Everyday views of the Murrah cat

The most pronounced image of the “enthusiast” in the analyzed work of Hoffmann is the bandmaster and composer Johannes Kreisler - a man, as they say, “not of this world.” The fact that his biography was torn to pieces by the philistine Murr and used “partly for lining, partly for drying the pages” is a bitterly ironic statement: this is exactly what members of “decent society” most often do with the memory of truly outstanding people.

In Kreisler’s description we see the same paradox and duality that were discussed above in the example of the “portrait” of Abraham Liskov: “This man, who looked to be about thirty, was dressed in black dress, sewn according to the latest fashion. In his costume, nothing was striking or striking, and yet his appearance revealed something strange, unusual... Glancing briefly at the princess, he then stopped the spiritual, sparkling gaze of large dark eyes on Julia’s face...” From under this spirituality In the appearance of the “man in black,” however, another, “shadow” hypostasis is visible: “At the very first words of the princess, the stranger impulsively turned around and now looked her straight in the eyes. His face immediately transformed, the expression of sad dreaminess faded, the deep emotional excitement disappeared without a trace; a strange crooked smile emphasized the expression of bitter irony, giving the face something eccentric, even buffoonish." Kreisler obviously sees in the princess a capricious, arrogant creature who has more rights than him only due to her noble origin. Immediately after that, he arranges an extravagant scene that leads The princess is horrified. However, the musician actually manages not to widen the gap between himself and Hedwig, but to significantly reduce it: subsequently the princess admits that her reaction is just a memory of the mad artist Leonhard Etliinger, and becomes a diligent student of Kreisler's music.

According to L.A. Kalinnikov, many researchers emphasize the autobiographical nature of Kreisler’s image: he is none other than Hoffmann himself, whose personality turned out to be intricately refracted through the “crystal” artistic plot. Thus, Kreisler's love for Julia Bentzon had its prototype in love story between Hoffmann and his student Juliana Mark, which ended in separation and caused serious mental trauma to the writer. The impossibility of family ties between people of different classes, characteristic of bourgeois society 1st floor. XIX century, was reflected in Hoffmann’s life not only in personal drama, but also in major creative project, which began with work on the work “Hours of Enlightenment of a Certain Mad Musician.” After some time, this sketch turned into “Everyday views of the cat Murr...”, and the cat himself (even if he did not have fantastic abilities) actually existed and died shortly before the completion of the novel.

The autobiographical nature of Kreisler's image allows us to see in his statements the embodiment of the philosophical views of Hoffmann himself. Perception artistic creativity as a process of searching for a higher reality, the difference between carnal and spiritual love, conflict outstanding personality and philistines, supplemented by detective elements, became the ideological basis for the formation of the figure of the protagonist of the novel. Exile of his own free will, genius musician, who never (until Kanzheim Abbey) wrote down his works, an extravagant “joker” who used various tricks to destroy the norms of feigned decency, Kreisler could, at first glance, evoke demonic associations (especially judging by the first impression he made on the princess ). However, in fact, this image is infinitely far from spiritual darkness, for it is permeated with divine light. Having committed a completely legal (from the point of view of both the state and the church) murder for the sake of self-defense, he is tormented by remorse. He is equally devoid of meanness and vulgarity, and, moreover, he is a spiritual ascetic who managed to overcome carnal passion for the sake of sublime creative concepts. From here, in particular, it follows that Kreisler can hardly be alive, real person, since he is deprived of the “wrong side” that was first suspected of him. All of his “second nature” is fully embodied in Murrah, with whom Abraham arranged a meeting for him. At the same time, the ability not only to write music, but also to kill makes Kreisler a warrior, not a saint. L.A. Kalinnikov writes the following about Kreisler’s actual attitude towards religion: “In the fate of a brilliant musician, religion is revealed only by its aesthetic side. The church for an artist is a good customer, an employer, as they would say now. And even hiding in a monastery, even if involuntarily, if indirectly, but Kreisler helped to prevent the reign of gloomy, sanctimonious, fanatical orders in him, the Jesuit mockery of the bright soaring to the highest, of the natural piety and no less natural love of life of the monks of the Benedictine abbey." Consequently, Kreisler draws strength for his creativity not from external rituals or dogmas of faith, but from the depths of his own soul, where he was able to find a “nameless Something” as a reflection of the bliss of an impossible paradise on earth.

