E. T. A. Hoffmann The provinces What happened to Hoffmann in the provinces? and he started to become "what school principals, parsons, uncles, and aunts call dissolute." Why caused that? Masovia. This was the first time he had lived without supervision by members of his family, and How did he deal with that? His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. Did he do the caricatures? ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, What happened after the complaints? official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland ( What happened once he was promoted? where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before before what? before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). Did they have any children? I don't know. What happened after he got married? They moved to Plock in August 1802. Are there any other interesting aspects about this article? At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters.
Who was the daughter?
Who was Cora Hatt's daughter?
From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.  From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."  His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802.  Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg.  At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
CANNOTANSWER
Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.

Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.

Life

Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, 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.

When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.

The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.

Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.

Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.

In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.

The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.

From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."

His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.

Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.

At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.

Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.

He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.

But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.

Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.

On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.

Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.

The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.

Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.

The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.

They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.

On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.

Berlin

At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.

During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.

Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.

King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.

Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.

Works

Literary

Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)

Musical

Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)

Works for stage
 Die Maske (libretto by Hoffmann), Singspiel (1799)
 Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
 Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
 Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
 Arlequin, ballet (1808)
 Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
 Wiedersehn! (libretto by Hoffmann), prologue (1809)
 Dirna (libretto: Julius von Soden), melodrama (1809)
 Incidental music to Julius von Soden's drama Julius Sabinus (1810)
 Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
 Aurora (libretto: Franz von Holbein), heroic opera (1812)
 Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
 Der Liebhaber nach dem Tode (unfinished)

Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)

Assessment

Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.

The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.

Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.

Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963)  and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).

Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.

Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.

Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".

Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."

In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made. 
 Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
 Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
 The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
 Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
 Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.

See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.

References

External links

 
 
 
 
 Hoffmann's Life and Opinions of the Tom Cat Murr
 
 T. A. Hoffmann's Fairy Tales
 Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
 E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
 
 Extensively cross-indexed bibliography of Hoffmann's works

 
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
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German music critics
German Romantic composers
Mythopoeic writers
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University of Königsberg alumni
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Kamaanya Kadduwamala was Kabaka of the Kingdom of Buganda from 1814 until 1832. He was the twenty-eighth (28th) Kabaka of Buganda.

Claim to the throne
He was the eldest son of Kabaka Semakookiro Wasajja Nabbunga, Kabaka of Buganda, who reigned between 1797 and 1814. His mother was Abakyala Nansikombi Ndwadd'ewazibwa, the Kaddulubaale, of the Nseenene (Grasshopper) Clan. She was his father's first wife. His father married at least fifteen wives. He ascended to the throne upon the death of his father in 1814, assuming the name of Kamaanya. He established his capital at Nsujjumpolu.

Married life
Like his father, Kabaka Kamaanya had many wives. He is recorded to have married at least thirty eight (38) wives:

 Baakuyiira, daughter of Lule, of the Ngonge clan
 Basiima Mukooki, daughter of Kateesigwa, of the Nkima clan
 Gwowemukira
 Kayaga, daughter of Kiwaalabye, of the Kkobe clan
 Kisirisa, daughter of Walusimbi, of the Ffumbe clan
 Naabakyaala Saamanya, the Kaddulubaale, daughter of Walusimbi, of the Ffumbe clan. She was killed on the orders of her husband.
 Ky'osiby'omunyolo, daughter of Jjumba, of the Nkima clan
 Kyot'owadde, daughter of Kiyaga, of the Mamba clan
 Kyowol'otudde, daughter of Lutalo, of the Ndiga clan
 Lubadde, daughter of Majanja, of the Ngeye clan
 Mpozaaki, daughter of Kateesigwa, of the Nkima clan
 Mubyuwo?, daughter of Nakatanza, of the Lugave clan
 Muteezi, daughter of Nakato, of the Mbogo clan
 Mukwaano, daughter of Mugema, of the Nkima clan
 Nambi, daughter of Lutaaya, of the Ngonge clan
 Naabakyaala Nabikuku, the Kabejja, daughter of Jjumba, of the Nkima clan
 Nabirumbi, daughter of Kisuule of Busoga, of the Ngabi (Reedbuck) clan
 Nabiswaazi, daughter of Jjumba, of the Nkima clan
 Nabyonga, daughter of Mwamba?, of the Lugave clan
 Nabbowa, daughter of Kafumbirwango, of the Lugave clan
 Nakaddu, daughter of Kamyuuka, of the Kkobe clan
 Nakanyike, daughter of Senfuma, of the Mamba clan
 Nakkazi Kannyange, daughter of Ssambwa Katenda, of the Mamba clan
 Nakkazi, daughter of Lutalo, of the Mamba clan
 Nakku, daughter of Walusimbi, of the Ffumbe clan
 Nakyekoledde, daughter of Gabunga, of the Mamba clan
 Nalumansi, daughter of Walusimbi, of the Ffumbe clan
 Namale, daughter of Kiwalabye, of the Kkobe clan
 Namukasa, daughter of Nankere, of the Mamba clan
 Namawuba, daughter of Sempala, of the Ffumbe clan
 Nambi Tebasaanidde, daughter of Mugula, of the Mamba clan
 Namwenyagira, daughter of Kamyuuka, of the Kkobe clan
 Nannozi, daughter of Gomottoka, of the Nvubu clan
 Nankanja, daughter of Terwewalwa, of the Nvubu clan
 Nzaalambi, daughter of Natiigo, of the Lugave clan
 Siribatwaalira, of the Nkima clan
 Tebeemalizibwa, daughter of Mwamba?, of the Lugave clan
 Nanteza

