by S. T. Joshi
The hateful, abominable Coppelius stood before me with fiery eyes, and laughed maliciously at me. It was in vain that I endeavoured to get rid of his image. About midnight there was a frightful noise, like the firing of a gun. The whole house resounded. There was a rattling and rustling by my door, and the house door was closed with a violent bang.
“That is Coppelius!” I cried, springing out of bed in terror.
Then there was a shriek, as of acute, inconsolable grief. I darted into my father’s room; the door was open, a suffocating smoke rolled towards me, and the servant girl cried: “Ah, my master, my master!” On the floor of the smoking hearth lay my father dead, with his face burned, blackened and hideously distorted – my sisters were shrieking and moaning around him – and my mother had fainted.
“Coppelius! – cursed devil! You have slain my father!” I cried, and lost my senses.
When, two days afterwards, my father was laid in his coffin, his features were again as mild and gentle as they had been in his life. My soul was comforted by the thought that his compact with the satanic Coppelius could not have plunged him into eternal perdition.
The explosion had awakened the neighbours, the occurrence had become common talk, and had reached the ears of the magistracy, who wished to make Coppelius answerable. He had, however, vanished from the spot, without leaving a trace.
If I tell you, my dear friend, that the barometer dealer was the accursed Coppelius himself, you will not blame me for regarding so unpropitious a phenomenon as the omen of some dire calamity. He was dressed differently, but the figure and features of Coppelius are too deeply imprinted in my mind for an error in this respect to be possible. Besides, Coppelius has not even altered his name. He describes himself, I am told, as a Piedmontese optician, and calls himself Giuseppe Coppola.
I am determined to deal with him, and to avenge my father’s death, be the issue what it may.
Tell my mother nothing of the hideous monster’s appearance. Remember me to my dear sweet Clara, to whom I will write in a calmer mood. Farewell.
* * *
Clara to Nathaniel
It is true that you have not written to me for a long time; but, nevertheless, I believe that I am still in your mind and thoughts. For assuredly you were thinking of me most intently when, designing to send your last letter to my brother Lothaire, you directed it to me instead of to him. I joyfully opened the letter, and did not perceive my error till I came to the words: “Ah, my dear Lothaire.”
No, by rights I should have read no farther, but should have handed over the letter to my brother. Although you have often, in your childish teasing mood, charged me with having such a quiet, womanish, steady disposition, that, even if the house were about to fall in, I should smooth down a wrong fold in the window curtain in a most ladylike manner before I ran away, I can hardly tell you how your letter shocked me. I could scarcely breathe – the light danced before my eyes.
Ah, my dear Nathaniel, how could such a horrible thing have crossed your path? To be parted from you, never to see you again – the thought darted through my breast like a burning dagger. I read on and on. Your description of the repulsive Coppelius is terrifying. I learned for the first time the violent manner of your good old father’s death. My brother Lothaire, to whom I surrendered the letter, sought to calm me, but in vain. The fatal barometer dealer, Giuseppe Coppola, followed me at every step; and I am almost ashamed to confess that he disturbed my healthy and usually peaceful sleep with all sorts of horrible visions. Yet soon even the next day – I was quite changed again. Do not be offended, dearest one, if Lothaire tells you that in spite of your strange fears that Coppelius will in some manner injure you, I am in the same cheerful and unworried mood as ever.
I must honestly confess that, in my opinion, all the terrible things of which you speak occurred merely in your own mind, and had little to do with the actual external world. Old Coppelius may have been repulsive enough, but his hatred of children was what really caused the abhorrence you children felt towards him.
In your childish mind the frightful Sandman in the nurse’s tale was naturally associated with old Coppelius. Why, even if you had not believed in the Sandman, Coppelius would still have seemed to you a monster, especially dangerous to children. The awful business which he carried on at night with your father was no more than this: that they were making alchemical experiments in secret, which much distressed your mother since, besides a great deal of money being wasted, your father’s mind was filled with a fallacious desire after higher wisdom, and so alienated from his family – as they say is always the case with such experimentalists. Your father, no doubt, occasioned his own death, by some act of carelessness of which Coppelius was completely guiltless. Let me tell you that I yesterday asked our neighbour, the apothecary, whether such a sudden and fatal explosion was possible in these chemical experiments?
“Certainly,” he replied and, after his fashion, told me at great length and very circumstantially how such an event might take place, uttering a number of strange-sounding names which I am unable to recollect. Now, I know you will be angry with your Clara; you will say that her cold nature is impervious to any ray of the mysterious, which often embraces man with invisible arms; that she only sees the variegated surface of the world, and is as delighted as a silly child at some glittering golden fruit, which contains within it a deadly poison.
