The German Classics of the Nineteenth and Twentieth Centuries, Volume 05: Masterpieces of German Literature Translated into English
Philosophy
The German Classics of the Nineteenth and Twentieth Centuries, Volume 05: Masterpieces of German Literature Translated into English
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
Hoffmann has influenced both French and English literatures more than
any other Romantic poet. Hawthorne and Poe read him, and he was felt
by the French to be one of the first Germans whom they understood. It
was not merely that his clear reason appealed to the French, but that
they saw in him one endowed as with a sixth sense. He has a fineness
of observation, especially for the ridiculous sides of humanity,
together with a tenderness of spirit, that was new in German
literature as such men as Sainte-Beuve and Gautier saw it. The soul
at war with itself, uncovering its most secret thoughts, the _"malheur
d'être poète,"_ coupled with wit, taste, gaiety, and the comedy
spirit--all these the French found in Hoffmann as in no other German.
Poe was also influenced by Hoffmann, but Poe's whole world is the
supernatural, and where Hoffmann slips with fantastic but logical
changes from the real to the unreal, Poe's metempsychosis is the real
in his world and he has a deeper insight into the world of terror. The
difference between Hawthorne and Hoffmann is even more striking, for
in the American the supernatural is the embodiment of the Puritan
New England conscience. In Hoffmann there is no such elevation of the
moral world to the rank of an atmosphere.
In Hoffmann there is no out-of-doors, no lyric love; some of his
characters are frankly insane. The musical takes on a supreme
significance among the sensations, and music seemed the only art which
was able to draw the soul of the man from his earth-bound habitation.
Only in music did Hoffmann find the ability to make the Romantic
escape from the homelessness of this existence to the all-embracing
world of the unreal. But too often in his works does the unreal fail
to satisfy the reader. There is an effort felt, an effect sought for,
and, while the amalgamation of the two worlds is perfect, the world
to which Hoffmann is able to take us proves to be without the cogency
which our imaginations expect. Here Hoffmann fails. His world of the
imagination cannot always be taken seriously.
Public-domain text, read in full here on John Shaqi.
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