33 pages • 1 hour read
E. T. A. HoffmannThe Sandman
Fiction | Short Story | Adult | Published in 1816A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Literary Devices
Doppelgänger
The doppelgänger, a term of German origin meaning “double-walker,” serves as a multi-dimensional device that contributes not only to the narrative intricacies but also the psychological depth of “The Sandman.” In the text, the characters Coppelius and Coppola function as grotesque reflections of Nathanael’s own psyche. However, the doppelgänger theme doesn’t stop at mere reflection; it blurs the lines between Nathanael and these disturbing figures, creating a chilling merger that transcends the physical realm to infiltrate the psychological.
Both characters emerge at crucial junctures in the narrative, like malevolent omens foreshadowing Nathanael’s descent into “madness.” Coppelius, for instance, is the demon of Nathanael’s childhood, the architect of his early fears. His appearance during Nathanael’s formative years ties the character indelibly to Nathanael’s emerging sense of self, embedding a sense of dread into his foundational psychology. Coppola, who comes later, almost seems like a reincarnation of Coppelius, making us wonder if they are the same person or if Nathanael’s deteriorating mental health is projecting his childhood fears onto a new target. Either way, Coppola serves to reignite Nathanael’s obsession with eyes and stirs his internal tumult to a frenzied peak.
These doppelgängers serve multiple layers of thematic exploration. They question the notion of a singular, unified identity, introducing a more complex, fragmented understanding of self. They also bring an uncanny element to the narrative. The doppelgängers exist in a realm that blurs the boundaries of the real and the unreal, which in itself creates a sense of psychological tension. This uncanniness is heightened by their focus on eyes—often considered windows to the soul—which adds another layer of discomfort. Nathanael’s dealings with eyes, be it his obsession or his fear, mark his loss of insight and clarity, metaphorically alluding to the gradual loss of his inner sight or self-awareness.
Nathanael’s increasingly fragmented perception of reality can be viewed through the lens of his relationships with Coppelius and Coppola. The experience is not just surreal for him but for the readers as well, who find themselves questioning their own interpretations and understandings of the events unfolding. The doppelgänger, thus, serves as an entryway into a discussion about the complexities and frailties of human psychology—a narrative tool that elevates the work from a simple horror story to a nuanced psychological tale.
Foreshadowing
The power of foreshadowing in “The Sandman” begins with its ability to conjure an emotionally charged atmosphere. For example, the early appearance of the sinister Coppelius not only serves as a literal precursor to later events but also sets an emotional tone of dread that pervades the entire narrative. Every subsequent appearance or mention of characters or objects related to this initial trauma, such as eyes or optical devices, elicits a sense of impending doom that keeps the reader on edge. This consistent emotional climate ties the narrative together, acting as a constant, foreboding presence throughout the text.
In parallel, Hoffmann deploys foreshadowing masterfully to construct Nathanael’s character arc. Nathanael’s youthful experiences with Coppelius are not merely traumatic events; they foreshadow his character’s trajectory, hinting at his susceptibility to “madness” and obsession. This early encounter forms a psychological wound that never heals, a foundational experience that shapes Nathanael’s personality and decisions. As such, foreshadowing acts as a vehicle for character development, underlining the inevitability of Nathanael’s fall from sanity.
The writer also leverages foreshadowing to layer the narrative with thematic nuance. The story is rife with anticipatory clues related to major themes like the uncertainty of perception, the nature of reality, and the fragility of human sanity. For example, the motif of eyes, repeatedly foreshadowed, becomes a symbol of both insight and delusion. The mechanistic view of humans, encapsulated in the automaton Olimpia, hints at broader debates about the nature of consciousness, agency, and the boundary between the living and the mechanical.
Unreliable Narrator
The device of an unreliable narrator becomes a linchpin in Hoffmann’s "The Sandman," effectively transforming the story into an intricate maze of perception and deception. Nathanael, the central character, undergoes a process of mental disintegration, and his narration reflects this degradation. His subjective experience becomes the filter through which events unfold, and this filter is increasingly marred by paranoia, delusion, and an obsession with the sinister figures of Coppelius and Coppola.
The subtle use of this device in Hoffmann’s narrative is compelling. Initially, Nathanael appears to be a rational, albeit passionate individual. His letters to Lothar and Clara offer coherent perspectives on his experiences. However, as the story progresses, cracks appear in his narrative. His recounting of past traumas, his dramatic shifts in emotional tone, and his increasingly complex interpretations of reality reveal that he may not be a reliable conveyor of events. These narrative inconsistencies force the reader to become a kind of literary detective, sifting through Nathanael’s accounts to discern what may be factual from what is likely a product of his deteriorating mental state. This dynamic interaction between reader and text generates layers of tension. On one level, there is the obvious tension generated by the plot as the reader questions if Nathaneal will succumb to “madness” and if there is a real, tangible threat or if it is all in his mind. On another level, the tension exists in the space between the lines, where the reader grapples with the nebulous boundaries of Nathanael’s reliability.
