Subject. Ernst Theodor Amadeus Hoffmann "The Golden Pot".
Target: introduce students to the work of one of the outstanding romanticists of Europe; show the features of Hoffmann's romantic concept; analysis training romantic work; strengthening questioning skills; practicing the skills of a coherent answer to a question.
Equipment: portrait of the writer, filmstrip on the biography and creative path of the writer; book exhibition works by Hoffmann, a selection of illustrations for the “Golden Pot” by various artists.
Epigraph: Just a minute, I wanted to ask:
Is it easy for Hoffmann to have three names?
Oh, to grieve and get tired for three people
To the one who is Ernst, and Theodore, and Amadeus.
A. Kushner
Lesson progress
1. Check homework according to the writer's biography.
W/D - Group 3 (reproducing level) – answer the quiz questions.
Quiz questions
- Where and when was E.T.A. Hoffmann born? (January 24, 1776 in Konigsberg)
- What is the tragedy of the Hoffmann family? (In 1778, the parents divorced, Ernst Theodor Wilhelm remained with his mother)
- Name the people whose friendship the writer treasured throughout his life. (Theodor Hippel, Eduard Gitzig)
- What was Hoffmann's reading range in his youth? (“The Sorrows of Young Werther” by Goethe, “Confession” by Rousseau, Shakespeare, Stern, Jean-Paul)
- Yours Hoffmann replaced the third name “Wilhelm” with “Amadeus”. What was the reason for this replacement? (Love of Mozart's music - took Mozart's name)
- What kind of education did Hoffman receive and what did he do after graduation? (Legal, efficient judicial officer)
- Why was he exiled to Plock and then often persecuted, even before his death? (For his caricatures of the bosses and for the fact that the bosses recognized themselves in his characters)
- How did creative recognition begin? (From production in musical theater « Merry musicians»)
- What role did Julia Mark play in Hoffmann’s life? ( Tragic love)
- Who did Hoffmann perform as in the Bamberg musical theater? (Composer, stage director, decorator, librettist, critic)
- Name the work that brought Hoffmann the greatest fame. (Ondine" libretto by Fouquet)
- Name the most famous prose works Hoffmann, written in the last 9 years of his life. (“Fantasies of Callot”, “Kreisleriana”, “Serapion Brothers”, “Elixirs of the Devil”, “Worldly Views of the Cat Murr”, “Golden Pot”, “Nutcracker”, “Corner Window”, etc.)
- Give the date of the writer's death. (June 25, 1822 – 46 years old)
W/D - For the 1st group (creative level) and 2nd (constructive level) - a business game: “Editor of the publishing house ZhZL.”
- You are the editor of the ZhZL publishing house, you need to prove the legality of publishing the volume “E.T.A. Hoffman, Life wonderful person" Give arguments from the writer’s biography, formulate it in the form of an oral presentation to members of the editorial board. Convince your colleagues.
Oral presentations by students of these groups are heard, the best are noted.
Self-test of quiz answers by group 3..
2. Analysis of the fairy tale “The Golden Pot”. Form - conversation at a round table.
Even before the discussion begins, students take their seats so that they sit facing each other so that they can see each other clearly. The atmosphere should be relaxed. Students ask questions prepared at home about the content of this work. Questions can be asked not only to a specific student who must answer this question, but questions can be directed to the teacher. When asking a question, the student says to whom he is asking the question.