Issue
He is recorded to have fathered sixty one (61) sons and several daughters. His son Suuna II, executed fifty eight (58) of his brothers during his reign. The children of Kabaka Kamaanya included:

 Prince (Omulangira) Kiggala I, whose mother was Baakuyiira
 Prince (Omulangira) Nakibinge Bawuunyakangu, whose mother was Saamanya. He was killed by being burned alive, on the orders of his father at Busonyi, Busujju County.
 Prince (Omulangira) Kimera, whose mother was Gwowemukira
 Prince (Omulangira) Ndawula, whose mother was Gwowemukira
 Prince (Omulangira) Lule, whose mother was Gwowemukira
 Prince (Omulangira) Kiggala II, whose mother was Gwowemukira
 Prince (Omulangira) Kitereera, whose mother was Gwowemukira
 Princess (Omumbejja) Babirye, whose mother was Kayaga. Twin with Princess Nakato
 Princess (Omumbejja) Nakato, whose mother was Kayaga. Twin with Princess Nakato
 Prince (Omulangira) Kaggwa, whose mother was Kisirisa
 Prince (Omulangira) Bagunyeenyamangu, whose mother was Saamanya
 Prince (Omulangira) Mbajjwe, whose mother was Ky'osiby'omunyolo).
 Prince (Omulangira) Bamweyana, whose mother was Kyootowadde
 Prince (Omulangira) Twaayise, whose mother was Mpozaaki
 Prince (Omulangira) Kyomubi, whose mother was Mukwaano
 Prince (Omulangira) Luwedde, whose mother was Nabiswaazi
 Prince (Omulangira) Kimera, whose mother was Nabbowa
 Prince (Omulangira) Lumansi, whose mother was Nakaddu
 Prince (Omulangira) Tebandeke, whose mother was Nakanyike
 Prince (Omulangira) Suuna Kalema Kansinjo, who succeeded as Kabaka Suuna II Kalema Kansinjo Mukaabya Ssekkyungwa Muteesa I Sewankambo Walugembe Mig'ekyaamye Lukeberwa Kyetutumula Magulunnyondo Lubambula Omutanda Sseggwanga, whose mother was Nakkazi Kannyange
 Prince (Omulangira) Wasajja, whose mother was Nakkazi. He escaped the slaughter of the princes by his brother, Suuna II.
 Prince (Omulangira) Ndawula, whose mother was Nakyekoledde
 Prince (Omulangira) Mutebi, whose mother was Nakyekoledde
 Prince (Omulangira) Mugogo, whose mother was Kyotowadde. He too, escaped the slaughter of the princes by his brother, Suuna II.
 Prince (Omulangira) Kigoye, whose mother was Namale
 Princess (Omumbejja) Ndagire I, whose mother was Namukasa
 Prince (Omulangira) Waswa, whose mother was Nambi Tebasaanidde. Twin with Babirye.
 Princess (Omumbejja) Babirye, whose mother was Nambi Tebasaanidde. Twin with Babirye
 Prince (Omulangira) Kajumba, whose mother was Nambi Tebasaanidde
 Princess (Omumbejja) Ndagire II, whose mother was Nannozi
 Prince (Omulangira) Kizza, whose mother was Nzaalambi
 Princess (Omumbejja) Tajuba, whose mother was Lubadde. She died after 1927.
 Princess (Omumbejja) Nassolo, whose mother Mubyuwo?
 Princess (Omumbejja) Nambi, whose mother was Muteezi
 Princess (Omumbejja) Nakayenga, whose mother was Kyowol'otudde
 Princess (Omumbejja) Namayanja, whose mother was Lubadde
 Princess (Omumbejja) Nabaloga, whose mother was Mpozaaki
 Princess (Omumbejja) Kagere, whose mother was Mubyuwo
 Princess (Omumbejja) Mwannyin'empologoma Nassolo, whose mother was Nabikuku
 Princess (Omumbejja) Nalumansi, whose mother was Nabirumbi
 Princess (Omumbejja) Nakku, whose mother was Nabyonga
 Princess (Omumbejja) Nakalema, whose mother was Nalumansi
 Princess (Omumbejja) Nakangu, whose mother was Nambi
 Princess (Omumbejja) Namika, whose mother was Nakaddu
 Princess (Omumbejja) Nakabiri, whose mother was Namwenyagira
 Princess (Omumbejja) Katalina Nabisubi Mpalikitenda Nakayenga, whose mother was Siribatwaalira. She was born around 1814. She died on 27 January 1907.
 Princess (Omumbejja) Lwantale, whose mother was Siribatwaalira. She was the Naalinnya to Kabaka Suuna II. She died in March 1881.
 Princess (Omumbejja) Nagaddya, whose mother was Tebeemalizibwa
 Princess (Omumbejja) Nassuuna Kyetenga, whose mother was Nankanja

His reign
Kabaka Kamaanya continued the wars of conquest against the Kingdom's neighbors which led to an expansion of the territory of the Buganda Kingdom. He conquered the ssaza, Buweekula, from Bunyoro and annexed it to Buganda.

