recognition? (From the production of “Merry Musicians” at the musical theater)
9. What role did Julia Mark play in Hoffmann’s life? (Tragic love)
10. Who did Hoffmann perform as in the Bamberg musical theater? (Composer, stage director, decorator, librettist, critic)
11. Name the work that brought Hoffmann the most great fame. (Ondine" libretto by Fouquet)
12. Name the most famous prose works Hoffmann, written in the last 9 years of his life. (“Callo’s Fantasies”, “Kreisleriana”, “Serapion Brothers”, “Elixirs of the Devil”, “Worldly Views of Murr the Cat”, “Golden Pot”, “Nutcracker”, “Corner Window”, etc.)
13. Give the date of the writer’s death. (June 25, 1822 – 46 years old)
W/D - For the 1st group (creative level) and 2nd (constructive level) - a business game: “Editor of the publishing house ZhZL.”
- You are the editor of the ZhZL publishing house, you need to prove the legality of publishing the volume “E. , Life wonderful person" Give arguments from the writer’s biography, formulate it in the form of an oral presentation to members of the editorial board. Convince your colleagues.
Oral presentations by students of these groups are heard, the best are noted.
Self-testing of quiz answers by group 3..
2.Analysis of the fairy tale “The Golden Pot”. Form - round table conversation.
Even before the discussion begins, students take their seats so that they sit facing each other so that they can see each other clearly. The atmosphere should be relaxed. Students ask questions prepared at home about the content of this work. Questions can be asked not only to a specific student who must answer this question, but questions can be directed to the teacher. When asking a question, the student says to whom he is asking the question.
Approximate range of questions for discussion
· What is the genre of this work? (Fairy tale)
· Is this tale folklore? (No, it’s a literary fairy tale, the so-called fairy tale from modern times)
· What can you say about the main character of the work? (A student, poor, unlucky, sometimes funny loser - that is, endowed individual traits, not always positive)
· What attracts the reader to this character? (Enthusiast, imaginative poet)
· What is the conflict of the tale? (Conflict – a collision of the real world with the dream world: he pushed a basket of apples from an evil old woman)
· How is the clash of Hoffmann's two worlds reflected in the depiction of the love line of the plot? (Serpentina – Veronica)
· What are Serpentina and Veronica like? (Both are attractive in their own way: Veronica represents the sphere of everyday life, dreams of achieving everything in real life: dreams of being a court councilor. Serpentina is the embodiment of a high spirit)
· How is the world of everyday life reflected through a symbol in a fairy tale? (The witch is an everyday force, terrible, but also attractive, attractive)
· What is philistinism and how does it affect a person as depicted by Hoffmann? (It deprives a person of high aspirations)
· How does Hoffman depict the triumph of things over man? (Things live human life)
· What is Hoffmann’s contrast to this terrible world of materialism? (Dream World)
· Which of the fairy tale characters belongs to the dream world? ( Fairy tale characters: prince of spirits, Soloman, his daughters - three green snakes)
· What is the world like in which these characters live? (Objects in it lose their material omnipotence: music, colors, poetry, the high world of dreams)
· Is this world open to everyone? (For enthusiasts only)
· How does he behave? main character? Which world does he choose? (Anselm now rushes into the world of poetry, now into everyday life - to Veronica)
· What role does the feeling of being in a closed environment play in Anselm’s choice? glass vessel? (In this way he understands even more clearly his loneliness in the world of materialism, the vacuum of spiritual life, emotional poverty)
· What choice does the hero make? (After he shakes off everyday life, marries Serpentine, they move to the fairy-tale kingdom of Atlantis)
· Why is the ending riddled with irony? (Atlantis is a dream, but not a reality. Hoffman questions the very romantic dream. He feels fear of the phenomena of life in their irrationality)
· What is Hoffmann's aesthetic ideal? (Creative world, dream world)
Salary – Name the features of Hoffmann's romanticism in the fairy tale “The Golden Pot”. Write them down in your notebooks.
Features of romanticism in the fairy tale “The Golden Pot”
1. Subjectivism.
2. The connection between romanticism and folklore.
3. the position of a “natural” person.
4. Combination of reality and fiction.
5. Showing the complexity and contradictions of human character.
6. Synthesis of arts (literature, music, visual arts, light music).
7. Use of symbolism.
8. Grotesque.
Conclusion: The main conflict of the work is between dream and reality, which is reflected in the construction of the work - in the romantic dual world. Hoffmann's aesthetic ideal is a creative world, a world of dreams and beauty. The combination of reality and fantasy in the story further emphasizes the incompatibility of these two worlds. Synthesis of arts
Music and poetry are ideal forms of expressing a romantic idea of the world and man, the author’s “I”. The fairy tale is dominated by subjectivism as the leading principle in the approach to the world and man in romantic art. Fantasy and imagination play a big role. With irony, Goffman destroys normative aesthetics. "Fairy tale" as a "canon of poetry" (Novalis). Grotesque, the connection between romanticism and folklore is not only at the genre level. Poeticization of the “natural” person as a bearer of the individual, unique. Goffman develops an idea of the complexity and contradictoriness of human nature.