Approximate range of questions for discussion
- What is the genre of this work? (Fairy tale)
- Is this tale folklore? (No, it’s a literary fairy tale, the so-called fairy tale from modern times)
- What can you say about the main character of the work? (A student, poor, unlucky, sometimes a funny loser - i.e. endowed with individual traits, not always positive)
- What attracts the reader to this character? (Enthusiast, imaginative poet)
- What is the conflict of the fairy tale? (Conflict – a collision of the real world with the dream world: he pushed a basket of apples from an evil old woman)
- How the clash of Hoffmann's dual worlds is reflected in the image love line plot? (Serpentina – Veronica)
- What are Serpentina and Veronica like? (Both are attractive in their own way: Veronica represents the sphere of everyday life, dreams of achieving everything in real life: dreams of being a court councilor. Serpentina is the embodiment of high spirit)
- How does a fairy tale reflect the world of everyday life through a symbol? (The witch is an everyday force, terrible, but also attractive, attractive)
- What is philistinism and how does it affect a person as depicted by Hoffmann? (It deprives a person of high aspirations)
- How does Hoffman depict the triumph of things over man? (Things live human lives)
- What is Hoffmann's contrast to this? scary world materialism? (Dream World)
- Which of the fairy tale characters belongs to the dream world? ( Fairy tale characters: prince of spirits, Soloman, his daughters - three green snakes)
- What is the world like in which these characters live? (Objects in it lose their material omnipotence: music, colors, poetry, high world dreams)
- Is this world open to everyone? (For enthusiasts only)
- How does he behave? main character? Which world does he choose? (Anselm now rushes into the world of poetry, now into everyday life - to Veronica)
- What role does the feeling of being in a closed glass vessel play in Anselm’s choice? (In this way he understands even more clearly his loneliness in the world of materialism, the vacuum of spiritual life, emotional poverty)
- What choice does the hero make? (After he shakes off everyday life, marries Serpentine, they move to the fairy-tale kingdom of Atlantis)
- Why does the author use a fantasy ending for a happy ending? (Into the world of poetic dreams is the only way to escape from the everyday life of contemporary society. Hoffman understands the illusory nature of this exit)
- Why is the ending riddled with irony? (Atlantis is a dream, but not a reality. Hoffmann questions the romantic dream itself. He feels fear of the phenomena of life in their irrationality)
- What is Hoffmann's aesthetic ideal? (Creative world, dream world)
Salary – Name the features of Hoffmann's romanticism in the fairy tale “The Golden Pot”. Write them down in your notebooks.
Features of romanticism in the fairy tale “The Golden Pot”
- Subjectivism.
- The connection between romanticism and folklore.
- the position of a “natural” person.
- A combination of reality and fantasy.
- Showing the complexity and contradictions of human character.
- Synthesis of arts (literature, music, fine arts, light music).
- Use of symbolism.
- Grotesque.
Conclusion: Main conflict work - between dream and reality, which is reflected in the construction of the work - in a romantic dual world. Hoffmann's aesthetic ideal is a creative world, a world of dreams and beauty. The combination of reality and fantasy in the story further emphasizes the incompatibility of these two worlds. Synthesis of arts
Music and poetry - perfect shapes expressions of a romantic idea of the world and man, the author’s “I”. The fairy tale is dominated by subjectivism as the leading principle in the approach to the world and man in romantic art. Fantasy and imagination play a big role. With irony, Goffman destroys normative aesthetics. "Fairy tale" as a "canon of poetry" (Novalis). Grotesque, the connection between romanticism and folklore is not only at the genre level. Poeticization of the “natural” person as a bearer of the individual, unique. Goffman develops an idea of the complexity and contradictoriness of human nature.
3. Lesson summary.
4. Homework.
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Slide captions:
Epigraph: Just a minute, I wanted to ask: Is it easy for Hoffmann to have three names? Oh, to grieve and get tired for three people to the One who is Ernst, and Theodore, and Amadeus. A. Kushner
Works of the writer
Assignment for the 1st group (creative level) and 2nd (constructive level) Business game: “Editor of the ZhZL publishing house.” You are the editor of the ZhZL publishing house, you need to prove the need to publish the volume “E.T.A. Hoffman. The life of a wonderful person." Give arguments from the writer’s biography, formulate it in the form of an oral presentation to members of the editorial board. Convince your colleagues.
Quiz questions group 3 (reproducing level) Where and when was E.T.A. born? Hoffman? What is the tragedy of the Hoffmann family? 3. Name the names of people whose friendship the writer treasured all his life. 4. What was Hoffmann’s reading range in his youth? 5. Hoffmann replaced his third name “Wilhelm” with “Amadeus”. What was the reason for this replacement? 6. What kind of education did Hoffman receive and what did he do after graduation?
Why was he exiled to Plock and then often persecuted, even before his death? How did creative recognition begin? What role did Julia Mark play in Hoffmann’s life? Who did Hoffmann perform as in the Bamberg musical theater? 11. Name the work that brought Hoffmann the greatest fame. 12. Name the most famous prose works of Hoffmann, written over the last 9 years of his life. 13. Give the date of the writer’s death.
