Hoffmann's ancestors, both maternal and paternal, werejurists.[5] His father, Christoph Ludwig Hoffmann (1736–97), was abarrister inKönigsberg,Prussia (nowKaliningrad, Russia), as well as a poet and amateur musician who played theviola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
When his parents separated in 1778, his father went to Insterburg (nowChernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Hoffmann's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.
The household, dominated by the uncle (whom Ernst nicknamedO Weh—"Oh dear!"—in a play on his initials "O.W."), waspietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamedTante Füßchen ("Aunt Tootsy-Wootsy"). Although she died when he was only three years old, he treasured her memory (a character in Hoffmann'sLebensansichten des Katers Murr is named after her) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found afterWorld War II.[6]
Between 1781 and 1792 he attended the Lutheran school orBurgschule, where he made good progress in classics. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, readSchiller,Goethe,Swift,Sterne,Rousseau andJean Paul, and wrote part of a novel titledDer Geheimnisvolle.
In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795.[7] In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him inGlogau (Głogów),Prussian Silesia.[8]
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visitedDresden, where he was amazed by the paintings in the gallery, particularly those ofCorreggio andRaphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta calledDie Maske and sending a copy to QueenLuise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man namedIffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left forPosen (Poznań) inSouth Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.
From June 1800 to 1803, he worked in Prussian provinces in the area ofGreater Poland andMasovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."[9]
His first job, at Posen, was endangered after Carnival onShrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann toPłock inNew East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated fromThorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whosePolish surname was Trzcińska). They moved to Płock in August 1802.
Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published inKotzebue's periodical,Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was calledDer Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100Friedrichs d'or. Nevertheless, his entry was singled out for praise.[10] This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.
At the beginning of 1804, he obtained a post atWarsaw.[11] On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship withZacharias Werner, and meeting his future biographer, a neighbour and fellow jurist calledJulius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called theNordstern, or "North Star", and he gave Hoffmann the works ofNovalis,Ludwig Tieck,Achim von Arnim,Clemens Brentano,Gotthilf Heinrich von Schubert,Carlo Gozzi andCalderón. These relatively late introductions marked his work profoundly.
But Hoffmann's fortunate position was not to last: on 28 November 1806, during theWar of the Fourth Coalition,Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move toVienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.
The next fifteen months were some of the worst in Hoffmann's life.The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles fora cappella choir: one of his best compositions, which he would later attribute to Kreisler inLebensansichten des Katers Murr.
Hoffmann's portrait of Kapellmeister Kreisler
On 1 September 1808 he arrived with his wife inBamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for theAllgemeine musikalische Zeitung, a newspaper inLeipzig, and his articles onBeethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "KapellmeisterJohannes Kreisler" character made his first appearance.
Hoffmann's breakthrough came in 1809, with the publication ofRitter Gluck, a story about a man who meets, or believes he has met, the composerChristoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work ofJean Paul, who invented the termDoppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood forAmadeus, in homage to the composerWolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.
The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. WhenJoseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.
Prussia had declared war against France on 16 March during theWar of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.
The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.
They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days theBattle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found inVision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.
On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.
Grave of E. T. A. Hoffmann. Translated, the inscription reads: E. T. W. Hoffmann, born on 24 January 1776, in Königsberg, died on 25 June 1822, in Berlin, Councillor of the Court of Justice, excellent in his office, as a poet, as a musician, as a painter, dedicated by his friends.
At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at theKammergericht, the chamber court. His operaUndine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.
During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse andsyphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.
Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions, and university professors were monitored during their lectures.
KingFrederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of"Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. EventuallyMeister Floh was published with the offending passages removed.
Hoffmann died ofsyphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the ProtestantFriedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations ofJerusalem Church andNew Church) inBerlin-Kreuzberg, south ofHallesches Tor at the underground station Mehringdamm.
The twentieth-century Russian literary theoristMikhail Bakhtin characterised Hoffmann's works asMenippean Satire, essentially satirical and self-parodying in form, thus including him in a tradition that includesCervantes,Diderot andVoltaire.
Robert Schumann's piano suiteKreisleriana (1838) takes its title from one of Hoffmann's books (and according toCharles Rosen'sThe Romantic Generation, is possibly rather inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears).[4]Jacques Offenbach's masterwork, the operaLes contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") fromDie Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814).Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operettaLe Roi Carotte (1872).Pyotr Ilyich Tchaikovsky's balletThe Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the balletCoppélia, with music byDelibes, is based on two eerie Hoffmann stories.
Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews ofBeethoven'sSymphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts."[18] Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., inE.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963) and have been made available in an English translation inE.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).