3. Lesson summary.
4. Homework.
The fairy tale “The Golden Pot” most fully reflects the multidirectionality and broad outlook of its author. Hoffmann was not only a gifted and successful writer, but also talented artist and a composer, and had a legal education. That is why it so vividly conveys the chimes of crystal bells and the colors of the magical world. In addition, this work is valuable because all the main trends and themes of romanticism are reflected here: the role of the arts, dual worlds, love and happiness, routine and dreams, knowledge of the world, lies and truth. The “Golden Pot” is truly unique in its extraordinary versatility.
Romanticism is not only about dreams of magic or the search for adventure. It is important to keep in mind the historical events against the background of which this direction developed. “The Golden Pot” is part of the collection “Fantasies in the Manner of Callot.” It was created in 1813-15, and this is the period Napoleonic Wars. Dreams of freedom, equality and brotherhood are shattered, ordinary world All that remains is to oppose only the fictitious, illusory. The publisher of the collection is K.-F. Kunz, wine merchant and close friend of Hoffmann. The connecting link of the works of the collection “Fantasies in the Manner of Callot” was the subtitle “Leaves from the Diary of a Wandering Enthusiast”, which, due to its compositional unity, gives even greater mystery to the fairy tales.
The "Golden Pot" was created by Hoffmann in Dresden in 1814. During this period, the writer experiences a mental shock: his beloved was married to a wealthy businessman. Historical events and personal drama prompted the writer to create his own fairy-tale fantasy.
Genre and direction
From the first pages of The Golden Pot, a mystery awaits the reader. It’s worth thinking about the author’s definition of the genre – “a fairy tale from modern times”, more literary definition- a fairy tale story. Such a symbiosis could only be born in the context of romanticism, when the study of folklore was gaining popularity among many writers. So in one creation the story (prose literary work medium size with one storyline) and a fairy tale (a type of oral folk art).
In the work under consideration, Hoffmann sets out not only folklore motifs, but also poignant social problems: philistinism, envy, the desire not to be, but to appear. Through a fairy tale, a writer can express his criticism of society with impunity and good-naturedly, because fantastic story can only cause a smile, and laughing at oneself is the greatest punishment for the reader of that time. This technique was also used by writers of the period of classicism, such as La Bruyère and J. Swift.
The presence of a fantastic element in the work is also a very controversial fact. If we assume that the hero really visited the magical Atlantis, then this is certainly a fairy tale. But here, as in any other book by Hoffman, everything illusory can be explained rationally. All wonderful visions- nothing more than a dream, a consequence of using tobacco and alcohol. Therefore, only the reader can decide what it is: a fairy tale or a story, reality or fiction?
About what?
On the Feast of the Ascension, student Anselm encountered an old woman selling apples. All the goods crumbled, for which the young man received many curses and threats addressed to him. Then he did not know that this was not just a merchant, but an evil witch, and the apples were not ordinary either: these were her children.
After the incident, Anselm settled down under an elderberry bush and lit a pipe filled with useful tobacco. Saddened by another trouble, the poor hero hears either the rustling of leaves or someone’s whisper. They were three shiny golden snakes, one of which took a special interest in the young man. He falls in love with her. Next, the character searches everywhere for dates with enchanting creatures, for which they begin to consider him crazy. At one of the evenings with the director Paulman, Anselm talks about his visions. They are of great interest to the registrar Geerbrand, and he refers the student to the archivist Lindgorst. The old archivist hires the young man as a copyist and explains to him that the three snakes are his daughters, and the object of his adoration is the youngest, Serpentina.
The daughter of rector Paulman, Veronica, is not indifferent to Anselm, but she is tormented by the question: is her feeling mutual? To find out this, the girl is ready to turn to a fortune teller. And she comes to Rauerin, who is that very witch-trader. This is how the confrontation between two blocs begins: Anselm with Lindhorst and Veronica with Rauerin.
The peak point of this struggle is the scene in the archivist's house, when Anselm finds himself imprisoned in glass jar for dropping ink on the original manuscript. Rauerin appears and offers the student release, but for this he demands that he give up Serpentina. The passionately in love young man does not agree, insults the witch, and this drives her into a frenzy. The archivist, who came to the aid of his copyist in time, defeats the old sorceress and frees the prisoner. Having passed such a test, the young man is rewarded with the happiness of marrying Serpentina, and Veronica easily gives up her hopes for Anselm, breaks the magic mirror given by the fortune teller, and marries Heerbrand.
The main characters and their characteristics
- From the first to the last page of the fairy tale, we follow the fate and transformation of the character of the student Anselm. At the beginning of the story, he appears to us as a complete loser: there is no work, he spent his last pennies due to his carelessness. Only fantasies and relaxation over punch or tobacco can dispel his pressing problems. But as the action develops, the hero proves to us that he is strong in spirit. He is not just a dreamer - he is ready to fight for his love to the end. However, Goffman does not impose such a point of view on the reader. We can consider that all ephemeral worlds are the impact of punch and smoking pipe, and those around him do the right thing by laughing at him and fearing his madness. But there is another option: only to a person endowed with poetic soul, sincere and pure, can open upper world where harmony reigns. Ordinary people, such as rector Paulman, his daughter Veronica and registrar Geerbrand, can only occasionally dream and drown in routine.