Quiz questions group 3 (reproducing level) 1. Where and when was E.T.A. born? Hoffman? (January 24, 1776 in Koenigsberg). 2. What is the tragedy of the Hoffmann family? (In 1778, the parents divorced, Ernst Theodor Wilhelm remained with his mother). 3. Name the names of people whose friendship the writer treasured all his life. (Theodor Hippel, Eduard Gitzig). 4. What was Hoffmann’s reading range in his youth? (“The Sorrows of Young Werther” by Goethe, “Confession” by Rousseau, Shakespeare, Stern, Jean-Paul). 5. Hoffmann replaced his third name “Wilhelm” with “Amadeus”. What was the reason for this replacement? (Love of Mozart's music - took Mozart's name). 6. What kind of education did Hoffman receive and what did he do after graduation? (Legal, efficient judicial officer).
7. Why was he exiled to Plock and then often persecuted, even before his death? (For the caricatures of the bosses and for the fact that the bosses recognized themselves in his heroes) 8. How did creative recognition begin? (From the musical theater production of “The Merry Musicians”) 9. What role did Julia Mark play in Hoffmann’s life? (Tragic love) 10. Who did Hoffmann perform as in the Bamberg musical theater? (Composer, stage director, decorator, librettist, critic) 11. Name the work that brought Hoffmann the greatest fame. (Ondine" on a libretto by Fouquet) Name the most famous prose works of Hoffmann, written in the last 9 years of his life. (“Fantasia Callot”, “Kreisleriana”, “Serapion Brothers”, “Elixirs of the Devil”, “Worldly Views of the Cat Murra”, “Golden Pot”, “Nutcracker”, “Corner Window”, etc.) 13. Name the date death of the writer. (June 25, 1822 – 46 years old)
Questions for Discussion What is the genre of this work? Is this tale folklore? What can you say about the main character of the work? What attracts the reader to this character? What is the conflict of the fairy tale? How is the clash of Hoffmann's two worlds reflected in the depiction of the love line of the plot?
What are Serpentina and Veronica like? How does a fairy tale reflect the world of everyday life through a symbol? What is philistinism and how does it affect a person as depicted by Hoffmann? How does Hoffman depict the triumph of things over man?
What is Hoffmann’s contrast to this terrible world of materialism? Which of the fairy tale characters belongs to the dream world? What is the world like in which these characters live? Is this world open to everyone?
How does the main character behave? Which world does he choose? What role does the feeling of being in a closed glass vessel play in Anselm’s choice? What choice does the hero make?
Connection with folklore Combination of reality and fantasy Synthesis of arts Grotesque Use of symbolism Complexity and inconsistency of character Position of a “natural” person Subjectivism Features of romanticism
Conclusion: The main conflict of the work is between dream and reality, which is reflected in the construction of the work - in the romantic dual world. Hoffmann's aesthetic ideal is a creative world, a world of dreams and beauty. The combination of reality and fantasy in the story further emphasizes the incompatibility of these two worlds. Synthesis of arts - music and poetry are ideal forms of expression of the romantic idea of the world and man, the author's “I”. The fairy tale is dominated by subjectivism as the leading principle in the approach to the world and man in romantic art.
Fantasy and imagination play a big role. With irony, Goffman destroys normative aesthetics. "Fairy tale" as a "canon of poetry" (Novalis). Grotesque, the connection between romanticism and folklore is not only at the genre level. Poeticization of the “natural” person as a bearer of the individual, unique. Goffman develops an idea of the complexity and contradictoriness of human nature.
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Specifics of Hoffmann's romanticism: short story "Pot of Gold"
The literature of the Romantic era, which valued, above all, non-normativity and freedom of creativity, actually still had rules, although, of course, they never took the form of normative poetic treatises like Boileau’s Poetics.
An analysis of literary works of the Romantic era, carried out by literary scholars over two centuries and already generalized many times, has shown that romantic writers use a stable set of romantic “rules”, which are referred to as features of the construction of the artistic world (two worlds, an exalted hero, strange incidents, fantastic images ), as well as the structural features of the work, its poetics (the use of exotic genres, for example, fairy tales; the author’s direct intervention in the world of the characters; the use of the grotesque, fantasy, romantic irony, etc.).
