The Tales of Hoffmann Part 1

The Tales of Hoffmann.

By Jules Barbier.

DRAMATIS PERSONae.

HOFFMANN COUNSELOR LINDORF COPPELIUS DAPERTUTTO DOCTOR MIRACLE SPALANZANI CRESPEL ANDRES COCHENILLE FRANTZ LUTHER NATHANAEL HERMANN STELLA GIULIETTA OLYMPIA ANTONIA NICKLAUSSE THE MUSE A GHOST

ARGUMENT

ACT I.

In the first act, which is really a prologue, Hoffmann, a young poet, enters the tavern of Luther to meet his companions, and drinks to drown his sorrows. They think he is in love, but he answers, all that is past, and tells the story of his three loves.

ACT II. OLYMPIA.

A physician's drawing room. Spalanzani has invited a large company to witness the accomplishments of his daughter, Olympia. She sings to general applause, and Hoffmann falls desperately in love with her. As the guests go to supper, Hoffmann tells her of his pa.s.sion and thinks he finds a responsive echo in her. There is dancing, and she waltzes him off his feet. A Dr. Coppelius comes in to say he has been swindled by Spalanzani. He slips into Olympia's room, from which a noise of breaking is heard. Coppelius, out of revenge, has smashed Olympia. She was only an automaton. Hoffmann is astonished.

ACT III. GIULIETTA.

At Venice, in the house of Giulietta, beloved of Schlemil, who takes the arrival of Hoffmann very ungraciously. Hoffmann cares nothing for Giulietta, but she is bribed by Dapertutto to make Hoffmann love her, and she succeeds by making him believe, that he is her ideal. But as a proof of his love she wants Hoffmann to get the key of her room away from Schlemil. Hoffmann demands the key; Schlemil tells him to come and take it, and they fight. Schlemil is killed. Hoffmann takes the key and rushes to Giulietta's room, and finding n.o.body, comes back, only to see her riding off in her gondola, laughing at him, and with her arms around another man's neck. Hoffmann is disgusted.

ACT IV. ANTONIA.

Antonia has been told by her father, Crespel, to sing no more. When Hoffmann, who has long loved her, comes, he wonders why, but he soon learns by overhearing a conversation between Crespel and an evil person called Doctor Miracle that Antonia is afflicted with consumption. He then begs her also not to sing, and she promises him. When Hoffmann goes, Miracle comes in and tells her it is all nonsense, to sing as much as she likes; but she will not break her promise to Hoffmann. Miracle then causes the ghost of Antonia's mother to appear, and to her prayers the girl yields. Miracle urges her on and on, until she is utterly exhausted. She falls dying, and her father receives her last breath.

Hoffmann is heartbroken.

EPILOGUE.

A return to the scene of the first act. Hoffmann has told his stories.

His companions leave him. The Muse appears and tells him that she is the only mistress to follow, the only one who will remain true to him. His spirit flickers a moment with grat.i.tude. Then his head sinks on the table, and he sleeps.

The Tales of Hoffmann

ACT I.

(The Tavern of Martin Luther. The interior of a German inn. Tables and benches.)

CHORUS of Students.

Drig, drig, drig, master Luther, Spark of hades, Drig, drig, drig, for us more beer, For us thy wine, Until morning, Fill my gla.s.s, Until morning, Fill our pewter Mugs!

NATHANAEL.

Luther is a brave man, Tire, lan, laire, T'is to-morrow that we brain him, Tire, lan, la!

CHORUS.

Tire, lon, la!

LUTHER (going from table to table).

Here, gentlemen, here.

HERMANN.

His cellar is a goodly spot, Tire lon, laire, 'Tis tomorrow we devast it, Tire lon la!

CHORUS.

Tire lon la!

(Knocking of gla.s.ses.)

LUTHER.

Here, gentlemen, here.

WILHELM.

His wife is a daughter of Eve, Tire lan laire, 'Tis to-morrow we abduct her, Tire lon la.

CHORUS.