At the same time, Kreisler, for all the idealism of his features, cannot be called a motionless, frozen “role model.” He embodies the image of a developing personality, which allows L.A. Kalinnikov, when comparing Kreisler and Abraham, finds the first not mature enough: “He is only potentially a sage, in his capabilities. To resist evil, and to resist as successfully as the organ master Liskov, and in fact a most talented engineer, can do, Kreisler without the help of a senior is not capable of making a friend yet. He is a composer, a musician who completely devotes himself to creativity. And this already makes him a person. He creates beautiful music, especially church and liturgical music. However, this concentration on creativity, undivided dedication to it leads to the fact that in such a case, inevitable Kreisler is not always able to figure out the intrigues. And therefore sometimes he has to commit legal actions, which, of course, in no way deprives him of his personal status." According to Kalinnikov, to become the same as maestro Abraham, Kreisler needs a big life experience, which can only be acquired over time. This is completely opposite to his “double” - the cat Murr, who throughout the entire novel retains unchanged features and acquires not spiritual, but only worldly wisdom.

Thus, in the main character of Hoffmann’s novel, Johannes Kreisler, not only the autobiographical features of the author were embodied, but also his philosophical views, as well as ideas about what an “ideal” artist should be. However, even being endowed mainly with only positive features, Kreisler shows us an example of an “ideal” that is not frozen, but is becoming, developing over time.

In preparation for printing the notes of Murr, a descendant of the famous Hintz von Hinzenfeld (more known to the world like Puss in Boots), the publishers drew attention to the presence of clearly extraneous fragments in the manuscript - excerpts from a previously published story about the bandmaster Johannes Kreisler and his friend Maestro Abraham. These pages ended up in Murr's manuscript for the simple reason that the Cat used them - gutting a book from the library of his master Abraham - as blotting paper. By a strange coincidence, many episodes of Kreisler's life story complement the events described by Cat Murr - but this is a complete coincidence, since Murr adhered to a strict chronology, and he tore out pages from the book at random. Nevertheless, the publisher left everything as it was - on the grounds that it was Kreisler who was entrusted by Maestro Abraham with the care of Cat Murr, moving away from the court of Prince Irenaeus.

The prince once had, albeit a miniature, but his own principality, which he lost after Bonaparte dissolved the Prussian administration in Poland (some, however, believed that the principality simply fell out of his pocket during a walk). The most influential persons at court were the adviser widow Bentzon (in her younger years the prince’s favorite) and maestro Abraham, reputed to be a magician and alchemist. An organ builder and piano tuner, he gained fame as an illusionist and organizer of fireworks and park allegories, was favored by the old prince, after his death he traveled around Europe, but then was again called to serve at the court of Irenaeus, who settled in Sieghartsweiler.

Another influential - but in a completely different way - person at court, arousing the most contradictory feelings in the retinue, is the bandmaster Johannes Kreisler, who gives music lessons to the prince's daughter Princess Hedwig and her friend Julia, the daughter of the widow Bentzon. Orphaned early, Kreisler was raised and trained musical notation maestro Abraham, who became his best friend for life.

I owe my life and spiritual aspirations to Abraham and Cat Murr. He believes that he was born in the maestro’s house, and in no other way than in the attic (where else could the sublimity of his mind and spirit come from); Meanwhile, as a blind kitten, along with his brothers and sisters, he was drowned in the river and, miraculously not choking, was pulled out of the water by the scruff of the neck by Abraham passing across the bridge. Education in the traditions of Rousseau, along with a craving for desk the maestro and the books on the table, led to the fact that Murr very soon learned to read (comparing what the owner read out loud with the words in the book), and then to write. The Cat's first literary experiments were the didactic novel “Thought and Flair, or the Cat and the Dog” (created not without the influence of the poodle Ponto), the political treatise “On the Question of Mousetraps” and the tragedy “Cavdallor - the King of the Rat”. Alas, the notebook with Murr's poems, given to Ponto to read, fell into the hands of the poodle's owner, professor of aesthetics Logario, and he (obviously out of envy) told on the phenomenally gifted Cat, Maestro Abraham. The Maestro is concerned that pussy is more concerned with fine literature than with mice, and denies Murr access to reading, “What could cause a genius greater pain than to see himself unrecognized and even ridiculed!” - Murr complains, but is consoled by the fact that as a result his own mind began to create even more freely.