- The Paulman family also has its own desires, but they do not go beyond the limits of a rather narrow consciousness: the father wants to marry his daughter to a wealthy groom, and Veronica dreams of becoming “Madame Court Counselor.” The girl doesn’t even know what is more valuable to her: feelings or social status. In the young friend, the girl saw only a potential court adviser, but Anselm was ahead of Geerbrand, and Veronica gave her hand and heart to him.
- For several hundred years now, the archivist Lindgorst has been exiled in the world of earthly souls - in the world of everyday life and philistinism. He is not imprisoned, not burdened with hard work: he is punished by misunderstanding. Everyone considers him an eccentric and only laughs at his stories about his past life. An insert story about the young man Phosphorus tells the reader about the magical Atlantis and the origin of the archivist. But the exile’s audience does not want to believe him; only Anselm was able to comprehend the secret of Lindhorst, heed Serpentina’s pleas and stand against the witch. It is curious that the author himself admits to the public that he is communicating with a foreign guest, because he, too, is involved in higher ideas, which serves to add some credibility to the fairy tale.
Subjects
- Theme of love. Anselm sees in feeling only a sublime poetic meaning that inspires a person to life and creativity. An ordinary and bourgeois marriage, based on mutually beneficial use, would not suit him. In his understanding, love inspires people, and does not pin them to the ground with conventions and everyday aspects. The author completely agrees with him.
- Conflict between personality and society. Those around him only mock Anselm and do not accept his fantasies. People tend to be afraid of non-typical ideas and extraordinary aspirations; they rudely suppress them. The writer calls on you to fight for your beliefs, even if they are not shared by the crowd.
- Loneliness. The main character, like the archivist, feels misunderstood and alienated from the world. At first, this upsets him and makes him doubt himself, but over time he realizes that he is different from others and acquires the courage to defend it, and not follow the lead of society.
- Mystic. Writer Models perfect world, where vulgarity, ignorance and everyday problems do not follow a person on his heels. This fiction, although devoid of plausibility, is fraught with deep meaning. We simply need to strive for the ideal; one desire already ennobles the soul and elevates it above routine existence.
the main idea
Hoffmann gives the reader complete freedom in his interpretation of “The Golden Pot”: for some it is a fairy tale, for others it is a story interspersed with dreams, and others can see here notes from the writer’s diary, full of allegories. Such an extraordinary perception of the author's intention makes the work relevant to this day. Doesn’t a person today choose between everyday chores and self-development, career and love? Student Anselm had the good fortune to decide in favor of the poetic world, so he is freed from illusions and routine.
In a special way, Hoffman depicts the dual world characteristic of romanticism. To be or to seem? — main conflict works. The writer depicts a time of hardening and blindness, where even people captured in flasks do not notice their constraint. It is not the person himself that is important, but his function. It is no coincidence that all the heroes are often mentioned with their positions: archivist, registrar, editor. This is how the author emphasizes the difference between the poetic and everyday worlds.
But these two areas are not only opposed. The fairy tale has cross-cutting motifs that unite them. For example, blue eyes. They first attract Anselm in the Serpentine, but Veronica also has them, as the young man later notes. So, maybe the girl and the golden snake are one? Miracles and reality are connected by the earrings that Veronica saw in her dream. Her newly appointed court councilor Geerbrand gives her exactly these on her engagement day.
“Only from struggle will your happiness arise higher life", and its symbol is a golden pot. Having overcome evil, Anselm received it as a kind of trophy, a reward giving the right to possess Serpentina and stay with her in the magical Atlantis.
“Believe, love and hope!” - this is the most the main idea this fairy tale, this is the motto that Hoffmann wants to make the meaning of everyone’s life.
Interesting? Save it on your wall!
There are two stages in the history of romanticism: early and late. The division is not only chronological, but based on the philosophical ideas of the era.
Philosophy early romanticism defines a two-sphere world: the world of “infinite” and “finite” (“become”, “inert”). “Infinite” - Cosmos, Genesis. “Finite” - earthly existence, ordinary consciousness, everyday life
The artistic world of early romanticism embodies the dual world of “infinite” and “finite” through the idea universal synthesis. The dominant attitude of the early romantics was a joyful acceptance of the world. The universe is a kingdom of harmony, and world chaos is perceived as a bright source of energy and metamorphosis, the eternal “flow of life.”
The world of late romanticism is also a two-sphere world, but already different, it is a world of absolute two-worldness. Here the “finite” is an independent substance, opposite to the “infinite”. The dominant attitude of the late romantics is disharmony, cosmic chaos is perceived as a source of dark, mystical forces.
Hoffmann's aesthetics are created at the intersection of early and late romanticism, their philosophical interpenetration.
In the world of Hoffmann’s heroes, there is no single correct space and time; each has its own reality, its own topos and its own time. But the Romantic, describing these worlds, in his own mind connects them into a holistic, albeit contradictory, world.