Let us consider the most striking feature of Hoffmann’s fairy tale “The Golden Pot”, which indicates that it belongs to the era of romanticism.
The world of Hoffmann's fairy tale has pronounced signs of a romantic dual world, which is embodied in the work in various ways. Romantic dual worlds are realized in the story through the characters’ direct explanation of the origin and structure of the world in which they live.
There is this world, the earthly world, the everyday world, and another world, some magical Atlantis, from which man once originated. This is exactly what is said in Serpentina's story to Anselm about her father, the archivist Lindgorst, who, as it turned out, is the prehistoric elemental fire spirit Salamander, who lived in magical land Atlantis and exiled to earth by the prince of spirits Phosphorus for his love for his daughter Lily the snake. Hoffmann romanticism golden pot
This fantastic story is perceived as an arbitrary fiction that has no serious significance for understanding the characters of the story, but it is said that the prince of spirits Phosphorus predicts the future: people will degenerate (namely, they will cease to understand the language of nature) and only melancholy will vaguely remind of the existence of another world ( ancient homeland man), at this time the Salamander will be reborn and in its development will reach man, who, having been reborn in this way, will begin to perceive nature again - this is a new anthropodicy, the doctrine of man. Anselm belongs to the people of the new generation, since he is able to see and hear natural miracles and believe in them - after all, he fell in love with a beautiful snake that appeared to him in a blooming and singing elderberry bush.
Serpentina calls this the “naive poetic soul” possessed by “those young men who, due to the excessive simplicity of their morals and their complete lack of so-called secular education, are despised and ridiculed by the crowd.” A man is on the verge of two worlds: partly an earthly being, partly a spiritual one. In essence, in all of Hoffmann's works the world works exactly like this.
Duality is realized in the character system, namely in the fact that the characters clearly differ in their affiliation or inclination to the forces of good and evil. In The Golden Pot, these two forces are represented, for example, by the archivist Lindgorst, his daughter Serpentina and the old witch, who turns out to be the daughter of a black dragon feather and a beetroot. The exception is the main character, who finds himself under the equal influence of one and the other force, is subject to this changeable and eternal struggle good and evil.
Anselm’s soul is a “battlefield” between these forces, see, for example, how easily Anselm’s worldview changes when he looks into Veronica’s magic mirror: just yesterday he was madly in love with Serpentine and wrote down the history of the archivist in his house with mysterious signs, and Today it seems to him that he only thought about Veronica, “that the image that appeared to him yesterday in the blue room was again Veronica, and that the fantastic fairy tale about the marriage of Salamander with a green snake was only written by him, and not told to him at all.” . He himself marveled at his dreams and attributed them to his exalted state of mind, due to his love for Veronica...” Human consciousness lives in dreams and each of such dreams always, it would seem, finds objective evidence, but in essence all these states of mind the result of the influence of the warring spirits of good and evil. The extreme antinomy of the world and man is a characteristic feature of the romantic worldview.
The dual world is realized in the images of a mirror, which are found in large numbers in the story: the smooth metal mirror of the old fortune teller, the crystal mirror made of rays of light from the ring on the hand of the archivist Lindgorst, the magic mirror of Veronica that bewitched Anselm.
The color scheme used by Hoffmann in the depiction of objects from the artistic world of “The Golden Pot” reveals that the story belongs to the era of romanticism. These are not just subtle shades of color, but necessarily dynamic, moving colors and entire color schemes, often completely fantastic: “pike-gray tailcoat”, snakes shining with green gold, “sparkling emeralds fell on him and entwined him with sparkling golden threads, fluttering and playing around him with thousands of lights”, “blood sprayed from the veins, penetrating the transparent body of the snake and coloring it red”, “from gemstone, as if from a burning focus, rays emerged in all directions, which, when combined, made up a brilliant crystal mirror.”
The sounds in the artistic world of Hoffmann’s work have the same feature - dynamism, elusive fluidity (the rustling of elderberry leaves gradually turns into the ringing of crystal bells, which, in turn, turns out to be a quiet, intoxicating whisper, then bells again, and suddenly everything ends in rough dissonance, noise the water under the oars of the boat reminds Anselm of a whisper.
