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Het duivelselixer

door E. T. A. Hoffmann

Andere auteurs: Hans-Joachim Kruse (Textrevision), Hans-Joachim Kruse (Anmerkungen), Rudolf Mingau (Redaktion)

Andere auteurs: Zie de sectie andere auteurs.

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Classic Literature. Fiction. Romance. Suspense. HTML:

German writer E.T.A. Hoffmann is known as the master of uncanny and supernatural tales. In the novella The Devil's Elixir, Hoffmann recounts the creepy exploits of a monk who is driven to the brink of madness by a mysterious substance??and a mysterious, possibly demonic figure who bears a striking resemblance to the monk himself.… (meer)

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Engels (9)  Duits (1)  Alle talen (10)
1-5 van 10 worden getoond (volgende | toon alle)
NON CI SVEGLIATE!... NON SVEGLIATE QUESTO ASSURDO MONDO MAGICO ADDORMENTATO FRA LE ANTICHE PIETRE!
(798-9)
(ma, cari scrittori, continuate imperituri a raccontarcelo! G.)

Hoffmann approda dunque, secondo l’osservazione di Lothar Koehn, alla solitudine del romanziere, all’espatriazione trascendentale di cui parla Lukacs nella Teoria del romanzo: all’epopea di un “mondo abbandonato da Dio” in cui un’oggettivita’ sempre piu’ elusiva s’allontana progressivamente dal soggetto. (XLI, L’esilio del borghese, Claudio Magris)

KREISLERIANA
Non tanto in sogno, quanto nello stato di dormiveglia sognante che precede il sonno (specialmente quando ho sentito molta musica), trovo una concordanza fra colori, suoni, profumi; e’ come se le tre cose venissero prodotte insieme, nello stesso misterioso modo, da un raggio di luce, per poi fondersi in un meraviglioso concerto. (44)

LE NUOVE AVVENTURE DEL CANE BERGANZA
Ne sono convintissimo. Tutte le donne affettate, eccessivamente colte - e sostanzialmente fredde - a partire dal venticinquesimo anno di eta’ sono mature per l’”Ospitale degli Incurabili”. (109)

IL MAGNETIZZATORE
E buon per voi se la natura tollera che le tiriate i veli con le vostre mani sgarbate e non punisce tanta curiosita’ mandandovi in perdizione. (135)

IL VASO D’ORO
Al centro della camera, sopra una piastra di porfido retta da tre leoni egizi in bronzo fuso, poggiava un semplice vaso d’oro. Come vi ebbe posato lo sguardo, Anselmo non riusci’ piu’ a distoglierlo: su quella superficie d’oro tersissimo parevano muoversi, in un gioco di mille iridescenti riflessi, figure d’ogni specie… Anselmo vi scorse perfino se stesso … (200)

Anselmo, - gli disse il principe degli spiriti. - Tu non hai colpa della tua incredulita’. La colpa e’ stata di un principio malefico che cercava di penetrare in te - e di inimicarti con te stesso - per la tua perdizione. Ma tu ti sei mantenuto fedele. Sii dunque libero e felice. (227)

E che altro e’ la felicita’ di Anselmo se non la vita nella poesia, cui si rivela il piu’ profondo segreto della natura: la sacra armonia regnante fra tutti gli esseri? … (237)

KREISLERIANA
… per il musicista la visione e’ una “audizione interiore” - o piuttosto, una profonda presa di coscienza della musica la quale, vibrando all’unisono con lo spirito del musicista stesso, risuona da tutto cio’ che il suo occhio riesce ad abbracciare. Cosi’, le improvvise ispirazioni, il nascere delle melodie nella mente del musicista, si spiegherebbe con la facolta’ inconscia - (o meglio; non definibile con parole) - di cogliere la musica occulta della natura e di riconoscere in essa il principio della vita e di ogni manifestazione vitale. (303-4)

GLI ELISIR DEL DIAVOLO
Ero colui che sembravo, e non sembravo colui che ero. In quella duplice personalita’ non riuscivo piu’ a comprendere, a ritrovare me stesso! (447)

Esiste una sola creatura umana cui il meraviglioso mistero d’amore, custodito nei piu’ profondi recessi dell’animo, non si sia rivelato almeno una volta nella vita?... (527)

RACCONTI NOTTURNI. L’ORCO INSABBIA.
Oh, mamma chi e’ questo cattivo Orco Insabbia che ci fa sempre andare via dal babbo? Com’e’ fatto?
Ma non c’e’ nessun orco, piccolo mio, - rispose la mamma;
quando dico: viene l’Orco Insabbia, vuol dire solo che vi e’ venuto il sonno e non potete tenere piu’ gli occhi aperti, come se qualcuno vi avesse buttato la sabbia in viso. (654)

Forse, o mio lettore, allora crederai che nulla v’e’ di piu’ stravagante e pazzesco della vita reale e che il poeta la puo’ cogliere solamente come un oscuro riflesso dentro uno specchio senza luce. (666)

RACCONTI NOTTURNI. LA CASA DISABITATA.
Ma che cos’e’, poi, la vita abituale?... Ahime’, e’ un eterno rigirarsi entro una cerchia ristretta, un continuo batter di naso dappertutto, un andar di piccolo passo, misurato, monotono, anche se spesso tentiamo di interromperlo con qualche virtuosistica “courbette”... (768)