Kapellmeister Kreisler experiences similar experiences. He is burdened by his role at court, secular etiquette and hypocrisy. "In the veins of this young man only music flows,” he paraphrases the description of a certain ancient instrument in the musical lexicon. Kreisler's consolation is the company of the sweet Fraulein Julia, whose soul, like his, is open to divine sounds. Princess Hedwiga, who at first had, as it seemed to him, hostility toward the conductor, also joined their solitary music studies. The princess confesses to Kreisler the reason for her confusion at his appearance at court: her heart is tormented by the memory of the court painter, who went crazy with love for her late mother; many wondrous portraits of the princess still decorate the walls of the castle, instilling in Hedwig the idea that man was born for a better life than the one she leads. "Artist's love! - Gedwiga exclaims. “Oh, this is a wonderful, heavenly dream - but only a dream, only a vain dream!..”

The story told by Princess Hedwig deeply moved Kreisler. Unearthly music and unearthly love - that's all it has true value, not subject to doubts and ridicule with which he looks at everything around him. Conversing confidentially with Maestro Abraham, he finds in him a complete ally. There were two minutes of happiness in the maestro’s life: when he listened to the sounds of an ancient organ in an abbey far from the bustle of the world and when his Chiera was with him, his young assistant in focus with the Invisible Girl, and then his wife. Thanks to her prophetic gift and magnetic influence on people, even at a great distance, the magician and mechanic Abraham was brought closer to the court of the old prince. The bliss did not last long: soon after the death of the prince, Kiera disappeared without a trace. This heart wound has not healed to this day.

The hour of love has struck for Murr the Cat: the Ides of March have arrived - and on one of his night walks on the roof he meets a charming cat named Mismis. The first love date is interrupted and marred by her two disgusting cousins: they brutally beat Murr and throw him into the gutter. The image of Mismis haunts him, he composes hymns and madrigals in her honor. The fruits of his inspiration have been paid in full! Murr and Mismis meet again under the moon, no one prevents them from singing a duet (she is extremely musical). The cat decides to use a radical remedy for subsequent amorous torments: he offers his paw and heart to his Beautiful Lady. Oh Gods! She agrees!.. However, in the life of every poet, the hours of bliss are fleeting: Mismis cheats on Murra with a motley cat-womanizer. The spouses’ explanation proceeds surprisingly calmly; both confess to each other their coldness of heart - and decide to move on each in their own way. Murr returns to science and fine arts with even greater zeal than before meeting Mismis...

Meanwhile, Prince Hector, a descendant of a noble and wealthy family, to whom Prince Irenaeus planned to marry his daughter, comes to Sieghartsweiler from Italy. At the ball, Hedwiga behaves more than strangely, shocking the entire court: she dances a dashing Italian dance with the prince three times in a row, which is not at all typical of her nature. The prince is not at all nice to her - but he has some kind of demonic effect on her. Strong impression The prince also affects Julia: in a conversation with her mother, she likens his gaze to the fiery gaze of a basilisk. Advisor Bentson laughs: to two girls at once the dear prince seems like a monster - what nonsense! No, this is the voice of the heart, Yulia’s mother assures. After the ball, she dreamed of a prince, under the guise of Kapellmeister Kreisler, who embraced her with the words: “You have already been killed - and from now on you must be mine!” She is saved from these encroachments in a dream by the real, and not the imaginary, Kreisler - the beneficent spirit of the castle, designed to protect both her and Princess Hedwig from evil spells. Advisor Bentzon interprets this dream in her own way: Johannes Kreisler is a man who is causing discord in life at the prince’s court. Maestro Abraham is not enough for her - now this musician too! She is obliged to intervene in the development of events!..

Needless to say, Kreisler also harbors a dislike for Prince Hector. Abraham agrees: this is a real serpent-tempter. He is ready to enter into a marriage with Hedwig only out of convenience; in reality, he has plans for Julia. Of course, Kreisler must stand up for her honor, but ordinary weapons are inappropriate here. Maestro Abraham hands his friend a miniature portrait of a certain person, the look of which will plunge Hector into horror and put him to flight. The prediction comes true exactly. But the bandmaster suddenly disappears from the castle. In the park they find his hat with traces of blood. It is clear that someone - most likely Hector's adjutant - was trying to kill him. But did he kill? There is no answer: the adjutant also disappeared that night...

