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as possible. Two days later, because he was afraid that his master was about to attack
Mademoiselle de Scudéri, Olivier secretly followed him when he left the house under cover of darkness. Instead of the mademoiselle, Cardillac attacked an officer, who stabbed Cardillac with his dagger and then fled. Olivier brought Cardillac and the murder weapon back to his house, where the master died of his injuries. Olivier was arrested and charged with the murder. His intention, he states, is to die for the murder if he must in order to spare his beloved Madelon the sorrow of learning the truth about her father. With this, Olivier ends his story and is returned to prison. Because he continues to refuse to confess, an order for his torture is issued.
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primarily the betrothed couple
Olivier and Madelon. The reader's involvement turns around the question of whether Olivier will be successful in proving his innocence in Cardillac's murder. Even though the author uses his story-telling ability to awaken the reader's interest in these characters and that of Mademoiselle de Scudéri, which now stand in the forefront, the overall impression retained by the reader is determined for the most part by ... the shadow cast by the terrible personage and the cruel fate of René Cardillac. It is precisely before this dark background that the purely human, endearing qualities represented by Mademoiselle de Scudéri and the young couple are made to stand out.
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researcher points out, is by no means the same thing as the disorder commonly known as a "split personality." Goldsmith
Cardillac is one of the most respected citizens of Paris but at the same time a serial killer. Tölle finds it remarkable that Hoffmann had no model for this dissociative behavior and concludes that it must have been of his own invention. As he notes, what the author described can often be observed in ordinary life: for example, lady during the day, prostitute at night; husband during the day, criminal at night; loving father on the one hand and despotic boss on the other (or the reverse).
122:). One night, a young man bangs on the door of de Scudéri's house and pleads urgently with her maid to be granted entrance. The maid finally lets him in but denies him access to her mistress, whose life she fears is in danger. The young man eventually flees at the sound of the approach of the mounted police, but leaves behind a small jewelry box he begs the maid to deliver to the Mademoiselle. The next morning, de Scudéri opens the box and finds exquisite jewelry and a note in which the band of jewel thieves thanks her for her support in the form of the verse quoted above.
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the evidence but cannot convince herself of the young man's guilt. La RĂ©gnie grants her permission to speak with
Olivier, but when she meets him in prison she recognizes the young man who had thrown the warning letter into her coach and falls to the ground unconscious. She now is uncertain of Olivier's innocence and is torn inwardly. She curses the destiny that had made her believe in truth and virtue but now has destroyed the beautiful image she had made for her life.
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first, the seemingly airtight case the
Chambre builds against Olivier, including a suspicion of Madelon's complicity, convinces even Mademoiselle de Scudéri and the skeptical lawyer d'Andilly of his guilt in Cardillac's murder. As the reader knows, the case is completely groundless. It is only de Scudéri's sensitivity and inner voice which leads her to believe in Olivier's innocence again. The positive outcome results almost solely from her friendship with the King.
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happened?" Miossens defends himself by stating "Allow me to remark that such a statement, even if it did not cause my ruin, would at least involve me in a most loathsome trial. Would La RĂ©gnie, who scents crime everywhere, immediately believe me if I accused the honest
Cardillac, the very embodiment of complete piety and virtue, of attempted murder?" Miossens refuses to consider Olivier innocent, accusing him instead of being Cardillac's accomplice.
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caused him to steal jewelry as a child and later led him to become a goldsmith. An "inborn drive," Cardillac told
Olivier, forced him to create his renowned works but led him also again and again to take them back from his customers in thefts that often involved murder. Olivier tells de Scudéri that Cardillac stored the retrieved pieces, which were labeled with the names of their rightful owners, in a secret, locked chamber in his house.
423:
in this train of thought, the personage of René Cardillac appeared to him. The powerful impression that this character creates can be attributed, in part, to qualities that reflect basic elements of the author's soul: firstly, Cardillac is the artist who can never satisfy himself; secondly, he is both guilty and innocent, his fate having been sealed even before he was born by the unholy demon that drives him from one crime to another.
79:. The city is under siege by what is presumed to be an organized band of thieves whose members rob citizens of costly jewelry in their homes or on the street. Some of the street victims are simply rendered unconscious by a blow to the head, but most are killed instantly by a deliberate dagger thrust to the heart. The murder victims are mostly wealthy lovers who are on their way to meet their mistresses with gifts of fine jewelry.
