And this is the theme of the femme fatale, gasoline supernatural found in the heart of news like "The Night of Saint-Sylvestre," "The Sand Man," "The Mines of Falun" or even "The Vision." "The Adventures of the Night of Saint New Year, "we seem, as such, especially revealing because the drama of the lost woman built it into perspective. In the narrator's disappointments who thinks a moment to find the love of his youth and finds, in a stage of disillusionment treated very ironic that she is married to a "foolish figure in the legs of spiders," are the adventures Erasmus Spikher succumbing to the poisonous Giulietta clearly an accomplice Signor Dappertutto none other than the devil himself. If the tale recalls the plot of the story Cazotte it resonates with the tragedy that Hoffmann lived when he was Master of Music Julia Marc (see chronology) and Marcel Schneider (7) establishes the link between judiciously this adventure and vocation of Hoffmann storyteller: "What does Julia Marc during the weeks when his friend and master of music, mad, delicious Hoffmann is becoming Ernst Theodor Amadeus-? She sees in him a change, a metamorphosis? He is the spiritualized, to perpetuate ... In other words, the author came into full creative process. In a Jungian perspective, we say the narrator hoffmannien it grapples with the seductions of the anima, the feminine side of himself. Male archetype of the unconscious that man projected on the beloved, dangerous seductress which may lead to destruction ("The Mines of Falun), the anima is the important principle that led the artist through the labyrinth of the unconscious to allow it to extract the juice ignored these areas even its creation. The archetype of the anima is dual, like all the archetypes and this ambivalence Hoffmann continues to interrogate "La Nuit de la Saint-Sylvestre", the "Mines of Falun, through the "Sandman". The loss of the anima also causes the cessation of all creative possibility: Councillor Krespel once his daughter (twice his mother) buried waives the violin, and while little Marie's famous Nutcracker git between life and death, the story seems suspended, terminated and you must resort to other expedients, other stories revive the plot until the heroine has regained its vitality to carry the tale to an end and the hero's accomplishment. "The Mines of Falun," say the opposite of the dangers of seduction animated when it is accompanied by regressive temptation: instead of going to marriage and the emotional maturity, the hero gives in to the call mine which leads to death and petrification a highly symbolic.
This importance of unconscious materials may explain the rejection of Walter Scott, who preferred to draw the legends clear light of reason, it also explains the aura of dreamlike quality that emanates from the stories. And their success with the surreal. "The god of dreams," writes Albert Béguin (8) dictated to Hoffman, his most dramatic works, darkest tales as the lighter and brighter. "Haunted Mines of Falun in the wonderful world of "Nutcracker", the dream is everywhere at work in the world of the dreamer and Hoffmann, everywhere subject to dizziness confusion.
Are they real, these scenes of his childhood Natahanaël, hero of "The Sand Man" brings to life for his friend Lothario? Is there in these Coppelius Coppola and his nights haunting, threatening to deprive him of his eyes, the slightest ounce of reality? The tender lover Clara thinks not: "it is your belief in their power enemy that can only make them powerful," she says calmly. But Nathanael does (can?) hear nothing. And despite the objectification experienced by the story from Chapter IV, the reader can not help but once the story closed, to ask if this terrible sandman was not the result of a dream. And to think, in a tale as "The Vision," the White Lady of Adelgunde, the strange turn of events which it operates? This sister, who handles the burden of madness when Adelgunde miraculously found the reason? The reader suspects that although some mental breakdown, a phenomenon of inflation, but remains unconscious material in the perplexity.
7 Marcel Scneider, the meteor Hoffmann, Editions du Rocher, 2006.
8 Albert Beguin, L'Ame romantic dream José Corti, 1991.
Ill. A Naiad, Table J. Waterhouse. The Naiad is a representation of the archetype of the anima.
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