Murr’s new friend, the black cat Mucius, reproaches him: “You rushed from one extreme to the other, you are about to turn into a disgusting philistine, whose actions depend on the surrounding circumstances, and not on the voice of honor. Your solitude will not console you, but will harm you even more!” Mucius recommends Murr to his friends - the feline Burshas, ​​who accept him as a brother, singing “Gaudeamus igitur” and other hymns. Their circle disintegrates after several rehearsals on the roof: the inhabitants of the house poison the Bursha with vile dogs, as a result of which the glorious Mucius gives his soul to God. At the funeral feast, Murr meets the adorable little cat Mina. He is ready to rush to storm her heart - and suddenly he sees Mismis, about whom he had forgotten to even think, at a distance. Mismis stops Murr: “Mina is your daughter!” The cat returns to his stove, marveling at the quirks and vicissitudes of fate...

Kreisler - as he informs about in a letter to Maestro Abraham - found shelter in the monastery. While in Sieghartsweiler, turbulent events take place in his absence (the illness and miraculous healing of Hedwig, the secret return of Prince Hector, the discovery of the corpse of his adjutant, finally, the entry of a hussar regiment from the capital - there was a rumor that there was a conspiracy in the castle of Prince Irenaeus and almost not a revolution), the culprit of all this is experiencing for the first time peace of mind and devotes himself to music. In a dream, he sees Julia, an angelic maiden, singing “Agnus Dei” of unheard-of beauty; waking up, Kreisler records this music, not fully believing that he is its author. He is preparing to take monastic vows - but then a new abbot, Father Cyprian, appointed by the Pope himself, comes to the abbey from Italy. A gloomy ascetic, he decisively changes the way of life in the monastery. Kreisler sees clearly: in the new circumstances, the music in his soul will die out. At night, a funeral service is held in the abbey - in the deceased, Kreisler recognizes the adjutant of Prince Hector, whom he killed while defending himself from his attack in Sieghartsweiler Park... The Kapellmeister realizes that he was involved in some kind of terrible secret, to which Father Cyprian is directly related, which he bluntly announces to the new abbot. The stern monk is instantly transformed and, filled with a spirit of meekness and love, tells Kreisler the story of his life, which sheds light on many things concerning the inhabitants of the castle, where our musician had recently sought inspiration.

In his youth, Father Cyprian, the heir of a powerful sovereign, and his younger brother were on military service in Naples. The future abbot led the most dissolute lifestyle, not missing a single beauty.

One day on the street some old gypsy woman invited him to meet a lady who was not only the most beautiful, but also equal in origin to the prince. Antonio (that was his name then) considered the old woman to be an ordinary bawd. Imagine the prince’s amazement when, a few days later, he met the old woman in the company of the most wonderful lady he had ever seen. The young lady's name was Angela Benzoni, she was born from an extramarital affair between two very noble persons and - the fruit of criminal love - was determined to live away from home, until further notice, under the supervision of her caring gypsy nanny, who was mistaken by the prince for a bawd. Angela reciprocated Antonio's feelings, and they were secretly married in the Chapel of San Filippo. Having revealed this secret and seeing his elder brother’s wife, Prince Hector was inflamed with passion for her. Soon Antonio caught him in Angela's chambers. There was a stormy explanation; Antonio poured poison into Angela's glass, but he himself fell dead from Hector's dagger. Miraculously healed, Antonio vowed to atone for his sin in the monastery. At that time, Maestro Abraham found himself in Italy, under the guise of the magician Severin, looking for sweet Chiara. The old gypsy woman handed him a miniature double portrait, where, between the images of Antonio and Angela, a written certificate of a double murder was kept. All of the above, as we see, also explains the trepidation of Prince Hector at that moment when Kreisler showed him this irresistible weapon received from the hands of Maestro Abraham; and the influence enjoyed at the prince’s court by the adviser Bentzon, the mother of his illegitimate daughter; and her guesses that the old magician knows something important about her... and much, much more.

It is now, when it would seem that all the most important things in the story are about to happen, it suddenly ends. Unexpectedly - like Princess Hedwig's decision to marry Hector, who is disliked by her. Unexpectedly - like the return of Kapellmeister Kreisler to the castle, his refusal to serve God and music for the sake of Julia’s love. Unexpectedly, like Maestro Abraham’s departure abroad, it seems like a new search for the “Invisible Girl”...