288:
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Cardillac slip out of the house through a secret entrance and not far away attack and kill a man by thrusting a dagger into his heart. Cardillac, who knows that
Olivier has seen the murder, invites him to return to his workshop and offers him his daughter in marriage. Olivier's silence had been bought, he confesses to de Scudéri, but he relates how from then on he lived with intense pangs of guilt.
583:. Himmel notes that Eustace (Placidus), is said to have been an avid hunter until he was ordered by a stag bearing a cross between its horns to give up hunting. In this interpretation, Cardillac hopes that the virtuous de Scudéri could free him from his drive to hunt humans. The mademoiselle, however, is incapable of replacing either Mary or the Saint as the rescuer of the sacrilegious goldsmith.
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further their amorous adventures. Ritter Gluck, in
Hoffmann's work by the same name, states that "... art prostitutes itself when it sells itself." Through Gluck and Cardillac, Hoffmann seems to be saying that there is a dramatic gap between what art means to the artist and what it means to the general public. In the biblical sense, the artist who sells his art "casts pearls before swine".
195:
Mademoiselle that
Olivier has been freed, that he will be allowed to marry his beloved Madelon, and that he will receive 1,000 louis d'or as a dowery under the condition that they leave Paris. Olivier and Madelon move to Geneva, where they live happily. The jewelry stolen by Cardillac is returned to the rightful owners who still are living. The rest becomes the property of the
491:, "a crime (generally, though not necessarily, a murder) is committed ; the puzzle of the criminal's identity is finally solved through a process of investigation, observation, and deduction by an expert detective. In a crime story, the criminal's identity is known from the start, and the interest lies in observing his psychology and his attempts to escape justice ..."
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If on first reading Alwyn's thesis seems plausible, Conrad argues it is weak. If Madmoiselle de Scudéri is a detective, she is an inept one. Her attempts at solving the mystery by deduction fail. It is not expert detective work but the confession of Miossens that eventually reveals to the authorities
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Wagenseil's report from the realm of the anecdotal. The unusual step taken by the lovers of Paris to appeal directly to the King for protection had to be motivated by an ominous supernatural force, i.e., something that lay completely outside the sphere of ordinary events. While Hoffmann was engaged
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Some time later, Cardillac again was overcome by his evil star, and it is clear to Olivier that he wanted to retrieve by force the jewelry that he had given to the Mademoiselle. To prevent this, Olivier relates, he threw the letter into de Scudéri's coach, imploring her to return the jewelry as soon
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within a story.) Cardillac tells Olivier how an experience involving a sumptuous diamond necklace (the necklace was worn by a Spanish actor with whom she later had an adulterous affair) that his mother had while she was pregnant with him had marked him for life with a love of fine jewelry. This love
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Two days later, she travels to the goldsmith's house, only to arrive just as his corpse is being carried away. Cardillac has been murdered, and Olivier Brusson, Cardillac's assistant, has been arrested for the crime. Cardillac's daughter Madelon, who is betrothed to Olivier, protests his innocence.
755:
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
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is an example of crime fiction as defined above, but this thesis is also weak. The story does briefly deal with the psychology of the criminal (revealed in Olivier's back-story), but Cardillac's pathology plays only a minor role in the plot. Furthermore, the criminal is not known from the beginning.
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The realism created by Hoffmann's thorough descriptions of historical events, persons, and places helps ensure the believability of the plot and the characters of the story. With the exception of the Mademoiselle, the King, and the Marquise de Maintenon, however, the characters of the novella appear
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In the hope that Olivier will confess, Desgrais, de Scudéri's friend and an officer in the mounted police, offers to arrange for a meeting with Olivier in her house. The mademoiselle is filled with foreboding but nevertheless decides to obey the higher powers that had marked her for the solution of
125:
Mademoiselle de Scudéri is distraught by the contents of the jewelry box and seeks the advice of her friend de Maintenon. The Marquise immediately recognizes the jewelry as the work of the goldsmith René Cardillac. Cardillac is known not only in Paris but around the world as the best artist in his
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Himmel sees de Scudéri as the person who Cardillac hopes will counteract the evil star that rules his life. He has chosen her rather than the Virgin Mary to be his savior. He points out that one of the items Cardillac offers the mademoiselle in his first attempt to give her jewelry is a beautiful
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As Miossens's behavior clearly indicates, the Chambre ardente hinders more than facilitates the solving of the mysterious series of crimes plaguing Paris. Indeed, La RĂ©gnie and his henchmen spread as much terror as the criminal who strikes under the cover of night and leaves no trace of himself. At
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it was Cardillac who committed the many murders and jewelry thefts in Paris. de Scudéri is helpful in freeing the innocent Olivier because of her humanity, nobility of character, sympathy, and access to the king, not because of her ability to investigate, reason, and draw conclusions from evidence.