Wealth, gold, money, jewelry are presented in the artistic world of Hoffmann's fairy tale as a mystical object, a fantastic magical remedy, an object partly from another world. Spetsies thaler every day - it was this kind of payment that seduced Anselm and helped him overcome his fear in order to go to the mysterious archivist; it is this spices thaler that turns living people into shackled ones, as if poured into glass. Lindgorst's precious ring can charm a person. In her dreams of the future, Veronica imagines her husband, court councilor Anselm, and he has a “gold watch with a rehearsal”, and he gives her the latest style of “cute, wonderful earrings”.
The heroes of the story are distinguished by their obvious romantic specificity.
Profession. Archivist Lindgorst is the keeper of ancient mysterious manuscripts containing, apparently, mystical meanings; in addition, he also deals with mysterious chemical experiments and does not allow anyone into this laboratory. Anselm is a copyist of manuscripts who is fluent in calligraphy. Anselm, Veronica, Kapellmeister Geerbrand have musical ear, are able to sing and even compose music. In general, everyone belongs to the scientific community and is associated with the production, storage and dissemination of knowledge.
Romantic heroes often suffer incurable disease, which makes the hero seem to be partially dead (or partially unborn!) and already belonging to another world. In The Golden Pot, none of the characters are distinguished by ugliness, dwarfism, etc. romantic illnesses, but there is a motive of madness, for example, Anselm, for his strange behavior, is often mistaken by those around him for a madman: “Yes,” he added, “there are frequent examples of certain phantasms appearing to a person and disturbing and tormenting him a lot; but this is a bodily illness, and leeches are very helpful against it, which should be placed, if I may say so, on the backside, as proven by one famous scientist who has already died,” he himself compares the fainting that happened to Anselm at the door of Lindhorst’s house with madness, a statement of a drunken man Anselm’s “after all, you, Mr. Conrector, are nothing more than an owl bird curling a toupee” immediately aroused the suspicion that Anselm had gone crazy.
The nationality of the heroes is not definitely mentioned, but it is known that many heroes are not people at all, but magical creatures born from marriage, for example, a black dragon feather and a beetroot. Nevertheless, the rare nationality of the heroes as an obligatory and familiar element of romantic literature is still present, although in the form of a weak motive: the archivist Lindgorst keeps manuscripts in Arabic and Coptic, as well as many books “such as those written in some strange characters that do not belong to in no known language."
Everyday habits of the characters: many of them love tobacco, beer, coffee, that is, ways of bringing themselves out of an ordinary state into an ecstatic one. Anselm was just smoking a pipe filled with “useful tobacco” when his wonderful encounter with an elderberry bush took place. Registrar Geerband “invited the student Anselm to drink every evening in that coffee shop on his account, the registrar, a glass of beer and smoke the pipe until he one way or another he will not meet the archivist... which the student Anselm accepted with gratitude.”
The style of “The Golden Pot” is distinguished by the use of the grotesque, which is not only Hoffmann’s individual originality, but also that of romantic literature in general. “He stopped and looked at a large door knocker attached to a bronze figure. But just as he wanted to take up this hammer at the last sonorous strike of the tower clock on the Church of the Cross, suddenly the bronze face twisted and grinned into a disgusting smile and the rays of its metal eyes sparkled terribly. Oh! It was an apple vendor from the Black Gate...", "the bell cord went down and turned out to be a white, transparent, gigantic snake...", "with these words he turned and left, and then everyone realized that the important man was, in fact, a gray parrot."
Fiction allows you to create the effect of a romantic two-world: there is a world here, a real one, where ordinary people they think about a portion of coffee with rum, double beer, dressed up girls, etc., and there is a fantasy world where “the young man Phosphorus, dressed in brilliant weapons that played with a thousand multi-colored rays, and fought with a dragon, which struck the shell with its black wings ..." Fantasy in Hoffmann's story comes from grotesque imagery: with the help of the grotesque, one of the characteristics of an object is increased to such an extent that the object seems to turn into another, already fantastic one. For example, the episode with Anselm moving into the bottle.