Hoffmann's favorite character, Kreisler, in The Musical Sorrows of Kapellmeister Johannes Kreisler, describes a “tea evening” to which he was invited as a pianist playing at a dance:
“...I... am completely exhausted... A disgusting lost evening! But now I feel good and easy. After all while playing, I took out a pencil and with my right hand sketched in numbers on page 63 under the last variation several successful deviations, while left hand never stopped struggling with the flow of sounds!.. I keep writing on the back blank side<…>As a recovering patient who never ceases to talk about what he suffered, I describe in detail here the hellish torment of today’s tea evening.” Kreisler, Hoffmann's alter ego, is able to overcome the drama of reality through spiritual existence.
In Hoffmann’s work, the structure of each text is created by “two worlds,” but it enters through “ romantic irony».
In the center of Hoffmann's universe - creative person, poet and musician, the main thing for whom is act of creation, according to the romantics, is “music, the being of being itself.” Aesthetic act and resolves the conflict between the “material” and the “spiritual”, life and existence.
A fairy tale from modern times “The Golden Pot” was the center of philosophical and aesthetic concept Hoffman.
The text of the fairy tale reflects the “extra-textual” world and at the same time the individual character that characterizes Hoffmann’s personality. According to Yu. M. Lotman, the text is “ author's model of the world", through everything structural components which, the chronotope and the heroes, embodies the real world. The philosophy of romantic dual worlds determines the plot and plot of the tale, composition and chronotope.
To parse the text we need theoretical concepts, without which students, as a rule, call Anselm the main character of the tale, and from art spaces two are distinguished - the city of Dresden and the magical and mystical world in its two guises - Atlantis (the bright beginning) and the space of the Old Woman (the dark beginning). Thus delineated chronotope of the tale cuts off individual parts of the composition, reduces the plot by half, reducing it to the plot about Anselm.
If for actor the characters of this plot Anselm, Veronica, Geerbrand, Paulman, Lindgorst and the old woman Lisa are sufficient for creative fantasies stage embodiment, then for director this compositional deconstruction leads to the loss of the meaning of the Fairy Tale and its main character - Romance.
Theoretical concepts become indicators of artistic and ideological meanings.
Chronotope - “... relationship spatial and temporal relations, artistically mastered in literature" [p. 234].
Author-creator - a real man, the artist is “distinguishable from the image author, narrator and narrator. Author-creator = composer both in relation to the work as a whole, and to a separate text as a particle of the whole” [p. 34].
The author is “the bearer of the intensely active unity of the completed whole, the whole hero and the whole work.<...>The author’s consciousness is the consciousness that embraces the consciousness of the hero, his world” [p. 234]. The author’s task is to understand the form of the hero and his world, i.e. aesthetic assessment of someone else's knowledge and action.
Narrator (narrator, narrator) - “this created figure which belongs to the whole literary work". This role invented and adopted by the author-creator. “The narrator and characters, by their function, are “paper creatures”, Author story (material) cannot be confused with narrator this story."
Event. There are two types of Events: an artistic event and a story event:
1) An artistic event - in which the author-creator and the reader take part. So in “The Golden Pot” we will see several similar Events, about which the characters “do not know”: this structural division, the choice of genre, the creation of a chronotope, as Tynyanov notes, such an Event “introduces not the hero, but the reader into prose.”
2) The plot event changes the characters, situations, dynamic deployment of the plot in the space of the entire plot.
The text of the “Golden Pot” is a system of several artistic events, fixed in the structure of the composition.
The beginning of these Events is the division into “printed” text and “written” text.
First Event- this is the text “printed”: “The Golden Pot” A fairy tale from modern times.” It was created by Hoffmann - Author-creator - and has general character with the rest of Hoffmann's work, this is Kreisler, the main character of "Kreisleriana".
Second Event. Author-Creator to your text introduces another author - Author-narrator. In the literature such author-narrator always exists as an alter ego real author. But often the author-creator endows him with the subjective function of an author-storyteller, who turns out to be a witness or even a participant in the real story about which he narrates. “The Pot of Gold” has just such a subjectified author - a romantic writer who writes “his own text” - about Anselm (“the text being written”).
Third Event- this is the “written text” about Anselm.
I event
Let's turn to First art event: creation by the Author-Creator of the “Golden Pot”.
The “printed” text is the result of the work of the Author-Creator - E. T. A. Hoffman.
He gives the title to the work (the semantics of which the reader still has to think about), defines the genre ( A tale from new times), plot, compositional structure, including such a compositional element as division into chapters, in in this case « vigilia" It is through this title of the chapter of the vigil that the Author-Creator defines the space of the narrator - the Author-Romantic and conveys the “word” to him. It is he who romantic narrator, firstly, shows the reader the process of writing history, how and where it happens (place and time) and, secondly, presents what he created ( by the author) text about Anselm.
firstly, he structures his text “The Golden Pot”;
secondly, it includes two more Events:
Text of Romance (the story of Anselm).