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It is likely Hoffmann drew on Chapter 1 of Wagenseil's chronicle for the characteristics he ascribes to the heroine of the title. Wagenseil reports he "had the honor of visiting Mademoiselle Magdalena de Scudery, a woman from a most distinguished noble family and world famous for her virtue, great
258:
When certain decisions of the court were sent me by those lawyers, and I perceived that my cause had been unjustly lost, I had recourse to a great dagger I carried. ... The first man I attacked was a plaintiff who had sued me; one evening I wounded him ... so severely that I deprived him of the use
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Unexpectedly, an officer in the King's Guard by the name of Miossens visits her and reveals that he is the person who, in self-defense, stabbed and killed Cardillac. The astonished Mademoiselle says to him "And you have said nothing? You have not made a statement to the authorities regarding what
178:
Eventually, Olivier informs the mademoiselle, Cardillac decided to give Mademoiselle de Scudéri some of his best work in thanks for the verse that she had quoted to the King in response to the appeal from the threatened lovers. He asked Olivier to present the gift, and Olivier saw in the request a
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All went well, Olivier tells the Mademoiselle, until Cardillac threw him out of the house because he and Cardillac's daughter, Madelon, had fallen in love. In his desperation and longing, Olivier went one night to Cardillac's house in the hope of catching a glimpse of his beloved. Instead, he saw
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Touched by and believing Madelon's avowals of Olivier's innocence, the Mademoiselle tries to intercede on his behalf with La RĂ©gnie. He receives her graciously but is unmoved and presents her with circumstantial evidence that in his view proves that Olivier is the murderer. The Mademoiselle hears
133:
when a young man forces his way through the crowd and throws a letter into the coach. The letter adjures the Mademoiselle to find whatever pretense necessary but to return the jewelry to Cardillac at once. If she does not, the letter warns, her life is in danger. She is overcome by feelings that
532:
This aspect of Hoffmann's novella has been interpreted as a sharp critique of the legal institutions of France during the reign of Louis XIV and, by extension, of the reforms to the Prussian legal system of his own time. These reforms (and their accompanying police practices) had as their goal the
506:
In this story we find, in addition to several subordinate motifs, the three elements that constitute a detective novel: first, the murder, actually, a series of murders, takes place at the beginning and is resolved at the end; second, there is the innocent suspect and the unsuspected guilty party;
410:
is considered one of Hoffmann's greatest novellas, not the least of which is its splendid and exciting plot. From the midnight knock on the door of the Mademoiselle's house at the beginning of the story until the final resolution of the crimes and the exoneration of Olivier, the reader is held in
300:
Only in a few areas of his criminal work could it ever be said that he allowed himself to be led down a false path, e.g., in cases in which proof of guilt rested on artificially intertwined pieces of evidence or on the assessment of dubious frames of mind. In these areas he occasionally fell into
186:
Mademoiselle de Scudéri makes a number of attempts to save Olivier, including writing a letter to La Régnie, but she is unsuccessful. She even wants to plead his case before the King himself, but a famous lawyer by the name of d'Andilly, whom she has consulted, convinces her that at this stage in
428:
Equal to the powerful impression made by the character René Cardillac is that created by the compelling structure of Hoffmann's story. He has Cardillac appear only once in living form; most of the novella takes place after his death. The plot is carried forth by completely different characters,
562:
contains the earliest description of a double life in the sense of the abnormal psychological phenomenon known as dissociation (segregation of a group of mental processes from the rest of a person's usually integrated functions of consciousness, memory, perception, and motor behavior). This, the
436:
is less dreamlike and surreal in its construction than most of Hoffmann's other stories. The plot generally is carried forward by sharp, realistic descriptions of people and events rather than by the seemingly irrational occurrences generally associated with Hoffmann's writing in particular and
