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Les Contes d'Hoffmann (3)

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.

Milena Velba Pregnant Candid

Les Contes d'Hoffmann (2) Les Contes d'Hoffmann

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.