Yet, Hoffmann extends this device beyond Nathanael. The story itself shifts between first-person letters and third-person narration, adding another layer of complexity. The transitions in the narrative point of view challenge the reader to consider the reliability of not just Nathanael but also the very structure of the story itself. This makes the reader question if the third-person narration is any more reliable than Nathanael’s first-person accounts, complicating the understanding of the entire narrative framework.
Through the device of an unreliable narrator, Hoffmann offers a journey that engages both intellect and emotion. This narrative technique compels individuals to reassess their grasp on reality, recognize the limitations inherent in perception, and ponder the intricacies of human psychology.
Juxtaposition
In a broad sense, the concept of juxtaposition is evident in the striking dichotomy between the natural and the artificial, and the individual and the mechanical, realms that are often positioned against each other in the story.
On one end of this spectrum is the character of Clara, often associated with open gardens, daylight, and all things natural and life-affirming. She embodies a grounded sense of rationality and functions as an epitome of emotional and psychological stability. In scenes featuring Clara, the settings often evoke warmth and emotional richness, characterized by organic surroundings bathed in natural light.
Conversely, there’s the eerie and mechanical world inhabited by characters like Coppelius and Coppola, and also the automaton Olimpia. Here, the environments are dark, enclosed, and almost suffocatingly heavy with the weight of alchemical experiments and arcane knowledge. They serve as a physical manifestation of Nathanael’s interior world—a landscape of dread and mania, and a disconnection from reality. The atmospheres in which these characters operate are filled with shadows, representing the darker elements of human psychology and irrationality.
The contrast goes beyond just settings; it penetrates the core of the characters themselves. Clara and Olimpia serve as diametrically opposed figures in Nathanael’s life. Clara, a living, breathing person, is the embodiment of normalcy and the known world. Olimpia, on the other hand, is an automaton—a fabricated entity devoid of soul and genuine emotion, a product of pure ingenuity gone awry. Nathanael’s romantic obsession with Olimpia and his strained relationship with Clara epitomize the internal struggle between the rational and the irrational within him. The juxtaposition here plays into the story’s themes of identity, consciousness, and the conflict between human emotion and mechanical detachment.
Thus, juxtaposition in “The Sandman” is not merely a device for contrast; it is a robust narrative tool that Hoffmann employs to delve into intricate thematic discussions about duality—be it of setting, character, or even the nature of humanity itself. The device lends a structural coherence to the narrative, effectively encapsulating the psychological and philosophical weight of the story. It serves as a guiding lens through which the manifold layers of Hoffmann’s dark tale can be dissected.
Peripeteia
In Hoffmann’s "The Sandman," the concept of peripeteia—a sudden reversal of fortune or change in circumstances—plays a pivotal role, particularly during Nathanael’s episode in the tower with Clara. Here, Nathanael experiences a devastating turning point that precipitates his tragic downfall. While gazing through a perspective glass, he believes he sees Olimpia, not Clara, and this hallucination or misperception spirals him further into “madness.”
From a literary standpoint, this event is a textbook peripeteia. Prior to this incident, Nathanael had been living in an uneasy equilibrium, teetering on the edge of sanity. However, the vision of Olimpia irreversibly changes his circumstances and his mental stability, propelling him towards an inevitable tragedy. Unlike anagnorisis, which is a moment of revelation or realization, peripeteia is the axis on which the fate of the character turns, and in Nathanael’s case, it turns decidedly for the worse.
In the context of the story’s underlying themes of psychological frailty and existential dread, the peripeteia in the tower serves as an externalization of Nathanael’s internal state. The horror isn’t just in the shifting of fortunes; it’s also in the realization that Nathanael’s perception of reality is so profoundly distorted that it leads him to his own destruction. This aligns well with the story’s overall tragic narrative, which uses elements of both psychological and situational adversity to deepen the human drama.
Furthermore, the peripeteia serves to highlight the emotional and psychological stakes of the narrative. Before this point, Nathanael’s struggles, while severe, were somewhat contained. This turning point shatters any semblance of control or understanding he might have had, thrusting him into an uncontrollable descent that culminates in his tragic fall—both metaphorically in terms of his mental state and literally in his fatal plunge.
Therefore, in the language of literary devices, the tower scene exemplifies peripeteia, acting as a seismic shift in the narrative that propels Nathanael into his heart-wrenching downfall. It is this sudden reversal of his circumstances that heightens the tragic dimensions of his character and enriches the story’s intricate tapestry of psychological complexity.