229:
Using Wagenseil's brief account as a starting point, Hoffmann did extensive research to ensure that his depictions of Paris at the time of Louis XIV would be accurate in the minutest detail. A short letter from the author dated March 28, 1818, to a lending librarian in Berlin requests works that
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Safranski points out that the artist Cardillac finds it impossible to see his works, in which he has invested everything that he loves and everything that he is capable of, in the hands of strangers who have no other use for them than to indulge their vanity, satisfy their love of glitter, and
194:
Under a pledge of secrecy, Miossens repeats his testimony to d'Andilly, and with this information the lawyer is able to have Olivier's torture postponed. Subsequently, de Scudéri is successful in getting the King to review the case once again. After a month of uncertainty, he reveals to the
162:
to seek their fortune. Because of the jealousy of others in his profession, Olivier relates, his father was not able to establish himself in Geneva, and both he and his wife later died there in poverty. Olivier, who had apprenticed himself to a goldsmith, eventually became so skilled in his
441:
in general. Against this realism, however, the relationship between Olivier and Madelon seems stylized and idealistic. This aspect of the plot of the story is certainly its most romantic in the sense of the 19th-century literary movement. For Hoffmann (perhaps the arch romantic of German
126:
field. He is also famous, however, for a strange attribute: he creates the most beautiful pieces of jewelry but then does not want to part with them. Only after much delay does he finally deliver a piece to the customer who commissioned it, and then only under (sometimes violent) protest.
94:), however, is consistently thwarted in his attempts to stop the evildoing, and in his blind zeal and frustration he is seduced to commit acts of terror and brutality. Because of his failures and cruelty, he quickly earns the hatred of those he was appointed to protect.
520:
In fact, at least a third of the novella takes place after his death. The reader's interest centers on whether Olivier will be exonerated and reunited with his fiancée, not whether the murderer or murderers of so many Parisians will be discovered and brought to justice.
157:
Olivier tells the mademoiselle that he is the son of the impoverished young woman, Anne, whom de Scudéri had lovingly raised as her own daughter and from whom she has not heard since she married an industrious and skilled young watchmaker who took her and Olivier to
283:). Later she formed a literary circle of her own. ... Highly artificial, poorly constructed, flawed by pointless dialogue, her works were popular at the court, primarily because of their anecdotes about public personages. They served the parvenu well.
464:, for example). Nevertheless, the various interpretations that the story has inspired—as deserving of criticism as each may be in and of itself—have shown that, beneath the surface of a tightly organized text, the novella is truly a multilayered work.
533:
abolition of the absolute right of the monarch to rule as he saw fit in all legal matters. Before the reforms, the king stood completely above and outside the law. This interpretation sees Hoffmann as legitimatizing to some extent (using the
295:
For his description of Olivier's legal proceedings, the jurist Hoffmann drew on his extensive knowledge of and experience with the law. A colleague wrote that Hoffman's professional activities were without fault, but also commented
179:
chance to re-establish contact with the woman who had loved and cared for him when he was a child and to reveal to her his unfortunate situation. He was able to deliver the jewel box but was not able to meet with the Mademoiselle.
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constellations that reflected more his ingenuity and fantasy than a process of calm deliberation. ... His presentations of the facts, however, were always impeccable and of a precision that cannot be praised enough.
305:
Perhaps it was Hoffmann's tendency to lean towards the ingenious and fantastic, even in his professional life, that allowed him to write the intriguing psychological tale of crime that is Mademoiselle de Scudéri.
1541:
1345:
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as an allegory) a system of absolute rather than constitutional monarchy. Hoffmann appears to favor a legal system based not on pure rationality, but instead a humanism based on intuition and empathy.