Ah! My dear Nathaniel! Can you not then believe that even in open, cheerful, careless minds may dwell the suspicion of some dread power which endeavours to destroy us in our own selves? Forgive me, if I, a silly girl, presume in any manner to present to you my thoughts on such an internal struggle. I shall not find the right words, of course, and you will laugh at me, not because my thoughts are foolish, but because I express them so clumsily.
If there is a dark and hostile power, laying its treacherous toils within us, by which it holds us fast and draws us along the path of peril and destruction, which we should not otherwise have trod; if, I say there is such a power, it must form itself inside us and out of ourselves, indeed; it must become identical with ourselves. For it is only in this condition that we can believe in it, and grant it the room which it requires to accomplish its secret work. Now, if we have a mind which is sufficiently firm, sufficiently strengthened by the joy of life, always to recognize this strange enemy as such, and calmly to follow the path of our own inclination and calling, then the dark power will fail in its attempt to gain a form that shall be a reflection of ourselves. Lothaire adds that if we have willingly yielded ourselves up to the dark powers, they are known often to impress upon our minds any strange, unfamiliar shape which the external world has thrown in our way; so that we ourselves kindle the spirit, which we in our strange delusion believe to be speaking to us. It is the phantom of our own selves, the close relationship with which, and its deep operation on our mind, casts us into hell or transports us into heaven.
You see, dear Nathaniel, how freely Lothaire and I are giving our opinion on the subject of the dark powers; which subject, to judge by my difficulties in writing down its most important features, appears to be a complicated one. Lothaire’s last words I do not quite comprehend. I can only suspect what he means, and yet I feel as if it were all very true. Get the gruesome advocate Coppelius, and the barometer dealer, Giuseppe Coppola, quite out of your head, I beg of you. Be convinced that these strange fears have no power over you, and that it is only a belief in their hostile influence that can make them hostile in reality. If the great disturbance in your mind did not speak from every line of your letter, if your situation did not give me the deepest pain, I could joke about the Sandman-Advocate and the barometer dealer Coppelius. Cheer up, I have determined to play the part of your guardian spirit. If the ugly Coppelius takes it into his head to annoy you in your dreams, I’ll scare him away with loud peals of laughter. I am not a bit afraid of him nor of his disgusting hands; he shall neither spoil my sweetm
eats as an Advocate, nor my eyes as a Sandman. Ever yours, my dear Nathaniel.
* * *
Nathaniel to Lothaire
I am very sorry that in consequence of the error occasioned by my distracted state of mind, Clara broke open the letter intended for you, and read it. She has written me a very profound philosophical epistle, in which she proves, at great length, that Coppelius and Coppola only exist in my own mind, and are phantoms of myself, which will be dissipated directly I recognize them as such. Indeed, it is quite incredible that the mind which so often peers out of those bright, smiling, childish eyes with all the charm of a dream, could make such intelligent professorial definitions. She cites you – you, it seems have been talking about me. I suppose you read her logical lectures, so that she may learn to separate and sift all matters acutely. No more of that, please. Besides, it is quite certain that the barometer dealer, Giuseppe Coppola, is not the advocate Coppelius. I attend the lectures of the professor of physics, who has lately arrived. His name is the same as that of the famous natural philosopher Spalanzani, and he is of Italian origin. He has known Coppola for years and, moreover, it is clear from his accent that he is really a Piedmontese. Coppelius was a German, but I think no honest one. Calmed I am not, and though you and Clara may consider me a gloomy visionary, I cannot get rid of the impression which the accursed face of Coppelius makes upon me. I am glad that Coppola has left the town – so Spalanzani says.
This professor is a strange fellow – a little round man with high cheek-bones, a sharp nose, pouting lips and little, piercing eyes. Yet you will get a better notion of him than from this description, if you look at the portrait of Cagliostro, drawn by Chodowiecki in one of the Berlin annuals; Spalanzani looks like that exactly. I lately went up his stairs, and perceived that the curtain, which was generally drawn completely over a glass door, left a little opening on one side. I know not what curiosity impelled me to look through. A very tall and slender lady, extremely well-proportioned and most splendidly attired, sat in the room by a little table on which she had laid her arms, her hands being folded together. She sat opposite the door, so that I could see the whole of her angelic countenance. She did not appear to see me, and indeed there was something fixed about her eyes as if, I might almost say, she had no power of sight. It seemed to me that she was sleeping with her eyes open. I felt very uncomfortable, and therefore I slunk away into the lecture room close at hand.
