no doubt that this first "outpouring of dreams in real life," to paraphrase Nerval, is one of the engines Hoffmannienne creation: it also contributes greatly to build this hesitation if necessary with the advent of fantasy by Todorov (9). For if the themes are the future of Hoffmann guns fantasy literature: the Devil ("The Adventures of Nuits de Saint-Sylvestre '), the evil creature (" The Sandman "), the spectrum (" Vision "), the UPS air (" The Mines of Falun), their treatment - especially the taste of Hoffmann for the aesthetics of the grotesque offset - makes it necessary to resort to dreaming to explain the eccentricity of the situations that it implements.
of Hoffmann's fantastic not only secondarily rooted in reality, its very excess condemns him not to leave in the reader's consciousness that the trace of smoky dreams he came. But it's also what makes his uniqueness and modernity. Philippe van Thieghem already stressed in 1961 (10) the prodigious originality of Hoffmann: "The tales of Hoffmann," he writes, brought the romance, a source of mystery and fantasy that relayed the romantic tradition of English in a thriller more modern spirit. "And then noting the influence he had on writers such as Balzac, Nerval, Gautier or Baudelaire. This is obviously the second generation was sensitive to romantic eccentricities of genius hoffmannien which, breaking yet more openly with the rationality of the Enlightenment and with the need of the referential illusion, would fascinate the forefront of Symbolists, and continue to exert a lasting fascination on the surreal or novelists like Jouve, or Mandiargues Gracq. The introduction of Hofmann's work in France is undoubtedly a turning point in our literary history and its influence was also durable than decisive.
9 Todorov, Introduction to Literature fantastic, "Points", Seuil, 1976.
10 Philippe van Thiegem, Foreign influences on French literature , 1550-1880, PUF, 1961.
Ill. Our editing Tales of Hofmmann for the "Ecole des Loisirs.
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