1485:
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The elderly de Scudéri is a well-known poetess who lives in a modest house in Paris on the rue Saint Honoré by the grace of King Louis and his lover, the Marquise de Maintenon (the historical
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From a psychological standpoint, Cardillac seems much more interesting than de Scudéri. Perhaps this is why Hindemith named his opera (1926) and Reitz his film (1968)
63:
is regarded as one of Hoffmann's best, not only because of its exciting, suspenseful plot and interesting descriptions of life, places, and people in late 17th-century
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Reinert, C. "Das Unheimliche und die Detektivliteratur. Entwurf einer poetologischen Theorie ĂĽber Entstehung, Entfaltung und Problematik der Detektivliteratur".
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In its apparent simplicity, contradistinguishes itself from those works in which Hoffmann himself was able to view the pinnacle of his aesthetic achievement (
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to be Hoffmann's inventions. It is possible that the Cardillac character was inspired by an autobiographical account by the Italian goldsmith and sculptor
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487:. Crime fiction generally is divided into two main categories: the detective story and the crime story. In the detective story, as defined by
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1417:
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Because of Madelon's suffering and utter despair, Mademoiselle de Scudéri takes pity on her and takes her to her house to look after her.
1663:
1215:
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In a poem exalting the King, the lovers of Paris exhort him to do something for their safety. Mademoiselle de Scudéri (the historical
90:, whose sole purpose is to investigate them and punish their perpetrators. The president of the Chambre, La RĂ©gnie (probably based on
851:
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some terrible mystery. Olivier is brought to her house, and while guards wait outside he falls on his knees and tells her his story:
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779:
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Bamberg, hg. von Benjamin Schlodder, Christina Schmitz, Bettina Wagner und Wolfgang Bunzel, Leipzig 2022, ISBN 3959055730 S. 315-322.
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In his introduction to one of the earliest complete editions of Hoffmann's works, Ellinger presents a cogent analysis of the plot of
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Hoffmann created not only the first German detective story, but the first detective study in any language (it appeared before Poe's
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Tölle, R. (1997). "Persönlichkeitsvervielfältigung? Die sogenannte multiple Persönlichkeit oder dissoziative Identitätsstörung".
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The 1819 edition was an immediate commercial and critical success and led to Hoffmann's becoming a popular and well-paid author.
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Post, K.D. (1976). "Kriminalgeschichte als Heilsgeschichte. Zu E.T.A. Hoffmanns Erzählung Das Fräulein von Scuderi".
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254:, where he writes of the cold-hearted way in which he contemplated and carried out murders during his time in Paris:
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Madeleine de Scudéri (1607–1701) came to Paris in 1630 and became connected with the salon of Mme. de Rambouillet (
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The most frequently encountered interpretation of Hoffmann's novella holds that it is an early example of
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Conrad, H. (1974). "Die literarische Angst. Das Schreckliche in Schauerromantik und Detektivgeschichte".
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she is surrounded by "strange events and dark mysteries" but decides to heed the letter writer's appeal.
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One evening, Olivier tells de Scudéri, Cardillac told Olivier his own story. (The plot here becomes a
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101:), who is present when this appeal is presented, counters jokingly with the following verse:
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8:
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likely provided him with historical material for his novella: Friedrich Lorenz Meyers's
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219:. This report attributes to Mademoiselle de Scudéri the two-line stanza quoted above:
242:(Dresden, 1778). It seems certain that Hoffmann also referred to Friedrich Schulzen's
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is described in detail), and to combat them the King establishes a special court, the
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868:, Vol. 5, Berlin and Leipzig, Deutsches Verlagshaus Bong & Co., 1925. pp. 33–4.
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and third, the detection, not by the police but by an outsider, an elderly poetess.
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Several months later, Mademoiselle de Scudéri is riding in a glass coach over the
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but also because of the many different levels of interpretation that it allows.
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literature), it may have been impossible to write about love in any other way.
348:
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Letters from the Capital and from within France under the Consular Government
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Das Fräulein von Scuderi. Erzählung aus dem Zeitalter Ludwig des Vierzehnten
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1331:
1324:
217:
Johann Christof Wagenseil's Book on the Gracious Art of the Meistersingers
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949:, Vol. 4. Frankfurt am Main: Deutscher Klassiker Verlag, 2001. p. 1515.
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381:
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profession that he was hired as an assistant by René Cardillac in Paris.
