Madness!

In The Life and Opinions of the Tomcat Murr by ETA Hoffmann, there is a recurring depiction of the artist as a man on the brink of insanity. Hoffmann paints the romantic picture that a fire inside the artist allows him to create, but at the same time, if not controlled, can consume the artist. This madness is a double-edged sword that can both create, and destroy.


One of the biographies in Hoffmann’s book is of one such artist, Johannes Kreisler. Kreisler is viewed by most of the common characters in the book with a raised eyebrow. Most see him as a bit eccentric, and generally do not understand him. He is often thought to be at times consumed by his emotions. Madame Benzone, a character in Hoffman's book, reflects this perception of Kreisler when she says, “I have always thought that music has too strong an effect upon you [Kreisler], and consequently a harmful one, for all the features of your face would change as your whole being seemed imbued by the performance of some fine work. You turned pale, you were unable to speak, you could utter only sighs and tears, and then, if anyone ventured to say so much as a word about the master’s work, you would round on him with the bitterest mockery, with deeply wounding scorn.”



Kresiler himself is aware of this madness brewing inside him. "He [Kreisler] had always been obsessed with the idea that madness lay in wait for him like a wild beast slavering for prey, and one day would suddenly tear him to pieces." (117)



The notion of the artist being directly linked to madness is again related in the following poem by Emily Dickinson. In it, Dickinson expresses the idea that to be mad is to actually be sane, and that true madness lies in following the majority. Outsiders, such as artists or rebels who think differently than the majority, are percieved as a threat.



Much Madness is divinest Sense –
To a discerning Eye –
Much Sense -- the starkest Madness –
'Tis the Majority
In this, as All, prevail –
Assent -- and you are sane –
Demur -- you're straightway dangerous –
And handled with a Chain --



Leonhard Ettlinger is another artist from Hoffmann's Tomcat Murr that is literally "handled with a chain". Princess Hedwiga tells Kreisler that Ettlinger was a painter in the castle whom she befriended when she was younger. After some time, Ettlinger disappears, and Hedwiga searches the castle for him. She finds him in a part of the castle that is usually locked and asks him if he can paint something for her as he used to. Hedwiga says, "At this Leonhard ran towards me with a peal of wild laughter - a chain that seemed to be fastened to his waist clinked as he moved..." (116). Ettlinger then grabs Princess Hedwiga and attempts to cut her throat, saying madly that he needs blood to paint his picture.



Hoffmann seems to portray two paths an artist can follow, and divides them accordingly. There are those that can control their madness and there are those that are overtaken by their madness. Kreisler and Ettlinger seem to represent these two paths. After Madam Benzone expresses to Kreisler her impressions of him (see above quote), Kreisler replies that he has changed and can now listen to a beautiful piece of music and merely tap his finger. Later, the Privy Councillor is surprised at how well Kreisler is able to control himself when a lieutenant stops Kreisler to recite a long-winded poem he wrote. Ettingler on the other hand is consumed by madness, forcibly chained to restrain his homicidal tendencies.



Kreisler and Ettlinger are essentially the same person except for the way each handles madness. Upon meeting Kreisler for the first time, Princess Hedwiga mistakes him for Ettlinger, and every time she sees Kreisler after this, she is reminded of her traumatic experience with Ettlinger. While Kreisler is taking a walk through the park, he looks into the lake and sees the reflection of Ettlinger. "Oho," Kreisler says, "oho, are you there, my dear doppelganger, my brave companion?" (123).



It is even more interesting when the character of Kreisler is analyzed from the viewpoint that his life is actually a romanticised version of ETA Hoffmann's life. Many similarities exist between the life of Kreisler and Hoffmann to the point where it is obvious Hoffmann used his own life at least as inspiration for Kreisler. Viewing Hoffmann from the perspective of the artist raises the question of whether Hoffmann struggled with this artist's madness himself? The unimaginative Sir Walter Scott says, "the inspirations of Hoffmann so often resemble the ideas produced by the immoderate use of opium..." In the footnotes of the book, it is cited that in a letter to a friend, Hoffmann wrote "Why do I think of madness so often, sleeping or waking?"