![]() Allied to the medical councillor and his wife is the surgeon Wendelstern, who appears only briefly to deal with the medical consequences of Marie’s nocturnal injury.ĤThe most important adult role in the story, indeed the key figure to the whole work, is Pate (Godfather) Drosselmeier, whose Christmas gift of a marvellous toy palace with mechanical figures produces tension between himself and the children because he thinks they do not properly appreciate it. ![]() ![]() Father accuses Marie of lying and tells her very seriously to cease all her fantasies, otherwise he will throw all her toys, including the nutcracker, through the window. They are no more understanding at the end of the story. Mother dismisses Marie’s account of the battle between the Nutcracker’s soldiers and the mice as foolish and berates her for causing her parents anxiety. Father and mother Stahlbaum represent rather starkly the realm of reason. In some ways he is more down-to-earth, thus contrasting with Marie’s absorption in fantasy and make-believe. Luise plays only a marginal role in the story, but Fritz provides a boy’s viewpoint on the events narrated. Marie has a slightly younger brother, Fritz, and a sister, Luise, who is older. The Kinder-Mährchen also includes another children’s tale by Hoffmann – ’Das fremde Kind’ (The Strange Child) – but this has never enjoyed the same popularity as the Nutcracker.ģ Nutcracker and Mouse King is a Christmas story, and its central character is Marie, the seven year old daughter of Medizinalrat (medical councillor) Stahlbaum and his wife. The only difference lies in the fact that the story primarily focusses on children rather than adults. In point of style, themes and narrative technique it is as superbly crafted as any of Hoffmann’s other tales. What is so wonderful about the Nutcracker is the fact that it appeals to child and adult alike and that Hoffmann did not ’write down’ for his intended child readers. There are aspects of the story that children would not be expected to grasp (literary allusions, asides, narrative tricks), but most of it is perfectly comprehensible to intelligent children such as those of Hoffmann’s friend Julius Eduard Hitzig, for whom the story was written. The question is raised as much as anything because the story operates on more than one level. This is a question that is often raised, but the title of the 1816 volume clearly indicates Hoffmann’s intention. ![]() The story was later republished in the first volume of Hoffmann’s own collection, Die Serapionsbrüder (The Serapion Brethren) (1819-20), where its suitability for children is debated. Not only Marie, the chief protagonist of the story, but also the reader may have difficulty in distinguishing the two.ĢThe German original was first published in 1816 in a volume entitled Kinder-Mährchen (Children’s Stories), which included tales by Carl Wilhelm Contessa, Friedrich de la Motte Fouqué and Hoffmann himself. Like many of Hoffmann’s other tales the boundaries between fantasy and reality are blurred. It is a more realistic kind of fantasy in that the nocturnal events actually unfold in the same place that the children themselves inhabit. Almost fifty years before Lewis Carroll’s Alice’s Adventures in Wonderland it incorporates its original audience as characters within the story, but whereas Alice blends fantasy with parody and comedy the Nutcracker displays a less whimsical, perhaps more subtle sense of humour. 1Hoffmann’s Nußknacker und Mausekönig is an extraordinarily innovative and unusual piece of writing for children, way ahead of its time in its complete abandonment of didacticism and moral instruction.
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