Overview

Specimens of German romance Vol. II: Master flea presents an imaginative exploration of the boundaries between reality and fantasy while examining the complexities of human longing and wonder. The novel reflects on how the search for joy and connection often collides with solitude and introspection, set against a world filled with enchantment and unexpected encounters. It portrays the inner struggle of an individual caught between the innocence of childlike celebration and the deeper questions that arise in adulthood. The narrative weaves together elements of magic, fate, and personal reflection, creating a rich tapestry where emotional depth meets the extraordinary. Through encounters with mysterious figures and the pull of fantastical adventures, it underscores the human desire to find meaning and companionship in an unpredictable world. The novel invites readers to consider how moments of wonder and melancholy shape the path toward self-discovery, as the tension between reality and imagination drives the journey forward.

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Ernst Theodor Amadeus Hoffmann was a German novelist of fantasy and Gothic horror, as well as a jurist, composer, music critic, and artist. His stories serve as the foundation for Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears as the hero (albeit substantially embellished). He also wrote the novella The Nutcracker and the Mouse King, which served as the basis for Pyotr Ilyich Tchaikovsky's ballet The Nutcracker. The ballet Coppelia is based on two additional stories by Hoffmann, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. Hoffmann's maternal and paternal ancestors were jurists. His father, Christoph Ludwig Hoffmann (1736-97), was an attorney in Konigsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur violist. In 1767, he married his relative Lovisa Albertina Doerffer (1748-96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy. Between 1781 and 1792, he attended the Lutheran school, or Burgschule, where he excelled in classical studies. He was taught sketching by Saemann and counterpoint by Podbileski, a Polish organist who would serve as the template for Abraham Liscot in Kater Murr.

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