Unexpectedly, like the death of Murr the Cat, who was just entering the threshold of fame and even more amazing achievements.

Novel (1820 - 1822, unfinished) When preparing for publication the notes of Murr, a descendant of the famous Hintz von Hinzenfeld (better known to the world as Puss in Boots), the publishers drew attention to the presence in the manuscript of clearly extraneous fragments - excerpts from a previously published story about the bandmaster Johannes Kreisler and his friend Maestro Abraham. These pages ended up in Murr's manuscript for the simple reason that the Cat used them - gutting a book from the library of his master Abraham - as blotting paper. By a strange coincidence, many episodes of Kreisler’s life story complement the events described by Cat Murr, but this is a complete coincidence, since Murr adhered to a strict chronology, and he tore out pages from the book at random. Nevertheless, the publisher left everything as it was - on the grounds that it was Kreisler who was entrusted by Maestro Abraham with the care of Cat Murr, moving away from the court of Prince Irenaeus. The prince once had, albeit a miniature, but his own principality, which he lost after Bonaparte dissolved the Prussian administration in Poland (some, however, believed that the principality simply fell out of his pocket during a walk). The most influential persons at court were the adviser widow Bentzon (in her younger years the prince’s favorite) and maestro Abraham, reputed to be a magician and alchemist. An organ builder and piano tuner, he gained fame as an illusionist and organizer of fireworks and park allegories, was favored by the old prince, after his death he traveled around Europe, but then was again called to serve at the court of Irenaeus, who settled in Sieghartsweiler. Another influential - but in a completely different way - person at court, arousing the most contradictory feelings in the retinue, is the bandmaster Johannes Kreisler, who gives music lessons to the prince's daughter Princess Hedwig and her friend Julia, the daughter of the widow Bentzon. Orphaned at an early age, Kreisler was raised and taught to read music by Maestro Abraham, who became his best friend for life. I owe my life and spiritual aspirations to Abraham and Cat Murr. He believes that he was born in the maestro’s house, and in no other way than in the attic (where else could the sublimity of his mind and spirit come from); meanwhile, as a blind kitten, along with his brothers and sisters, he was drowned in the river and, miraculously not choking, was pulled out of the water by the scruff of the neck by Abraham passing across the bridge. Upbringing in the traditions of Rousseau, along with a craving for the maestro’s desk and books on the table, led to the fact that Murr very soon learned to read (comparing what the owner read out loud with the words in the book), and then to write. The Cat's first literary experiments were the didactic novel “Thought and Flair, or the Cat and the Dog” (created not without the influence of the poodle Ponto), the political treatise “On the Question of Mousetraps” and the tragedy “Cavdallor - the King of the Rat”. alas, the notebook with Murr's poems, given to Ponto to read, fell into the hands of the poodle's owner, professor of aesthetics Logario, and he (obviously out of envy) told on the phenomenally gifted Cat, Maestro Abraham. The Maestro is concerned that pussy is more concerned with fine literature than with mice, and denies Murr access to reading, “What could cause a genius greater pain than to see himself unrecognized and even ridiculed!” - Murr complains, but is consoled by the fact that as a result his own mind began to create even more freely. Kapellmeister Kreisler experiences similar experiences. He is burdened by his role at court, secular etiquette and hypocrisy. “There is only music flowing through the veins of this young man,” he paraphrases the description of a certain ancient instrument in the musical lexicon. Kreisler's consolation is the company of the sweet Fraulein Julia, whose soul, like his, is open to divine sounds. Princess Hedwig also joins their solitary music studies, who at first had, as it seemed to him, hostility towards the conductor. The princess confesses to Kreisler the reason for her confusion at his appearance at court: her heart is tormented by the memory of the court painter, who went crazy with love for her late mother; many wondrous portraits of the princess still decorate the walls of the castle, instilling in Hedwig the idea that man was born for a better life than the one she leads. "Artist's love! - Gedwiga exclaims. “Oh, this is