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diamond crown that he had intended for the Holy Virgin in the Church of
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368:
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Himmel, H. (1976). "Schuld und SĂĽhne der Scuderi". In H. Prang (ed.).
50:). It was later included in the third volume of Hoffmann's collection
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343:
212:
130:
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Taschenbuch fĂĽr das Jahr 1820. Der Liebe und Freundschaft gewidmet
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905:, Fifth Edition. Oxford, Oxford University Press, 1985. p. 269.
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intelligence, and multilingualism." Kent and Knight write that
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264:
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Hoffmann got the idea for his tale from the seventh chapter of
159:
1033:
Frankfurt am Main, Fischer Taschenbuch Verlag, 2007. p. 423.
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his case this would not be in the young man's best interest.
64:
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234:(TĂĽbingen, 1802), Eberhard August Wilhelm von Zimmermann's
21:
Mademoiselle de Scuderi. A Tale from the Times of Louis XIV
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833:. Chicago: The University of Chicago Press, 1972. p. 173.
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Abhandlungen zur Kunst-, Musik- und Literaturwissenschaft
82:
These are not the only terrible crimes plaguing Paris (a
75:
The action takes place in Paris during the reign of King
1631:
E.T.A. Hoffmann. Das Leben eines skeptischen Phantasten
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E.T.A. Hoffmann. Das Leben eines skeptischen Phantasten
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Kent L.J. & Knight E.C., editors and translators.
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994:
927:
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883:
939:
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347:, opera in three acts and four scenes (libretto by
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Yearbook for 1820. Dedicated to Love and Friendship
855:, Vol. 2. Leipzig and Vienna, ca. 1896. pp. 231–2.
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593:Alewyn, R. (1974). "Ursprung des Detektivromans".
468:Some of these interpretations are reviewed below.
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843:
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238:(Leipzig, 1805), and a translation of Voltaire's
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310:Theatrical, operatic, and cinematic adaptations
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1542:Master Martin, the Cooper, and his Journeymen
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281:Catherine de Vivonne, marquise de Rambouillet
1346:News of the Latest Fates of The Dog Berganza
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1216:
1202:
1099:
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903:The Oxford Companion to English Literature
704:. Sammlung Metzler, vol. 243 (in German).
666:E. T. A. Hoffmann: Epoche – Werk – Wirkung
607:: CS1 maint: location missing publisher (
489:The Oxford Companion to English Literature
120:Françoise d'Aubigné, Marquise de Maintenon
1486:A Fragment of the Lives of Three Friends
1257:The Life and Opinions of the Tomcat Murr
286:
136:
1070:, translation of the entire novella by
662:Feldges, B.; Stadler, U., eds. (1986).
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670:. Munich: Beck'sche ElementarbĂĽcher.
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725:Zeitschrift fĂĽr deutsche Philologie
291:The historical Madeleine de Scudéry
263:Hoffmann knew of this account from
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1664:Short stories by E. T. A. Hoffmann
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693:. Vol. 486. pp. 215–236.
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14:
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1507:The Nutcracker and the Mouse King
1059:
105:Un amant, qui craint les voleurs,
38:which was first published in the
16:1819 novella by E. T. A. Hoffmann
1689:Short stories adapted into films
947:E.T.A. Hoffmann. Sämtliche Werke
744:. pp. A-1868, B-1575, and C1471.
597:. Frankfurt/M. pp. 341–360.
401:
223:A lover who is afraid of thieves
112:A lover who is afraid of thieves
393:1976 – Lutz Büscher, director:
70:
618:Literature in der Gesellschaft
595:Probleme und Gestalten. Essays
524:Sociopolitical interpretations
1:
1284:Little Zaches called Cinnabar
586:
541:Psychological interpretations
500:The Murders in the Rue Morgue
267:'s translation of Cellini's
236:Paris as It Was and as It Is
211:'s chronicle of the city of
92:Gabriel Nicolas de la Reynie
84:series of bizarre poisonings
7:
1669:Short stories about writers
1411:The Jesuit Church at Glogau
708:: J.B. Metzler (Springer).
698:Kaiser, Gerhard R. (1988).
633:Das Fräulein von Scuderi".
450:As Kaiser has pointed out,
107:N'est point digne d'amour.