( )
  NewLibrary78 | Jul 22, 2023 |
Amazon labels this e-text as the Ronald Taylor translation, but it appears to be an earlier, incomplete translation.
  drakeg | Oct 16, 2022 |
Warnung: Wer dieses Buch mit Genuß lesen möchte, sollte keine Angst vor gewundenen Sätzen und verschlungenen, langatmig ausgesponnen Begebenheiten haben. Am Ende wird alles, wie wir es von E.T.A. Hoffmann kennen, auf wunderbare Weise aufgelöst. Jedoch bis dahin, günstiger Leser, musst du dem Bruder Medardus, unserer Hauptperson, die unter einem bösen Stern geboren schien, durch das Dickicht dieser Seiten geduldig folgen ... Kannst du dieses aber aus ganzem Herzen bejahen, so lass dich vom Autor "unter jene dunklen Platanen führen, wo (...) die seltsame Geschichte des Bruders Medardus zum ersten Male" offenbar wurde. ( )
  BesterikEz0815 | Apr 1, 2021 |
Die Elixiere des Teufels was Hoffmann's first go at writing a novel. He was inspired to write it by a visit to a Capuchin monastery in Bamberg (although it obviously also owes a lot to Matthew Lewis's famous gothic novel The Monk). It has just about everything you would look for in a gothic novel - monks pious, depraved, inspired and just plain mad; beautiful women scheming, virtuous, or vulnerable; more Doppelgänger than a season of Shakespeare comedies; a family curse; incest; murder; dreams and visions; guilt and repentance; several Mysterious Strangers; a comic dwarf; castles, prisons, monasteries, hunting-lodges, forests (complete with ravines and magic bullets). And of course the famous magic potion, said to have been confiscated from the Devil himself by St Anthony.

Hoffmann obviously wrote it in a continuously highly-excited state, which can become a little tiring at times for the reader. There is also that feeling you get in some of Sir Walter Scott's novels, that it was all written far too fast, leading to a lot of tangling-up of the narrators' (because, yes, there have to be multiple nested narratives, don't there?) arms and legs as the plot desperately attempts to brake to a safe speed before crashing through the last page into oblivion. We all think we've got to the end, and then the author suddenly remembers a dangling plot thread from 200 pages back and has to do a handbrake-turn to dash back and pick it up...

The setting is also a little odd: at the start there are clear signs that we are meant to be in a generic, unspoilt and pious pre-reformation Germany of the Narziss und Goldmund type, but then Hoffmann seems to forget himself and bring in all kinds of modern stuff like pianos, post-chaises, confessionals, gothick architecture, and Enlightenment rationalism, so that by the end of the book we're firmly in the late 18th century, and it's all getting a bit closer to Le rouge et le noir.

As a novel I felt it takes its own gothic nonsense a bit too seriously to be really enjoyable for the modern reader - the subversively eccentric Kater Murr is much more fun - but an interesting read anyway. ( )
1 stem thorold | Apr 27, 2019 |
E.T. Hoffman has been one of the most important representatives of the European imaginary, but also by the most remarkable writers of German romance in the early 19th century. In the strange universe of his work circulating mysterious beings and diabolical creatures - nothing is predictable or expected, surprises are usually unpleasant and painful.
In the Elixir of the Devil, Hoffman remarkably renews the subject of the twofold. The monk Mentar drinks the wine he finds in a cloister of the monastery, resulting in a change in his personality and lead to madness and crime. "In this work," Freud notes, "the second self is outlined in a unique way - the division of the human soul into consciousness and unconsciousness". ( )
  dimi777 | Nov 17, 2018 |
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» Andere auteurs toevoegen (80 mogelijk)

AuteursnaamRolType auteurWerk?Status
Hoffmann, E. T. A.Auteurprimaire auteuralle editiesbevestigd
Taylor, RonaldVertalerprimaire auteursommige editiesbevestigd
Kruse, Hans-JoachimTextrevisionSecundaire auteuralle editiesbevestigd
Kruse, Hans-JoachimAnmerkungenSecundaire auteuralle editiesbevestigd
Mingau, RudolfRedaktionSecundaire auteuralle editiesbevestigd
Allroggen, GerhardRedacteurSecundaire auteursommige editiesbevestigd
Doeve, J.F.IllustratorSecundaire auteursommige editiesbevestigd
Hosemann, TheodorIllustratorSecundaire auteursommige editiesbevestigd
Magris, ClaudioVoorwoordSecundaire auteursommige editiesbevestigd
Merbach, Paul AlfredRedacteurSecundaire auteursommige editiesbevestigd
Nehring, WolfgangHerausgeberSecundaire auteursommige editiesbevestigd
Pinelli, CarloVertalerSecundaire auteursommige editiesbevestigd
Steinecke, HartmutRedacteurSecundaire auteursommige editiesbevestigd
Steiner-Prag, HugoIllustratorSecundaire auteursommige editiesbevestigd
Woude, Johan van derIntroductieSecundaire auteursommige editiesbevestigd
Woude, Johan van derVertalerSecundaire auteursommige editiesbevestigd
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Classic Literature. Fiction. Romance. Suspense. HTML:

German writer E.T.A. Hoffmann is known as the master of uncanny and supernatural tales. In the novella The Devil's Elixir, Hoffmann recounts the creepy exploits of a monk who is driven to the brink of madness by a mysterious substance??and a mysterious, possibly demonic figure who bears a striking resemblance to the monk himself.

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