The Serapion Brethren, Vol. IIHoffmann, E. T. A. (Ernst Theodor Amadeus)
Science
The Serapion Brethren, Vol. II
Hoffmann, E. T. A. (Ernst Theodor Amadeus)
Fiction
"Dixi," cried Sylvester, laughing. "Dixi, and the name 'Vincenz'
thereunder, with due stamp and seal. I happened, at the moment, to be
thinking that in the lowest class of dramatic performances, or rather
of productions destined to be represented on the stage, perhaps those
should be included in which some clever _farceur_ mystifies and befools
some good uncle--a theatre director, or some such person. And yet it is
not so very long ago that shallow, stupid stuff of this description
constituted almost the daily bread of every stage. Just at present
there seems to be more or less an intermission in this."
"It will never come to an end," said Theodore, "as long as there are
actors to whom nothing in the world can be more delightful than to let
themselves be wondered at and admired as chameleontic marvels, in
that they change their costume and appearance in the most varied
manner in the course of the same evening. Right out of the very
depths of my being have I been compelled to roar with laughter over
the self-apotheosis of self-sufficiency with which, after passing
through a marvellous series of soul-transmigrations, the true _ego_ of
the performer takes its enfranchised flight, like a beautiful insect.
Generally speaking, this is done in the shape of a pretty, elegant
night-moth, dressed in black, with silk stockings, and a three-cornered
hat under one arm, having, from the moment of its appearance as such,
only to deal with the admiring public, not troubling itself about that
which previously had been doing it soccage-service. As (_vide_ Wilhelm
Meister's 'Lehr-jahren') a special line of parts may so bind and
enslave to it some given actor, who, for instance, plays all the
characters who have to be cudgelled, or otherwise maltreated, every
stage must possess a _sujet_ who undertakes all the parts of the
character of _souffre douleur_, and consequently plays those
indispensable theatre managers, &c.; at all events, every starring
actor has a part of the kind in his pocket, by way of entrance-pass, or
letter of credit."
Public-domain text, read in full here on John Shaqi.
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