The image of a man chained in glass, apparently, is based on Hoffmann’s idea that people sometimes do not realize their lack of freedom - Anselm, having found himself in a bottle, notices the same unfortunate people around him, but they are quite happy with their situation and think that they are free, that they they even go to taverns, etc., and Anselm has gone crazy (“he imagines that he is sitting in glass jar, but stands on the Elbe Bridge and looks into the water.”
Author's digressions appear quite often in the story's relatively small text volume (in almost every one of the 12 vigils). Obviously, artistic sense of these episodes is to clarify author's position, namely the author's irony. “I have the right to doubt, gentle reader, that you have ever happened to be sealed in a glass vessel...” These obvious authorial digressions set the inertia of perception of the rest of the text, which turns out to be completely permeated with romantic irony.
Finally, the author’s digressions play another important role: in the last vigil, the author announced that, firstly, he will not tell the reader how he knew all this secret history, and secondly, that Salamander Lindhorst himself proposed to him and helped complete the story of the fate of Anselm, who, as it turned out, migrated, together with Serpentina, from ordinary earthly life to Atlantis. The very fact of the author’s communication with the elemental spirit Salamander casts a shadow of madness over the entire narrative, but last words the stories answer many of the reader’s questions and doubts, reveal the meaning of key allegories: “Anselm’s bliss is nothing other than life in poetry, through which the sacred harmony of all things is revealed as the deepest of nature’s secrets!”
Sometimes two realities, two parts of a romantic dual world intersect and give rise to funny situations. So, for example, a tipsy Anselm begins to talk about the other side of reality known only to him, namely about true face archivist and Serpentina, which looks like nonsense, since those around are not ready to immediately understand that “Mr. Archivist Lindgorst is, in fact, Salamander, who devastated the garden of the prince of spirits Phosphorus in his hearts because the green snake flew away from him.” However, one of the participants in this conversation - registrar Geerbrand - suddenly showed awareness of what was happening in a parallel real world: “This archivist is really a damned Salamander; he flicks fire with his fingers and burns holes in his coats like a fire pipe.” Carried away by the conversation, the interlocutors completely stopped reacting to the amazement of those around them and continued to talk about characters and events that only they understood, for example, about the old woman - “her dad is nothing more than a torn wing, her mother is a bad beet.”
The author's irony makes it especially noticeable that the heroes live between two worlds. Here, for example, is the beginning of Veronica’s remark, who suddenly entered the conversation: “This is vile slander,” Veronica exclaimed with her eyes sparkling with anger...”
For a moment, it seems to the reader that Veronica, who does not know the whole truth about who the archivist or the old woman is, is outraged by these crazy characteristics of her acquaintances, Mr. Lindhorst and old Lisa, but it turns out that Veronica is also aware of the matter and is outraged by something completely different: “... Old Lisa is a wise woman, and the black cat is not an evil creature at all, but an educated young man of the most subtle manner and her cousin germain.”
The conversation between the interlocutors takes on completely ridiculous forms (Gerbrand, for example, asks the question “can Salamander eat without burning his beard?”), any serious meaning is completely destroyed by irony.
However, irony changes our understanding of what happened before: if everyone from Anselm to Geerband and Veronica is familiar with the other side of reality, then this means that in ordinary conversations that happened between them before, they hid their knowledge of another reality from each other, or these conversations contained contains hints, ambiguous words, etc., invisible to the reader, but understandable to the characters. Irony, as it were, dispels the holistic perception of a thing (person, event), instills a vague feeling of understatement and “misunderstanding” of the surrounding world.
The listed features of Hoffmann's story “The Golden Pot” clearly indicate that the work belongs to the era of romanticism. Many remained unexamined and even untouched important issues the romantic nature of this tale by Hoffmann. For example, the unusual genre form “a fairy tale from modern times” influenced the fact that Hoffmann’s fantasy is not inclined to forms of implicit fantasy, but, on the contrary, turns out to be explicit, emphasized, magnificently and unrestrainedly developed - this leaves a noticeable imprint on the world order romantic fairy tale Hoffman.
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The Misadventures of the Student Anselm. - Healthy Conrector Paulman tobacco and golden-green snakes.