In addition, by introducing the name of Kreisler, the hero of his other text, the author-creator integrates the text about Anselm and the “Golden Pot” in general into the literary work whole system of your creativity.
At the same time, Hoffman includes “The Golden Pot” in the cultural series. The title of the fairy tale “The Golden Pot” refers to the Novalis fairy tale “Heinrich von Ofterdingen”. In it, the main character dreams of a blue flower, and the whole novel is illuminated by the sign blue color. Symbolism blue flower, like the color itself (blue, blue) is a sign of world synthesis, the unity of the finite and the infinite, as well as the journey-disclosure of a person through self-knowledge.
E. T. A. Hoffmann also offers his hero a certain goal - a golden pot. But the symbolism of the “golden pot” is bourgeois gilded happiness, which profanes the romantic sign. “The Golden Pot” in the context of the works of E. T. A. Hoffmann receives a meaning, which in turn refers the reader to another sign. In Hoffmann's fairy tale "Little Tsakhes" the hero ingloriously drowns in night potty Thus, the sign of the “golden pot” is even more profaned by the definition of “night”. It turns out that the author-creator begins a dialogue with the reader already with the title of the fairy tale.
First event, dispersing space and time, assigning them to different authors and characters, introduces a philosophical motive search for truth: what really exists or does everything depend on our perception?
Immediately after the name and definition of the genre, the reader is “slipped” into a temporal and spatial marker of the transition to “ test of another author." This is the title of the first “chapter” (and there are 12 of them in the fairy tale) - Vigilia .
Vigilia (lat. vigil a) - night guard in ancient Rome; here - in the sense of “night vigil”.
Night a very important time of day for the aesthetics of romanticism: “Night is the guardian. This image belongs to the spirit,” wrote Hegel.
According to romantics, it is at night human soul comes into intimate contact with the spiritual content of the world, feelings come to life and awaken in her, drowned out during the day by the external (often imaginary) surface of life. A significant role in this process, as studies by psychologists have shown, is played by brain patterns and different functions of the right and left hemispheres. The left (“day”) hemisphere is responsible for mental operations, the right (“night”) hemisphere is responsible for Creative skills personality. Night - and not only among romantics - is a time of activity of the right hemisphere and productive creative work.
Through artistic marker - “vigilia” and the first time and space are set in the “Golden Pot”: the personified figure of the narrator, invented by the Author-Creator, is introduced - new Author- romance.
one - demonstration history creation process about Anselm,
second - herself Anselm's story.
Second And third Events
occur in different time and at different levels of the text of “The Golden Pot”: plot and plot.
Fabula - “vector-time and logically determined sequence facts of life, chosen or imagined by the artist" [S. 17].
Plot is “a sequence of actions in a work, artistically organized through space-time relationships and organizing a system of images; the totality and interaction of a series of events at the level of the author and characters” [Ibid., p. 17].
Considering the space and time of “The Golden Pot” as plot and plot, we will use these definitions.
Story space- “multidimensional, multifaceted, mobile, changeable. Fabulous space exists in the real dimensions of reality, it is one-dimensional, constant, attached to certain parameters and in this sense static.”
Fabulous time -"time of occurrence of the event." Story time- “the time of telling about an event. Plot time, unlike plot time, can slow down and speed up, move zigzag and intermittently. Fable time exists not outside, but inside plot time” [P. 16].
Second Event- the creative process experienced by the Romantic, the creation of his own Text. In the structure of the entire fairy tale, it organizes plot space and time. The main task of the Event is to create a “story of Anselm”, which has its own time and place.
Twelve vigils, twelve nights the Author writes - this is what it is story time. We become witnesses creative process: in our presence a story about Anselm is being written and “for some reason” the 12th Vigil does not work out. All the Author’s activity is aimed, first of all, at composing the composition of his work: he selects heroes, places them in a certain time and place, connects them with plot situations, i.e. forms the plot of “Anselm’s story.” As an author, he is free to do whatever he wants with his text. Thus, before the reader’s eyes, he performs the function of the “Author of the Creator” of the text where Anselm is the main character.
The subjective narrator and at the same time the character of the Fairy Tale from New Times “The Golden Pot”, romantic artist creates text about an unusual person Anselme, whose individuality does not fit into the society of Dresden, which brings him into the world of Lindgorst, a magician and master of the kingdom of Atlantis.
This magician and sorcerer Lindgorst, in turn, turns out to be familiar with the musician, bandmaster Kreisler, the hero of “another text” - “Kreisleriana”, owned by the Author-Creator - Hoffmann. Mention of Kreisler as Romantic's beloved friend, i.e. the author of the text about Anselm, connects fictional worlds (from different texts by Hoffman) and the real world in which Hoffman creates.
It is in this connection, and not in the story of Anselm, that the romantic idea of Hoffmann himself is embodied - the indissolubility of two worlds, the synthesis of the “infinite” and the “finite”. But Hoffman connects these worlds through the artistic device of romantic irony. “Irony is a clear consciousness of eternal liveliness, chaos in its endless wealth,” according to F. Schelling. The entirety of world life in irony and through irony holds its judgment against flawed phenomena that claim independence. Hoffmann's romantic irony chooses collisions that pit the whole against the whole, the world of romanticism against the bourgeois world, the world of creativity against the mediocre, being against everyday life. And only in this opposition and indissolubility does the fullness of life appear.
