Remember that Victor Hugo "grotesque" was an aesthetic principle is intended to avert the "sublime" which until then was the ideal, the essence of classical tragedy tonal . With the grotesque Hugo rehabilitated the bizarre, the incongruous taste for disproportion and deformity, mockery and ironic laughter of the fool liberator, a symbol of the concept. Now it is not a tale of the collection presented here that can not, one way or another, to avail himself of the concept of the grotesque. Whether "The night of the Eve" as its composition and its seemingly chaotic characters curses prey more comical than tragic show, even today, of a singular modernity or " Cremona Violin, "whose central figure in the eccentric Krespel Advisor is the epitome of the grotesque.
The inaugural episode of the story, the construction by the adviser of a house without a concerted plan and appreciate the insights of its owner, might seem like a veritable manifesto of artistic creation. Rules of reason, Krespel prefers meandering intuition and ended up giving the book "fairly good appearance", a house whose exterior is "the most bizarre" but "the interior arrangement "is" a great convenience. " This council house building Krespel which offers only a very indirect connection with the plot, however, is of interest to more than one way: one can, as we just did, read a manifesto this aesthetic principle that Hugo and Hoffmann defend doing so we will see this as a sign of romantic irony that Peter Schoentjes (4) defines as a deliberate attempt by the author to destroy referential illusion generated by fiction. Pierre Schoentjes recourse besides a letter to describe the workings Hoffman Process: "The first principle on which you base all your efforts is this: the war poet and musician! reversal of their wicked plan to surround the viewer with misleading images, and snatch the real world. "(4) War on referential illusion, then! It is more for the artist to create a universe but rather to give misleading to read his text as a manifestation of my other elusive already foreshadows the Freudian unconscious and refers readers to its own otherness.
Somehow, the house of Krespel is a metaphor for me abroad. Jung repeatedly noted that the house is "a kind of image of the psyche" (5). Krespel and home, with its quirky appearance, his young female prisoner whose the song can express itself and its owner and monomaniacal strange presents many analogies with our author's particular physical, composer unknown, that haunts a frantic quest for the absolute that constantly vies with pangs of a haunting sensuality.
If Hoffmannien fantasy rooted in some reality, it remains essentially a mapping to be an attempt by its author to circumscribe regions within me constantly threatened with dissolution. If, to take one example, an issue that keeps coming up in our stories is that of the young woman supernatural essence.
Hoffman told on one of his heroes how he was captivated by the romance of Cazotte Le Diable Amoureux, which as we know, tells a passionate love story between a young Italian student, Alvaro, and the fascinating Biondetta, avatar of the devil: "I fell, Hoffman told his hero, to hand a book produced upon my being such an impression that I can not even explain it, [ ...] I saw, I heard that the charming Biondetta; as Alvaro, I succumbed to a martyr voluptuous. "(6)
Schoentjes 4 Pierre, Poetics of Irony , Seuil, 2001.
5 Carl Gustav Jung, "My Life." Memories, dreams and thoughts, Gallimard, Folio, 1991.
About 6 Victor, hero of a tale of Hoffmann The Spirit Elementary , quoted by Pierre-Georges Castex in Le Conte Fantastique in France, Librairie Jose Corti, 1951.
Ill. The Cremona Violin (aka the Krespel Advisor), adapted by Tommy Redolfi BD Delcourt.
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