On the day of the Ascension, around three in the afternoon, a young man was rapidly walking through the Black Gate in Dresden and just fell into a basket of apples and pies that was being sold by an old, ugly woman - and he fell so successfully that part of the contents of the basket was crushed, and everything that had successfully escaped this fate scattered in all directions, and the street boys joyfully rushed to the prey that he had delivered to them clever young man! At the old woman’s cries, her friends left their tables, where they were selling pies and vodka, and surrounded her. young man and they began to scold him so rudely and furiously that he, numb with vexation and shame, could only take out his small and not particularly full wallet, which the old woman greedily grabbed and quickly hid. Then the tight circle of merchant women parted; but when the young man jumped out of it, the old woman shouted after him: “Run away, damn son, so that you will be blown away; you will fall under glass, under glass!...” There was something terrible in the sharp, shrill voice of this woman, so that the walkers stopped in surprise, and the laughter that had been heard at first suddenly fell silent. Student Anselm (he was the young man), although he did not understand the old woman’s strange words at all, felt an involuntary shudder and quickened his steps even more in order to avoid the gaze of the curious crowd directed at him. Now, making his way through the stream of smartly dressed townspeople, he heard everywhere saying: “Ah, poor young man! Oh, she’s a damned woman!” In a strange way, the old woman’s mysterious words gave the funny adventure a certain tragic turn, so that everyone looked with sympathy at the man whom they had not noticed at all before. Female persons, in view of the young man's tall stature and his handsome face, the expressiveness of which was enhanced by hidden anger, willingly excused his awkwardness, as well as his costume, which was very far from any fashion, namely: his pike-gray tailcoat was cut in such a way as if the tailor who worked for him knew only from hearsay about modern styles, and the black satin, well-preserved trousers gave the whole figure a kind of magisterial style, which was completely inconsistent with his gait and posture.
There are two stages in the history of romanticism: early and late. The division is not only chronological, but based on the philosophical ideas of the era.
Philosophy early romanticism defines a two-sphere world: the world of “infinite” and “finite” (“become”, “inert”). “Infinite” - Cosmos, Genesis. “Finite” - earthly existence, everyday consciousness, everyday life.
Art world early romanticism embodies the dual world of “infinite” and “finite” through the idea universal synthesis. The dominant attitude of the early romantics was a joyful acceptance of the world. The universe is a kingdom of harmony, and world chaos is perceived as a bright source of energy and metamorphosis, the eternal “flow of life.”
World late romanticism- also a two-sphere world, but already different, this is a world of absolute two-worldliness. Here the “finite” is an independent substance, opposite to the “infinite”. The dominant attitude of the late romantics is disharmony, cosmic chaos is perceived as a source of dark, mystical forces.
Hoffmann's aesthetics are created at the intersection of early and late romanticism, their philosophical interpenetration.
In the world of Hoffmann’s heroes, there is no single correct space and time; each has its own reality, its own topos and its own time. But the Romantic, describing these worlds, in his own mind connects them into a coherent, albeit contradictory world.
Hoffmann's favorite character, Kreisler, in The Musical Sorrows of Kapellmeister Johannes Kreisler, describes a “tea evening” to which he was invited as a pianist playing at a dance:
“...I... am completely exhausted... A disgusting lost evening! But now I feel good and easy. After all while playing I took out a pencil and right hand sketched in numbers on page 63 under the last variation several successful deviations, while left hand never stopped struggling with the flow of sounds!.. I keep writing on the back blank side<…>As a recovering patient who never ceases to talk about what he suffered, I describe in detail here the hellish torment of today’s tea evening.” Kreisler, Hoffmann's alter ego, is able to overcome the drama of reality through spiritual existence.
In Hoffmann’s work, the structure of each text is created by “two worlds,” but it enters through “ romantic irony».
In the center of Hoffmann's universe - creative personality, poet and musician, the main thing for whom is act of creation, according to the romantics, is “music, the being of being itself.” Aesthetic act and resolves the conflict between the “material” and the “spiritual”, life and being.
A fairy tale from modern times “The Golden Pot” was the focus of Hoffmann's philosophical and aesthetic concept.
The text of the fairy tale reflects the “extra-textual” world and at the same time the individual, characterizing Hoffmann’s personality. According to Yu. M. Lotman, the text is “ author's model of the world", through everything structural components which, chronotope and heroes are embodied real world. The philosophy of romantic dual worlds determines the plot and plot of the tale, composition and chronotope.