So, romantic Artist in the “Golden Pot”, performs 3 functions:
2) He is the same a character in his own story about Anselm, which we discover in the 12th vigil (his acquaintance with the character he himself invented - Lindhorst).
3) He is the same "romantic artist" breaking the boundaries of the “story of Anselm” he invented. The introduction into his story of the figure of Kreisler, the hero of the “other text”, belonging only to the Author-Creator, thereby allows the Romantic, the author about Anselm, enter Hoffmann's world as his second self - alter ego.
Plot topos of the second Event constitute the own space of the Romantic author and the text he created. His home is a “closet on the fifth floor” in the city of Dresden. Of all the attributes that belong to him, the reader sees a table, a lamp and a bed. Here they bring him a note from Lindgorst (a character in the text he wrote as the author). The Lindhorst character offers help to his creator: “... if you want to write the twelfth vigil<...>come to me" [p. 108]. From their meeting in Lindgorst's house (the plot topos text about Anselm and the plot topos of “The Golden Pot”) we learn that best friend The author is Kapellmeister Johann Kreisler (very significant character, who is a genuine enthusiast for Hoffmann himself; It is through this image that the “Golden Pot” is united with other works of Hoffmann).
We also learn about the author’s presence of “a decent manor as a poetic property...” in Atlantis (the invisible space of the Romantic author). But in the plot topos this space poetic manor performs the role of connection, identification of the Author and the Author-Creator, the creator of the “Kreisleriana”.
firstly, he lives in the city of Dresden,
secondly, in Atlantis he has a manor or estate,
thirdly, he writes “the story of Anselm”,
fourthly, he meets the hero of his own work (Lindhorst),
and finally, fifthly, he learns about the visit of Kreisler, the hero of another text by Hoffmann.
Author's materialized space(his home) subjective space (Manor, readers), finally, fictional space- a text about Anselm, and the process of writing it - all this elements of space II Events.
The development of the “story of Anselm”, its chronotope - plot space and time.
But since this is history spiritual state author-Romanticism, then its “materialization” simultaneously becomes the plot of the Second Event, forming a text within a text. The Romantic Author occupies a certain spatial position in the “Golden Pot” along with the Text he created.
Time, during which the Text is written (12 nights), “outgrows” the plot (vector) dimension and turns out to be plot time. Because this is not only perceptual time, calculated in 12 days (or nights), but also subjective, conceptual time. Before the reader’s eyes, linear time turns into timelessness, through the world of the created text it enters the spiritual world of poetry - into eternity.
Time and space lose their plot meaning through playing with “story plots” in the plot, lose their formal characteristics and become spiritual substances.
Third Art Event- this is a text by the Romantic Author, a story dedicated to the “quest” of a young man named Anselm.
Fabulous space of history: Dresden and the mystical world - the kingdom of Atlantis and the Witches. All these spaces exist autonomously, changing the overall configuration due to the movements of the characters.
In parallel to the “material” Dresden, two opposing forces secretly rule: the prince of good spirits of the kingdom of Atlantis, Salamander, and the evil Witch. While clarifying their relationship, they at the same time try to win Anselm over to their side.
All events begin with an everyday incident: Anselm turns over a basket of apples at the market and immediately receives a curse: “You will fall under glass,” which fable immediately determines the presence of another space - the mystical world.
The story of Anselm for the most part takes place in Dresden - the most ordinary provincial German town in Hoffmann's time. Its historical, “temporary” parameters: the city market, the embankment - a place for evening walks of townspeople, the bourgeois house of the official Paulman, the office of the archivist Lindhorst. This city has its own laws and its own philosophy of life. We learn about all this from the characters, that is, the residents of Dresden. Thus, rank, profession, and budget are valued above all else; they are the ones who determine what a person can do and what he cannot. The higher the rank, the better; for young people this means being in the position of gofrat. And the ultimate dream of the young heroine Veronica is to marry a gofrat. Thus, Dresden is a burgher-bureaucratic city. Everything is immersed in everyday life, in the vanity of vanities, in the game of limited interests. Dresden, from the point of view of contrasting spiritual and material values, within the framework of space-time oppositions acts as a closed, “finite” place.
At the same time, Dresden is under the sign of old Lisa, who embodies the devilish, witchy beginning of the universe, and under the sign of Lindhorst and his bright, magical Atlantis.
Third event Anselm's story is quite easily read by students, and is perceived as the direct content of the fairy tale “The Golden Pot” and, when independently analyzing the text, most often remains the only story the whole plot...
...And only deep analysis, knowledge theoretical concepts and knowledge of artistic laws help to see and understand the holistic picture of the text, to maximize the field of meaning and one’s own imagination.
"The Closed Trading State" (1800) - the title of the treatise German philosopher I. G. Fichte (1762-1814), which caused great controversy.
"Fanchon" - opera German composer F. Gimmel (1765-1814).