Hoffmann's drawing of himself, riding on Tomcat Murr and fighting "Prussian bureaucracy"
Hoffmann strove for artisticpolymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novelLebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.
Hoffmann's literature indicates the failings of many artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. Theself-conscious effort to impress must, according to Hoffmann, be divorced from theself-aware effort to create. This essential duality inKater Murr is conveyed structurally through a discursive "splicing together" of two biographical narratives.
While disagreeing withE. F. Bleiler's claim that Hoffmann was "one of the two or three greatest writers of fantasy",Algis Budrys ofGalaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".[19]
Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary withFrankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renownedThe Sandman (1816) andAutomata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing ofmesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."[20]
Alexandre Dumas, père translatedThe Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline ofIngmar Bergman's 1982 filmFanny and Alexander derive largely from the stories of Hoffmann.[21]
Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essayDas Unheimliche.[22]
Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 albumZinnober includes a track titled "Klein Zaches".[23][24]
^abPenrith Goff, "E.T.A. Hoffmann" inE. F. Bleiler,Supernatural Fiction Writers: Fantasy and Horror. New York: Scribner's, 1985. pp. 111–120.ISBN0-684-17808-7
^Mike Ashley, "Hoffmann, E(rnst) T(heodor) A(madeus) ", inSt. James Guide to Horror, Ghost, and Gothic Writers, ed.David Pringle. Detroit: St. James Press/Gale, 1998.ISBN9781558622067 (pp. 668–69).
^"Ludwig Tieck,Heinrich von Kleist, and E. T. A. Hoffmann also profoundly influenced the development of European Gothic horror in the nineteenth century...." Heide Crawford,The Origins of the Literary Vampire. Lanham : Rowman & Littlefield, 2016.ISBN9781442266742 (p. xiii).
^abSchumann, Robert (2004). Herttrich, Ernst (ed.).Kreisleriana(PDF) (in German, English, and French). G. Henle Verlag. pp. III. Archived fromthe original(PDF) on 16 October 2022. Retrieved4 July 2022.
^Friedrich Schnapp. "Hoffmanns Verwandte aus der Familie Doerffer in Königsberger Kirchenbüchern der Jahre 1740–1811."Mitteilungen der E. T. A. Hoffmann-Gesellschaft. 23 (1977), 1–11.
^Hoffmann, E. T. A. (1977). Sahlin, Johanna C. (ed.).Selected Letters of E. T. A. Hoffmann. Translated by Sahlin, Johanna C. University of Chicago Press. p. 94.ISBN0-226-34790-7.
^Die Freimüthige, 11 February 1804. Volume II, no. 6, pages xxi–xxiv.
^Krys Svitlana,"Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogol's birth (1809–1852) 51.2–3 (June–September 2009): 243–266. (23 pages)
^Greville MacDonald,George MacDonald and His Wife London: Allen and Unwin, 1924 (p. 297-8).
^"Another major influence for Lee is unmistakably E.T.A. Hoffmann'sDer Sandmann..." Christa Zorn,Vernon Lee : aesthetics, history, and the Victorian female intellectual. Athens : Ohio University Press, 2003.ISBN0821414976 (p. 142).
^See alsoFausto Cercignani,E. T. A. Hoffmann, Italien und die romantische Auffassung der Musik, in S. M. Moraldo (ed.),Das Land der Sehnsucht. E. T. A. Hoffmann und Italien, Heidelberg, Winter, 2002, S. 191–201.
^Budrys, Algis (July 1968)."Galaxy Bookshelf".Galaxy Science Fiction. pp. 161–167.
^Martin Willis (2006).Mesmerists, Monsters, and Machines: Science Fiction and the Cultures of Science in the Nineteenth Century. Kent, Ohio: Kent State University Press. pp. 29–30.
^Freud, Sigmund; Vincent B., Leitch (2018).The Norton Anthology of Theory and Criticism (3rd ed.). W.W. Norton & Company. pp. 803–8.ISBN978-0393602951.
Ingo Müller, "Die Rezeption E.T.A. Hoffmanns in der klassischen Musik des 19. bis 21. Jahrhunderts". In:Unheimlich Fantastisch – E.T.A. Hoffmann 2022. Begleitbuch zur Ausstellung der Staatsbibliothek Berlin in Zusammenarbeit mit dem Deutschen Romantik-Museum Frankfurt a. M. und der Staatsbibliothek Bamberg, ed. by von Benjamin Schlodder, Christina Schmitz, Bettina Wagner, Wolfgang Bunzel, Leipzig 2022, pp. 315–322.