10:
1710:
1674:Short stories set in Paris
1367:A New Year's Eve Adventure
806:Feldges & Stadler 1986
786:Feldges & Stadler 1986
774:Feldges & Stadler 1986
635:The Modern Language Review
483:, perhaps the earliest in
244:Of Paris and the Parisians
209:Johann Christoph Wagenseil
202:
1622:
1597:
1479:The Poet and the Composer
1448:
1376:
1302:
1275:
1240:
1231:
1172:
1137:
1121:
1154:Das Fräulein von Scuderi
574:Religious interpretation
567:The artist as prostitute
551:Mademoiselle de Scudéri.
515:A case can be made that
502:(1841). He writes that
494:Alewyn argues that with
395:Das Fräulein von Scuderi
374:Das Fräulein von Scuderi
321:Das Fräulein von Scuderi
103:
1563:Mademoiselle de Scuderi
1113:Mademoiselle de Scuderi
945:Segebrecht W., editor.
560:Mademoiselle de Scudéri
517:Mademoiselle de Scudéri
496:Mademoiselle de Scudéri
473:Mademoiselle de Scudéri
434:Mademoiselle de Scudéri
416:Mademoiselle de Scudéri
408:Mademoiselle de Scudéri
225:Is not worthy of love.
114:Is not worthy of love.
61:Mademoiselle de Scuderi
34:) is a 1819 novella by
866:E.T.A. Hoffmanns Werke
849:Schweizer V., editor.
509:
466:
431:
425:
332:Madmoiselle de Scudery
303:
292:
285:
261:
142:
47:
29:
1452:The Serapion Brethren
864:Ellinger G., editor.
629:Ellis, J.M. (1969). "
504:
452:
426:
420:
298:
290:
277:
256:
197:Church of St. Eustace
140:
53:The Serapion Brethren
1514:The Singer's Contest
1129:Madeleine de Scudéry
901:Drabble M., editor.
738:Deutsches Ă„rzteblatt
558:Tölle contends that
172:story within a story
99:Madeleine de Scudéry
1535:The Doge and Dogess
1249:The Devil's Elixirs
788:, pp. 158–67;
323:, play in five acts
77:Louis XIV of France
1684:1819 German novels
1659:1819 short stories
1500:The Mines of Falun
1465:Councillor Krespel
1425:The Deserted House
1292:Princess Brambilla
691:Wege der Forschung
406:For many reasons,
293:
240:Times of Louis XIV
143:
1646:
1645:
1638:Johannes Kreisler
1606:Love and Jealousy
1593:
1592:
1556:The Uncanny Guest
1549:The Strange Child
1305:FantasiestĂĽcke in
1225:E. T. A. Hoffmann
1191:
1190:
1146:The Deadly Dreams
1108:E. T. A. Hoffmann
1039:978-3-596-14301-6
485:German literature
361:The Deadly Dreams
259:of both his legs.
252:Benvenuto Cellini
36:E. T. A. Hoffmann
1701:
1694:Detective novels
1634:(1984 biography)
1521:The King's Bride
1300:
1299:
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892:, pp. 75–6.
887:
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821:
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783:
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745:
732:
719:
694:
681:
669:
658:
625:
612:
606:
598:
475:as crime fiction
411:eerie suspense.
246:(Berlin, 1791).
1709:
1708:
1704:
1703:
1702:
1700:
1699:
1698:
1679:German novellas
1649:
1648:
1647:
1642:
1618:
1589:
1577:The Baron of B.
1457:
1455:
1444:
1439:The Agate Heart
1372:
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1298:
1271:
1236:
1227:
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1187:
1168:
1133:
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1105:
1072:Alexander Ewing
1067:Mlle de Scudéri
1062:
1057:
1056:
1048:
1044:
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1007:
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976:
968:, p. 349;
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831:E.T.A. Hoffmann
828:
824:
816:
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800:
784:
780:
772:
768:
752:
750:Further reading
716:
701:E.T.A. Hoffmann
687:E.T.A. Hoffmann
678:
647:10.2307/3723443
631:E.T.A. Hoffmans
600:
599:
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526:
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448:
446:Interpretations
404:
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88:Chambre Ardente
73:
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1584:Signor Formica
1580:
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1570:Gambler's Luck
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1360:The Golden Pot
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1307:Callots Manier
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1060:External links
1058:
1055:
1054:
1052:, p. 219.