General Bass - doctrine of harmony.
Iphigenia- V Greek mythology daughter of the leader of the Greeks, King Agamemnon, who in Aulis sacrificed her to the goddess of hunting Artemis, and the goddess transferred her to Tauris and made her her priestess.
Tutti(Italian) - simultaneous play of all musical instruments.
Alcina Castle- The castle of the sorceress Alcina in the poem of the Italian poet L. Ariosto (1474-1533) " Furious Roland"(1516) were guarded by monsters.
Euphon (Greek) - euphony; Here: creative power musician.
Orc Spirits- V Greek myth about Orpheus, the spirits of the underworld, where the singer Orpheus descends to bring out his deceased wife Eurydice.
"Don Juan"(1787) - opera by the great Austrian composer W.A.Mozart (1756-1791).
Armida- a sorceress from the poem by the famous Italian poet T. Tasso (1544-1595) “Jerusalem Liberated” (1580).
Alceste- in Greek mythology, the wife of the hero Admetus, who sacrificed her life to save her husband and was freed from the underworld by Hercules.
Tempo di Marcia (Italian)- March
Modulation- changes in tonality, transitions from one musical system to another.
Melism (Italian)- melodic decoration in music.
Lib.ru/GOFMAN/gorshok.txt copy on the website Translation from German by Vl. Solovyova. Moscow, " Soviet Russia", 1991. OCR: Michael Seregin. The translation by V. S. Solovyov ends here. The final paragraphs were translated by A. V. Fedorov. - Ed.
“The Musical Sufferings of Kapellmeister Johannes Kreisler” // Hoffmann Kreislerian (From the first part of “Fantasies in the Manner of Callot”). - THIS. Hoffmann Kreisleriana. Everyday views of the cat Murra. Diaries. – M.: USSR Academy of Sciences Literary monuments, 1972. - pp. 27-28.
Bakhtin M.M. Questions of literature and aesthetics: – M.: 1975, p. 234
Ibid., 34.
Think about these concepts again; in a specific analysis of the text, they will help you understand the meaning of the entire text.
See 4 and 12 vigils of the Golden Pot.
Egorov B.F., Zaretsky V.A. and others. Plot and plot // In the collection: Questions of plot composition. - Riga, 1978. P. 17.
Tsilevich L.M. Dialectics of plot and plot // In the collection: Questions of plot composition. - Riga, 1972. P.16.
...But Hoffmann would not have been an artist with such a contradictory and largely tragic worldview if this kind of fairy-tale short story had determined the general direction of his work, and not demonstrated only one of its sides. At its core, the writer’s artistic perception of the world does not at all proclaim the complete victory of the poetic world over the real. Only madmen like Serapion or philistines believe in the existence of only one of these worlds. This principle of dual worlds is reflected in a number of works by Hoffmann, perhaps the most striking in their artistic quality and the most fully embodied the contradictions of his worldview. This is, first of all, the fairy-tale short story “The Golden Pot” (1814), the title of which is accompanied by the eloquent subtitle “A Tale from New Times.” Its meaning is revealed in the fact that characters this tale is Hoffmann's contemporaries, and the action takes place in the real Dresden early XIX century. This is how Hoffmann reconsiders the Jena tradition of the fairy tale genre - in its ideological and artistic structure he includes the plan of real everyday life, with which the narrative in the short story begins. Its hero is student Anselm, an eccentric loser whose sandwich always falls on the greasy side, and a nasty greasy stain inevitably appears on his new frock coat. Passing through the city gates, he trips over a basket of apples and pies. The dreamer Anselm is endowed with a “naive poetic soul,” and this makes the world of the fabulous and wonderful accessible to him. Faced with him, the hero of the story begins to lead a dual existence, falling from his prosaic existence into the realm of a fairy tale, adjacent to the ordinary one. real life. In accordance with this and compositionally, the short story is built on the interweaving and interpenetration of the fairy-tale-fantastic plan with the real. Romantic fairy tale fantasy in its own way subtle poetry and grace finds here in Hoffmann one of its best exponents. At the same time, the story clearly outlines the real plan. Not without reason, some Hoffmann researchers believed that using this novella it was possible to successfully reconstruct the topography of the streets of Dresden at the beginning of the last century. Realistic detail plays a significant role in characterizing the characters. For example, poor Anselm’s costume, which is mentioned more than once, is a pike-gray tailcoat, the cut of which was very far from modern fashion, and black satin trousers, which gave his whole figure a kind of master's style, which did not correspond with the gait and posture of a student. These details reflect some social touches of the character and some aspects of his individual appearance.