a beautiful, heavenly dream - but only a dream, only a vain dream!..” The story told by Princess Hedwig deeply excited Kreisler. Unearthly music and unearthly love - that’s all that has true value, not subject to the doubts and ridicule with which he looks at everything around him. Conversing confidentially with Maestro Abraham, he finds in him a complete ally. There were two minutes of happiness in the maestro’s life: when he listened to the sounds of an ancient organ in an abbey remote from the bustle of the world and when his Chiera was with him, his young assistant in focus with the Invisible Girl, and then his wife. Thanks to her prophetic gift and magnetic influence on people, even at a great distance, the magician and mechanic Abraham was brought close to the court of the old prince. The bliss did not last long: soon after the death of the prince, Kiera disappeared without a trace. This heart wound has not healed to this day. ...The hour of love has struck for Murr the Cat: the Ides of March have arrived - and on one of his night walks on the roof he meets a charming cat named Mismis. The first love date is interrupted and marred by her two disgusting cousins: they brutally beat Murr and throw him into the gutter. The image of Mismis haunts him, he composes hymns and madrigals in her honor. The fruits of his inspiration have been paid in full! Murr and Mismis meet again under the moon, no one prevents them from singing a duet (she is extremely musical). The cat decides to use a radical remedy for subsequent amorous torments: he offers his paw and heart to his Beautiful Lady. Oh Gods! She agrees!.. However, in the life of every poet, the hours of bliss are fleeting: Mismis cheats on Murra with a motley cat-womanizer. The spouses’ explanation proceeds surprisingly calmly; both confess to each other their coldness of heart - and each decide to move on in their own way. Murr returns to the sciences and fine arts with even greater zeal than before meeting Mismis... Meanwhile, Prince Hector, a descendant of a noble and wealthy family, comes to Sieghartsweiler from Italy, to whom Prince Irenaeus planned to marry his daughter. At the ball, Hedwiga behaves more than strangely, shocking the entire court: she dances a dashing Italian dance with the prince three times in a row, which is not at all typical of her nature. The prince is not at all nice to her - but he has some kind of demonic effect on her. The prince also makes a strong impression on Julia: in a conversation with her mother, she likens his gaze to the fiery gaze of a basilisk. Advisor Bentzon laughs: to two girls at once the dear prince seems like a monster - what nonsense! No, this is the voice of the heart, Yulia’s mother assures. After the ball, she dreamed of a prince, under the guise of Kapellmeister Kreisler, who embraced her with the words: “You have already been killed - and from now on you must be mine!” She is saved from these encroachments in a dream by the real, and not the imaginary, Kreisler - the beneficent spirit of the castle, designed to protect both her and Princess Hedwig from evil spells. Advisor Bentzon interprets this dream in her own way: Johannes Kreisler is a man who is causing discord in life at the prince’s court. Maestro Abraham is not enough for her - now this musician too! She is obliged to intervene in the development of events!.. Needless to say, Kreisler also harbors hostility towards Prince Hector. Abraham agrees: this is a real serpent-tempter. He is ready to enter into a marriage with Hedwig only out of convenience; in reality, he has plans for Julia. Of course, Kreisler must stand up for her honor, but conventional weapons are inappropriate here. Maestro Abraham hands his friend a miniature portrait of a certain person, the look of which will plunge Hector into horror and put him to flight. The prediction comes true exactly. But the bandmaster suddenly disappears from the castle. In the park they find his hat with traces of blood. It is clear that someone - most likely Hector's adjutant - was trying to kill him. But did he kill? There is no answer: the adjutant also disappeared that night... Murr’s new friend, the black cat Mucius, reproaches him: “You rushed from one extreme to the other, you are about to turn into a disgusting philistine, whose actions depend on the surrounding circumstances, and not on voices of honor. Your solitude will not console you, but will harm you even more! Mucius recommends Murr to his friends - the feline Burshas, ​​who accept him as a brother, singing “Gaudeamus igitur” and other hymns. Their circle disintegrates after several rehearsals on the roof: the inhabitants