The final years
Kabaka Kamaanya died at Lutengo in 1832. He was buried at Kasengejje, Busiro.

Quotes
It is claimed that Kamanya’s original name was Kanakulya Mukasa. But because he was such a tyrant, his contemporaries began to refer to a person of uncontrollable temper with a persecution mania (and indirectly to the king) as a kamanya.
 MM Semakula Kiwanuka, A History of Buganda, 1971

Succession table

See also
 Kabaka of Buganda

References

External links
List of the Kings of Buganda

Kabakas of Buganda
19th-century monarchs in Africa
1832 deaths
Year of birth unknown Ndawula Nsobya was Kabaka of the Kingdom of Buganda between 1724 and 1734. He was the nineteenth (19th) Kabaka of Buganda.

Claim to the throne
He was the fifth son of Kabaka Juuko Mulwaana, Kabaka of Buganda, who reigned between 1680 and 1690. His mother was Nandawula Kabengano of the Nsenene clan, the fifth of his father's six wives. He ascended to the throne upon the death of his cousin. He established his capital at Lubaga.

Married life
He is reported to have married seven (7) wives:

 Nabisubi, daughter of Namenyeka of the Mamba clan
 Naggujja, daughter of Mukalo, of the Njovu clan
 Nakikulwe Namirembe, daughter of Kayindi
 Nakidde Luyiga, daughter of Segiriinya, of the Ngo clan
 Nakyomubi, daughter of Gabunga, of the Mamba clan.
 Nampanga, daughter of Gunju, of the Butiko clan
 Nazzaluno, daughter of Walusimbi, of the Ffumbe clan

Issue
Kabaka Ndawula is reported to have fathered ten (10) children; eight (8) sons and two (2) daughters:
 Kabaka Kagulu Tebukywereke Ntambi, Kabaka of Buganda, who reigned between 1734 and 1744, whose mother was Naggujja
 Prince (Omulangira) Musanje Golooba, whose mother was Nakidde Luyiga.
 Prince Musanje Golooba married three wives: (a) Bawuna, daughter of Magunda, of the Ffumbe clan (b) Nabulya Naluggwa, daughter of Lutalo, of the Ndiga clan and (c) Namirembe, daughter of Sematengo, of the Ndiga clan. He fathered four (4) sons: (a) Kabaka Mwanga I Sebanakitta, Kabaka of Buganda, who reigned between 1740 and 1741, whose mother was Nabulya Naluggwa (b) Kabaka Namuggala Kagali, Kabaka of Buganda, who reigned between 1741 and 1750, whose mother was Nabulya Naluggwa (c) Kabaka Kyabaggu Kabinuli, Kabaka of Buganda, who reigned between 1750 and 1780, whose mother was Nabulya Naluggwa and (d) Prince (Omulangira) Kayondo, whose mother was Namirembe. Prince Musanje Golooba was executed on the orders of his half-brother Kabaka Kagulu Tebukywereke for the murder of Prince (Omulangira) Luyenje.
 Kabaka Mawanda Sebanakitta, Kabaka of Buganda, who ruled between 1738 and 1740, whose mother was Nakidde Luyiga
 Kabaka Kikulwe Mawuba, Kabaka of Buganda, who reigned between 1736 and 1738, whose mother was Nakikulwe
 Prince (Omulangira) Segaamwenge
 Prince (Omulangira) Luyenje. He was killed by his half-brother, Prince Musanje.
 Prince (Omulangira) Ndege, whose mother was Nakidde Luyiga
 Prince (Omulangira) Bezzaluno, whose mother was Nazzaluno
 Princess (Omumbejja) Ndege, Nassolo.
 Princess (Omumbejja) Kyomubi, whose mother was Nakyomubi

The final years
Kabaka Ndawula died of old age around 1734, at the Kasajjakaliwano Palace, at Lubaga. He is buried at Musaba, Busiro.

Quotes
"Ndawula himself was a man of peace; he reigned long and had a very large family. The turbulence of Ndawula's numerous sons broke the tranquil atmosphere he had established in the country."
 MM Semakula Kiwanuka, A History of Buganda, 1971

Succession table

See also
 Kabaka of Buganda

References

External links
List of the Kings of Buganda

Kabakas of Buganda
18th-century monarchs in Africa