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The Sandman (short story)
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The Sandman (short story) - Wikipedia
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The page you are attempting to access contains content that is not intended for underage readers. Coppola, who is now revealed as Coppelius in truth, wins the struggle, and makes off with the lifeless and eyeless body, while the injured Spallanzani urges Nathanael to chase after him and recover the automaton to which he has devoted so many years of his life. The sight of Olimpia's eyes lying on the ground drives Nathanael to madness, and he flies at the professor to strangle him. He is pulled away by other people drawn by the noise of the struggle, and in a state of insanity, is taken to an asylum.
Spallanzani recovers from the encounter, but is forced to leave the university because of the sensational revelation of the trick he had played in trying to pass off an automaton as a living person. Coppelius once more vanishes without trace. The narrator adds that the story of the automaton had a widespread effect on society, with many lovers taking steps to ensure they were not enamoured of puppets but of real flesh and blood. Nathanael appears to recover from his madness and is reunited with Clara and Lothar.
He resolves to marry Clara and move to a pleasant estate near his home town. On the way to visit the place, they pass through the town and climb the high steeple to look out at the view. Clara points out a bush that seems to be striding towards them.
Nathanael automatically withdraws Coppola's spyglass and, looking through it sideways, sees Clara through the lens. With Clara in place of Olimpia as the subject of the spyglass's gaze, madness strikes Nathanael again, and he tries to hurl Clara from the steeple.
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She is saved by Lothar, but in the crowd that gathers below Coppelius appears, and upon seeing him Nathanael cries "pretty eyes, pretty eyes! Coppelius disappears into the crowd. Many years afterward, the narrator concludes, it is said that Clara was seen with a kind-looking man sitting before a country house with two lovely boys, and thus found the domestic happiness that Nathanael could never have provided. The story contains an example of a horrific depiction of the folklore character, the Sandman , who is traditionally said to throw sand in the eyes of children to help them fall asleep.
The following excerpt is from an English translation of the story:. Most curious to know more of this Sandman and his particular connection with children, I at last asked the old woman who looked after my youngest sister what sort of man he was.
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He is a wicked man, who comes to children when they won't go to bed, and throws a handful of sand into their eyes, so that they start out bleeding from their heads. He puts their eyes in a bag and carries them to the crescent moon to feed his own children, who sit in the nest up there. They have crooked beaks like owls so that they can pick up the eyes of naughty human children.
The characters and the conflict are first defined in the story's three opening letters. Furthermore, the psychological conflict of the protagonist , Nathanael, is represented, who is torn between hallucinations and reality. Nathanael struggles his whole life against posttraumatic stress which comes from a traumatic episode with the sandman in his childhood experience. Until the end of the book it remains open whether this experience was real, or just a dream of the young Nathanael. The text clearly leaves the decision open in as much as it offers two understandings: Hoffman consciously leaves the reader unsure.
In this, the interpretation from an Enlightenment perspective makes sense against the Romantic view, whereby Klara represents the enlightenment and Nathanael the Romantics. Of central importance is the "eyes" theme interpreted by Freud in his essay, The Uncanny , as fear of castration , the "steps", the robot, and laughing. Hoffman, well known for not conforming to society, manages to give a satirical critique of society here, which offers a lesson to both Enlightened scientists and Romantic "hoverers and floaters".
He represents the dark side within Nathanael. Note that the fight between Spallanzani and one or both of them for the "wooden doll" where we hear Coppelius's voice but see Coppola.
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There is also the motif of fists, where Coppelius is always described as having fists, but never hands. From Wikipedia, the free encyclopedia. Liebe und Eifersucht Undine. Jacques Offenbach 's The Tales of Hoffmann. Sandman " " Enter Sandman " Logan's Run film adaptation TV adaptation. Retrieved from " https: Hoffmann Science fiction horror novels.