of the house poison the Bursha with vile dogs, as a result of which the glorious Mucius gives his soul to God. At the funeral feast, Murr meets the adorable little cat Mina. He is ready to rush to storm her heart - and suddenly he sees Mismis at a distance, whom he had forgotten to even think about. Mismis stops Murr: “Mina is your daughter!” The cat returns to his stove, marveling at the quirks and vicissitudes of fate... Kreisler - as he informs about in a letter to Maestro Abraham - has found shelter in the monastery. While in Sieghartsweiler, turbulent events take place in his absence (the illness and miraculous healing of Hedwig, the secret return of Prince Hector, the discovery of the corpse of his adjutant, finally, the entry of a hussar regiment from the capital - there was a rumor that there was a conspiracy in the castle of Prince Irenaeus and almost not a revolution), the culprit of all this experiences peace of mind for the first time and devotes himself to music. In a dream, he sees Julia, an angelic maiden, singing “Agnus Dei” of unheard-of beauty; waking up, Kreisler records this music, not fully believing that he is its author. He is preparing to take monastic vows - but then a new abbot, Father Cyprian, appointed by the Pope himself, comes to the abbey from Italy. A gloomy ascetic, he decisively changes the way of life in the monastery. Kreisler sees clearly: in the new circumstances, the music in his soul will die out. At night, a funeral service is held in the abbey - in the deceased, Kreisler recognizes the adjutant of Prince Hector, whom he killed while defending himself from his attack in Sieghartsweiler Park... The bandmaster realizes that he was involved in some terrible secret, to which Father Cyprian is directly related - about which without mincing words and announces to the new abbot. The stern monk is instantly transformed and, filled with a spirit of meekness and love, tells Kreisler the story of his life, which sheds light on many things concerning the inhabitants of the castle, where our musician had recently sought inspiration. In their youth, Father Cyprian, the heir of a powerful sovereign, and his younger brother were in military service in Naples. The future abbot led the most dissolute lifestyle, not missing a single beauty. One day on the street some old gypsy woman invited him to meet a lady who was not only the most beautiful, but also equal in origin to the prince. Antonio (that was his name then) considered the old woman to be an ordinary bawd. Imagine the prince’s amazement when, a few days later, he met the old woman in the company of the most wonderful lady he had ever seen. The young lady's name was Angela Benzoni, she was born from an extramarital affair between two very noble persons and - the fruit of criminal love - was determined to live away from home, until further notice, under the supervision of her caring gypsy nanny, 449 mistaken by the prince for a bawd. Angela reciprocated Antonio's feelings, and they were secretly married in the Chapel of San Filippo. Having revealed this secret and seeing his elder brother’s wife, Prince Hector was inflamed with passion for her. Soon Antonio caught him in Angela's chambers. There was a stormy explanation; Antonio poured poison into Angela's glass, but he himself fell dead from Hector's dagger. Miraculously healed, Antonio vowed to atone for his sin in the monastery. About that time, Maestro Abraham found himself in Italy, under the guise of the magician Severin, looking for sweet Chiara. The old gypsy woman handed him a miniature double portrait, where, between the images of Antonio and Angela, a written certificate of the double murder was kept. All of the above, as we see, also explains the trepidation of Prince Hector at that moment when Kreisler showed him this irresistible weapon received from the hands of Maestro Abraham; and the influence enjoyed at the prince’s court by the adviser Bentzon, the mother of his illegitimate daughter; and her guesses that the old magician knows something important about her... and much, much more. It is now, when it would seem that all the most important things in the story are about to happen, it suddenly ends. Unexpectedly - like Princess Hedwig's decision to marry Hector, who is disliked by her. Unexpectedly - like the return of Kapellmeister Kreisler to the castle, his refusal to serve God and music for the sake of Julia’s love. Unexpectedly, like the departure of maestro Abraham abroad, it seems like a new search for the “Invisible Girl”... Unexpectedly, like the death of Cat Murr, who was just entering the threshold of fame and even more amazing achievements.