The widely and vividly developed fairy-tale plan with many bizarre episodes, so unexpectedly and seemingly randomly intruding into 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-dimensionality of Hoffman's creative method and the two-worldness in his worldview were reflected in the opposition of the real and fantastic worlds and in the corresponding division of characters into two groups. Conrector Paulman, his daughter Veronica, registrar Geerbrand are prosaically thinking Dresden inhabitants, who can be classified, according to the author’s own terminology, as good people, but to bad musicians or non-musicians at all, that is, to people devoid of any poetic flair. They are opposed by the archivist Lindhorst with his daughter Serpentina, who came to this philistine world from fantastic fairy tale, and the dear eccentric Anselm, whose poetic soul opened fairy world archivist. Anselm in his Everyday life it seems that he is in love with young Veronica, and she, in turn, sees in him a future court adviser and her husband, with whom she dreams of realizing her ideal of philistine happiness and prosperity. But now involved in a fairy-tale poetic world in which he fell in love with a wonderful golden snake - blue-eyed Serpentine, poor Anselm cannot decide to whom his heart is really given. Other forces, also magical, but evil, embodying dark sides the lives that support the prosaic philistine world are the witch-merchant whose basket Anselm overturned.
The two-dimensionality of the novella is realized both in Anselm’s duality and in the duality of the existence of other characters. The secret archivist Lindhorst, well-known in the city, old eccentric, who lives alone with his three daughters in a remote old house, is also the powerful wizard Salamander from fairyland Atlantis, ruled by the prince of spirits Phosphorus. And his daughters are not only ordinary girls, but also wonderful golden-green snakes. An old merchant at the city gates, once Veronica's nanny, Lisa is an evil witch who transforms into various evil spirits. Through Anselm, Veronica comes into contact with the kingdom of spirits for some time, and even the rationalistic pedant Heerbrand is close to this.
A dual existence (and here Hoffman uses the traditional canons of a fairy tale) is led by nature and the material world of the short story. An ordinary elderberry bush, under which Anselm sat down to rest on a summer day, the evening breeze, Sun rays They speak to him, inspired by the fabulous powers of the magical kingdom. In Hoffmann's poetic system, nature in the spirit of romantic Rousseauism is generally an integral part of this kingdom. That’s why Anselm “was best when he could wander alone through the meadows and groves and, as if breaking away from everything that chained him to a miserable life, could find himself in the contemplation of those images that rose from his inner depths.”
The beautiful door knocker, which Anselm took up when preparing to enter Lindhorst's house, suddenly turns into the disgusting face of an evil witch, and the bell cord becomes a gigantic white snake that strangles the unfortunate student. A room in the archivist's house, filled with ordinary potted plants, becomes for Anselm a wonderful tropical garden when he thinks not about Veronica, but about the Serpentine. Many other things in the novel experience similar transformations.
In the happy ending of the story, which ends with two weddings, it receives a full interpretation ideological plan. Registrar Geerbrand becomes the court councilor, to whom Veronica gives her hand without hesitation, having abandoned her passion for Anselm. Her dream comes true - “she lives in a beautiful house on 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 the necessary orders to the cook. Anselm marries Serpentine and, becoming a poet, settles with her in the fabulous Atlantis. At the same time, he receives as a dowry a “nice estate” and a gold pot, which he saw in the archivist’s house. The golden pot - this peculiarly ironic transformation of Novalis's "blue flower" - still retains the original function of this romantic symbol, realizing the synthesis of the poetic and the real in the highest ideal of poetry. It can hardly be considered that completion storyline Anselm - Serpentine is a parallel to the philistine ideal embodied in the union of Veronica and Heerbrand, and the golden pot is a symbol of bourgeois happiness. After all, Anselm does not at all give up his poetic dream, he only finds its fulfillment. And the fact that Hoffmann, dedicating one of his friends to the original concept of the tale, wrote that Anselm “receives as a dowry a golden chamber pot decorated with precious stones,” but did not include this reducing motive in the completed version, testifies to the writer’s deliberate reluctance to destroy the philosophical idea of the short story about the embodiment of the kingdom of poetic fantasy in the world of art, in the world of poetry. It is this idea that the last paragraph of the novella affirms. Its author, suffering from the thought that he has to leave the fabulous Atlantis and return to the pitiful squalor of his attic, hears the encouraging words of Lindhorst: “Have you not just been in Atlantis and don’t you at least own a decent manor there as a poetic property?” your mind? Is Anselm’s bliss nothing other than life in poetry, through which the sacred harmony of all things is revealed as the deepest of nature’s secrets!”
At the same time philosophical idea and subtle grace of all artistic manner short stories are fully comprehended only in its ironic intonation, which is organically included in its entire ideological and artistic structure. The entire fantastic plan of the fairy tale is revealed through a certain ironic distance of the author in relation to him, so that the reader has no confidence at all in the author’s real conviction in the existence of the fantastic Atlantis. Furthermore, Lindhorst’s words concluding the short story claim that the only reality is our this-worldly earthly existence, and the fairy-tale kingdom is just life in poetry. The author's position is also ironic in relation to Anselm, ironic passages are also directed at the reader, and the author is ironic in relation to himself. Irony in the novella, which is largely character artistic technique and does not yet have that sharply dramatic sound as in “ Worldly views Moore's cat" is already receiving philosophical richness, when Hoffmann, through her medium, debunks his own illusion regarding fairy-tale fiction as a means of overcoming the philistine squalor of modern Germany. A moral and ethical emphasis is characteristic of irony where it is aimed at ridiculing German philistines.
