German romanticism is a cultural movement that emerged in the 1790’s. The historical background which is rooted in the scientific, philosophical and literary theories of German romanticism illustrates a poet’s struggle with his inner self. From the literary theory perspective Hoffmann’s longing to fulfill his romantic ego is infinite. The young generation of writers and thinkers broke away from the established traditional norms in the German culture. The new signs of Romantics brought in uniqueness and inner experiences of individuals as they became the main focus of the middle age opposition.
The literature and art that were used during the romantic period was as a result of the conflict between the clarity of the day such as reason, enlightenment, consciousness and technology and the obscurity of the night such as emotions, magic, desires and imagination (Brown 211). These characteristics described a well known German writer called Hoffmann. His artistic expression and the world of fantasy created a conflict both in the real world and a bourgeois society. During the day he worked as a Prussian state official while during the night composed his literary texts. In his fantasy tales, novels and stories he gave priority to fantasy more than the real world. His work was created using an original mental image and scholars could see how he used the power of human imagination. Hoffmann’s work sought to reconcile the exterior and interior world through art. He believed that it was possible to overcome dualism and combine the realms that could lead to crime, death and insanity.
In Kater Murr, Hoffmann used quotations which could be understood by the audience in critical studies and the novel was well documented. His admirable effort to use quotations from Shakespeare dramas was with regard from Hedwiga and Kreisler. Hoffmann’s understanding of Shakespeare enabled him to pursue Kreisler tales by combining elements of comic humor and tragic intensity. For instance Hoffmann compares King Claudius to Furst Irenaus and ridicules the Prince but implicates him in the mind of the reader of a secret wrongdoing. The metaphor used in the romantic novel, the fantastic storm is used to clarify the inner turmoil of Kreisler. The way Hoffmann portrays Kreisler shows his innovativeness in bringing out the character of Hamlet his is wounded by the disparity of his internal and external world (Brown 217).
The analysis of writing skills shows transparency by postponing arguments which disturbs an attentive reader. His discussion of the novel Kreisler is insightful, valid and instructive.
The German Volk occurred in a transitional period of history when there was no national unity due to politics. Volk was a product of the German Romantic movement. German Romanticism showed a radical concept of Volk in an alternative viewpoint leading to an idealist philosopher. Since 19th century a German philosophical culture known as Volk was in existence Hoffmann’s criticism of mechanical reproduction and abstract reasoning in favor of creative insight and poetic imagination is hardly surprising to find mechanical toys, and mysterious equipment located in between his stories. The Sandman story begins with a doll named Olympia and other mechanical instruments. The descriptions are conducted by Nathanael’s father during Nathanael’s youth.
In this novel Hoffmann juxtaposes Clara’s explanation with Nathanael’s memory about his father’s death. At the beginning of the story there is a dispute between Nathanael and Clara about what happened at that particular time when his father died mysteriously. In her letter she testifies about her personality and dismisses Nathanael’s memory as childhood fantasies. The criticism of Nathanael’s memory of Clara exposes her as a representative of the real world which occurs every day in the society. Hoffmann’s story defends Clara’s perspective and anticipates procedural approaches to the 20th century. She insists in her letter that there is an existence of an evil power which haunts Nathanael’s and it is plotting his doom. The external force that Clara contends makes the internal powers to appear effective. Clara is the personified spirit of the explanation in an attempt to cure Nathanael’s childish mind. On many occasions Nathanael loses his mind and experiences nightmares which cause him to experience dizzy spells and lose consciousness (Röder 173).
According to the critics the contrast between the two characters is their temperament. Nathanael’s feels that his experiences are normal while Clara hates this dark side and prefers not to dwell in it. Unlike the earlier romantic art and literature during the year 1800 Hoffmann’s story does not have a happy ending. Instead Nathanael commits suicide which is an indication that the human imagination is difficult to overcome and one can only learn to live with it according to the critics and scholars (Röder 173). The Volk justifies an individual as belonging to a certain culture. During the medieval times German has been symbolized as a state of innocence and wisdom. The ethnic beginnings in the 17th century showed a range of comparative linguistics which concludes a survey of modern mythologies in a variety of modern linguistics such as anthropology, literature and linguistics.
Works cited
Brown, H. M. E.T.A. Hoffmann and the Serapiontic principle: critique and creativity. Rochester, NY: Camden House, 2006. Print.
Esterhammer, Angela. Romantic poetry. Amsterdam: John. Benjamins Pub. Co., 2002. Print.
Röder, Birgit. A study of the major novellas of E.T.A. Hoffmann. Rochester, N.Y.: Camden House, 2003. Print.