Johannes Kreisler - main character Romana, a brilliant musician. Hoffman gave this image his own features and his own view of art and the world. Kreisler is one of those artists who has to “mint gold from his inspiration in order to stretch the thread of his existence.” He flees from one principality to another, but German reality is such that it only intensifies the dissatisfaction of the artist-creator and his constant conflict with the world.

Kreisler experienced deep disappointment while being a bandmaster in the capital of one of the duchies, where he saw “vulgar flirting with holy art... the stupidity of soulless charlatans, feeble-minded amateurs” and felt the “despicable worthlessness” of his existence. Invited to the principality of Sieghartsweiler, he ends up at the court of the stupid and arrogant Irenaeus, where he witnesses an even greater decline in morals, omnipotence, selfishness and selfishness. In the class and bureaucratic environment, Kreisler behaves completely independently, not recognizing the absurd conventions and prejudices on which the relationships of those around him are based, and confusing everyone with his ironic manner. Kreisler even withstands the prince's gaze, sparkling like the gaze of Frederick the Great, for which the prince hates the musician. Ironically, the hero passionately denounces. He is characterized not only by romantic “languor,” but also by the ability to take active action: with a sword in his hand, he defends his own dignity and the honor of the beautiful, poetic Julia.

At times, Kreisler feels dissatisfied with himself and in such cases directs irony against himself. Most of all, he suffers from the inability to change anything in life, in the intentions of his adviser Bentzon, the prince’s cunning favorite, who has seized power at court. As a result of her intrigues, Princess Hedwig will marry Prince Hector, who has more than one crime on his conscience. And Julia, whom Kreisler loves not without reciprocity, in order to “improve the dynasty”, is tipped to be a wife to “the condemned man.” eternal childhood"son of Irenaeus. Suffering, Kreisler feels himself beginning to lose clarity of mind. He flees to the monastery, but does not find shelter there either: nevertheless, the artist must live an earthly life, which is highest form human life.

Johannes Kreisler (German: Johannes Kieisler) is the hero of the series of sketches and essays “Kreisleriana-I” and “Kreisleriana-N” from “Fantasies in the manner of Callot” (1810-1815) and the novel “Everyday views of the cat Murr, with the addition of waste paper sheets from biography of the bandmaster Johannes Kreisler" (1821) E.T.A. Hoffmann (1776-1822). I.K. – the central romantic character in Hoffmann’s work, an exponent of the author’s innermost thoughts; brilliant musician, immersed in beautiful world sounds, idolizing nature and beauty. Image of I.K. is closely associated with another romantic musician, Joseph Berlinger, created by the imagination of G. Wackenroder. Imprinted in these images romantic look to music as the highest of the arts, capable of telling about the secrets of the universe. I.K. in everything he corresponds to the ideas of the romantics about the artist-genius: he does not accept the life that surrounds him; creating harmony, he does not find harmony in his soul. I.K. - a suffering hero who is at odds with reality and with himself. According to the testimony of those around him, “he lights up, glows with inspiration, and then walks around as if submerged,” because it seems to him that the sounds living in his soul are beautiful, and that what is then made public is unworthy of him as an artist. Prototypes of the image of I.K. there was the Leipzig musician Böhner and, of course, Hoffmann’s favorite composer, Mozart. I.K. He is about thirty years old, he has been through a lot, he has a kind, although difficult character: he could not settle down at the court of Prince Irenaeus. The history of I.K. in the principality is told in “Everyday Views”, and both “Kreislerians” contain primarily the thoughts of I.K. about the features musical art, about the mystery and mysteries of music, about Beethoven, about Italian instrumental music. Bright personality, talented musician, deep and extraordinary nature, I.K. causes conflicting feelings among others. People who are selfish and narrow-minded treat him with hostility. Sensitive girls are attracted to him, which also brings discord into the established way of life at court. I.K. makes an impression on the princess, the daughter of Prince Irenaeus, - this upsets matrimonial plans; I.K. himself he is in love with Princess Julia Bentson's friend, which also does not suit anyone.

Polemicizing with those who consider I.K. a hermit, literary critic N.Ya. Berkovsky writes: “Hermits do not incur shots on themselves,” and I.K. becomes the victim of an assassin sent by the princess's fiancé - the Neapolitan prince, Kreisler's rival, secretly in love with Julia. The musician manages to escape and hides in a monastery, where he continues his music lessons. Contrasting I.K. to those around him is the antithesis of the musical and non-musical world, inhabited by “enemies of music,” as I.K. puts it, and in his eyes these are the burghers playing music out of nothing to do, and the daughters of nobles playing the piano out of tune. To all of them I.K. contrasts Julia Bentzon, gifted with a divine voice and musical soul. All life phenomena and even items from I.K. perceives in musical terms and concepts: if I.K. If he’s in a bad mood, he’ll put on a suit in the color cis minor, and to improve his mood, in the color es major. The poetic soul does not interfere with I.K. be caustic and sarcastic, he composes the most tender music, teaches everyone to understand and appreciate beauty, but knows how to be ironic to the point of cruelty, not forgiving anyone for deceit and philistine stupidity. I.K. - the image of a free hero, friend of the muses, chosen one of heaven.

Lit.: Belza I.F. Kapellmeister Johannes Kreisler // Hoffmann E.T.A. Hoffman. Kreisleriana. Everyday views of the cat Murra. M., 1972.

Literary heroes. - Academician. 2009 .