To parse the text we need theoretical concepts, without which students, as a rule, call Anselm the main character of the tale, and from art spaces two are distinguished - the city of Dresden and the magical and mystical world in its two guises - Atlantis (the bright beginning) and the space of the Old Woman (the dark beginning). Thus delineated chronotope of the tale cuts off individual parts of the composition, reduces the plot by half, reducing it to the plot about Anselm.
If for actor the characters of this plot Anselm, Veronica, Geerbrand, Paulman, Lindgorst and old woman Lisa are enough for creative fantasies stage embodiment, then for director this compositional deconstruction leads to the loss of the meaning of the Fairy Tale and its main character - Romance.
Theoretical concepts become indicators of artistic and ideological meanings.
Chronotope - “... relationship spatial and temporal relations, artistically mastered in literature" [p. 234].
Author-creator - real person, the artist is “distinguishable from the image author, narrator and narrator. Author-creator = composer both in relation to the work as a whole, and to a separate text as a particle of the whole” [p. 34].
The author is “the bearer of the intensely active unity of the completed whole, the whole hero and the whole work.<...>The author’s consciousness is the consciousness that embraces the consciousness of the hero, his world” [p. 234]. The author’s task is to understand the form of the hero and his world, i.e. aesthetic assessment of someone else's knowledge and action.
Narrator (narrator, narrator) - “this created figure which belongs to the whole literary work". This role invented and adopted by the author-creator. “The narrator and characters, by their function, are “paper creatures”, Author story (material) cannot be confused with narrator this story."
Event. There are two types of Events: an artistic event and a story event:
1) An artistic event - in which the author-creator and the reader take part. So in “The Golden Pot” we will see several similar Events, about which the characters “do not know”: this structural division, the choice of genre, the creation of a chronotope, as Tynyanov notes, such an Event “introduces not the hero, but the reader into prose.”
2) The plot event changes the characters, situations, dynamic deployment of the plot in the space of the entire plot.
The text of the “Golden Pot” is a system of several artistic events , fixed in the structure of the composition.
The beginning of these Events is the division into “printed” text and “written” text.
First Event- this is the text “printed”: “The Golden Pot” A fairy tale from modern times.” It was created by Hoffmann - Author-creator - and has a common character with the rest of Hoffmann’s work - this is Kreisler, the main character of “Kreisleriana”.
Second Event. Author-Creator to your text introduces another author - Author-narrator. In the literature such author-narrator always exists as an alter ego of the real author. But often the author-creator endows him with the subjective function of the author-storyteller, who turns out to be a witness or even a participant real story, which it tells about. “The Pot of Gold” has just such a subjectified author - a romantic writer who writes “his own text” - about Anselm (“the text being written”).
Third Event- this is the “written text” about Anselm.
Having read the work “The Golden Pot” by Hoffmann, we see the first thing that belongs to the features of romanticism - the use of the grotesque. The entire work is built on a bizarre interweaving of the real and the fantastic. With the help of fiction, Hoffman creates the effect of two worlds. In Hoffmann's work there are metamorphoses, that is, transformations; an example of such a transformation could be a green snake that turned into a girl. There are many digressions in the work in which the author explains the author’s position, namely the author’s irony. Irony is also inherent in this work, the intertwining of two worlds leads to an ironic situation when Anselm is considered crazy after his stories about the other side of reality. Fantasticity and fabulousness are manifested throughout the entire work, magical world, witchcraft, metamorphosis, fantastic heroes works, etc. Hoffmann's fantasy in The Golden Pot is not hidden, but, on the contrary, obvious. Also, the features of romanticism in Hoffmann’s work “The Golden Pot” include such features as unity with nature, this can be seen in the episode when Anselm sees three green snakes entwined around the branches of an elderberry, after they disappeared Anselm remained standing, hugging the bush elderberries. As for Anselm, he this work is romantic hero, he does not betray his dreams. Despite the events taking place, even when he finds himself in the bottle, he does not give in to the persuasion of the witch.
As you know, we associate romanticism with everything bright, sweet, with flowers and elegant gifts. It turns out that in our time you can be a romantic. For me, for example, a bouquet of sweets as a original gift to your loved one. It is very original, pleasant and romantic.