1042:
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1005:
1003:, p. 111.
993:
974:
972:, p. 145.
958:
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936:, p. 109.
926:
924:, p. 353.
914:
894:
882:
870:
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852:Hoffmans Werke
842:
822:
810:
808:, p. 158.
798:
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776:, p. 153.
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641:(2): 340–350.
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457:The Golden Pot
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349:Ferdinand Lion
339:Paul Hindemith
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1623:Miscellaneous
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1318:Jaques Callot
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1276:Short stories
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1021:
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955:3-618-60880-2
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911:0-19-866130-4
908:
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880:, p. 75.
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839:0-226-34789-3
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820:, p. 76.
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715:9783476102430
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677:3-406-31241-1
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581:Saint Eustace
571:
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535:Ancien RĂ©gime
530:
521:
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508:
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501:
497:
492:
490:
486:
482:
481:crime fiction
474:
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417:
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409:
402:Plot analysis
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1528:The Automata
1526:
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1470:
1463:
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1404:Ignaz Denner
1402:
1395:
1388:
1377:
1365:
1358:
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1337:
1332:Kreisleriana
1330:
1325:Ritter Gluck
1323:
1316:
1304:
1290:
1282:
1263:
1255:
1247:
1234:Bibliography
1179:
1160:
1152:
1144:
1112:
1111:
1066:
1045:
1027:
1020:
1015:, p. A-1870.
1008:
996:
987:
983:
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873:
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741:
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724:
700:
686:
665:
638:
634:
630:
621:
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594:
577:
566:
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559:
556:Dissociation
555:
554:
550:
549:rather than
546:
544:
531:
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516:
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510:
505:
499:
495:
493:
488:
478:
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467:
461:
455:
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449:
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432:
427:
421:
415:
413:
407:
405:
394:
385:
384:, director:
372:
371:, director:
359:
358:, director:
342:
341:, composer:
331:
330:, director:
320:
304:
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294:
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74:
71:Plot summary
60:
58:
51:
39:
30:
20:
19:
18:
1472:The Fermata
1432:The Sanctus
1390:The Sandman
1379:NachtstĂĽcke
1353:Fascination
1265:Master Flea
1260:(1819–1821)
1050:Himmel 1976
1001:Conrad 1974
934:Conrad 1974
922:Alewyn 1974
890:Kaiser 1988
878:Kaiser 1988
818:Kaiser 1988
790:Kaiser 1988
462:Tomcat Murr
439:Romanticism
382:Edgar Reitz
356:Paul Martin
317:Otto Ludwig
1653:Categories
1418:The Entail
1122:Characters
1013:Tölle 1997
966:Ellis 1969
731:: 132–156.
624:: 105–113.
587:References
397:, TV movie
369:Eugen York
319:, author:
1456:(1819–21)
1382:(1815–17)
1309:(1814–15)
1252:(1815/16)
1181:Cardillac
1162:Cardillac
970:Post 1976
761:Footnotes
706:Stuttgart
603:cite book
547:Cardillac
387:Cardillac
344:Cardillac
213:Nuremberg
141:Pont Neuf
131:Pont Neuf
1339:Don Juan
271:(1558).
1397:The Vow
1184:(opera)
655:3723443
390:, movie
380:1969 –
377:, movie
367:1955 –
364:, movie
354:1951 –
337:1926 –
334:, movie
326:1911 –
315:1847 –
215:titled
203:Origins
1613:Undine
1598:Operas
1295:(1820)
1287:(1819)
1268:(1822)
1241:Novels
1165:(1969)
1157:(1955)
1149:(1951)
1116:(1819)
1037:
953:
909:
837:
712:
674:
653:
265:Goethe
160:Geneva
44:German
26:German
1173:Other
1138:Films
990:: 46.
794:p. 75
651:JSTOR
65:Paris
1035:ISBN
951:ISBN
907:ISBN
835:ISBN
710:ISBN
672:ISBN
609:link
460:and
269:Vita
1110:'s
988:139
643:doi
1655::
986:.
792:,
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622:21
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605:}}
601:{{
418::
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28::
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645::
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351:)
42:(
24:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