Afterwards I learned that the form I had seen was that of Spalanzani’s daughter Olympia, whom he keeps confined in a very strange and barbarous manner, so that no one can approach her. After all, there may be something the matter with her; she is half-witted perhaps, or something of the kind. But why should I write you all this? I could have conveyed it better and more circumstantially by word of mouth. For I shall see you in a fortnight. I must again behold my dear, sweet angelic Clara. My evil mood will then be dispersed, though I must confess that it has been struggling for mastery over me ever since her sensible but vexing letter. Therefore I do not write to her today. A thousand greetings, etc.
* * *
Nothing more strange and chimerical can be imagined than the fate of my poor friend, the young student Nathaniel, which I, gracious reader, have undertaken to tell you. Have you ever known something that has completely filled your heart, thoughts and senses, to the exclusion of every other object? There was a burning fermentation within you; your blood seethed like a molten glow through your veins, sending a higher colour to your cheeks. Your glance was strange, as if you were seeking in empty space forms invisible to all other eyes, and your speech flowed away into dark sighs. Then your friends asked you: “What is it, my dear sir?” “What is the matter?” And you wanted to draw the picture in your mind in all its glowing tints, in all its light and shade, and laboured hard to find words only to begin. You thought that you should crowd together in the very first sentence all those wonderful, exalted, horrible, comical, frightful events, so as to strike every hearer at once as with an electric shock. But every word, every thing that takes the form of speech, appeared to you colourless, cold and dead. You hunt and hunt, and stutter and stammer, and your friends’ sober questions blow like icy wind upon your internal fire until it is almost out. Whereas if, like a bold painter, you had first drawn an outline of the internal picture with a few daring strokes, you might with small trouble have laid on the colours brighter and brighter, and the living throng of varied shapes would have borne your friends away with it. Then they would have seen themselves, like you, in the picture that your mind had bodied forth. Now I must confess to you, kind reader, that no one has really asked me for the history of the young Nathaniel, but you know well enough that I belong to the queer race of authors who, if they have anything in their minds such as I have just described, feel as if everyone who comes near them, and the whole world besides, is insistently demanding: “What is it then – tell it, my dear friend?”
Thus was I forcibly compelled to tell you of the momentous life of Nathaniel. The marvellous singularity of the story filled my entire soul, but for that very reason and because, my dear reader, I had to make you equally inclined to accept the uncanny, which is no small matter, I was puzzled how to begin Nathaniel’s story in a manner as inspiring, original and striking as possible. “Once upon a time,” the beautiful beginning of every tale, was too tame. “In the little provincial town of S– lived” – was somewhat better, as it at least prepared for the climax. Or should I dart at once, medias in res, with “ ‘Go to the devil,’ cried the student Nathaniel with rage and horror in his wild looks, when the barometer dealer, Giuseppe Coppola …?” – I had indeed already written this down, when I fancied that I could detect something ludicrous in the wild looks of the student Nathaniel, whereas the story is not comical at all. No form of language suggested itself to my mind which seemed to reflect ever in the slightest degree the colouring of the internal picture. I resolved that I would not begin it at all.
So take, gentle reader, the three letters which friend Lothaire was good enough to give me, as the sketch of the picture which I shall endeavour to colour more and more brightly as I proceed with my narrative. Perhaps, like a good portrait painter, I may succeed in catching the outline in this way, so that you will realize it is a likeness even without knowing the original, and feel as if you had often seen the person with your own corporeal eyes. Perhaps, dear reader, you will then believe that nothing is stranger and madder than actual life; which the poet can only catch in the form of a dull reflection in a dimly polished mirror.
To give you all the information that you will require for a start, we must supplement these letters with the news that shortly after the death of Nathaniel’s father, Clara and Lothaire, the children of a distant relative, who had likewise died and left them orphans, were taken by Nathaniel’s mother into her own home. Clara and Nathaniel formed a strong attachment for each other; and no one in the world having any objection to make, they were betrothed when Nathaniel left the place to pursue his studies in G–. And there he is, according to his last letter, attending the lectures of the celebrated professor of physics, Spalanzani.
Now, I could proceed in my story with confidence, but at this moment Clara’s picture stands so plainly before me that I cannot turn away; as indeed was always the case when she gazed at me with one of her lovely smiles. Clara could not by any means be reckoned beautiful, that was the opinion of all who are by their calling competent judges of beauty. Architects, nevertheless, praised the exact symmetry of her frame, and painters considered her neck, shoulders and bosom almost too chastely formed; but then they all fell in love with her wondrous hair and colouring, comparing her to the Magdalen in Battoni’s picture at Dresden. One of them, a most fantastical and singular fellow, compared Clara’s eyes to a lake by Ruysdael, in which the pure azure of a cloudless sky, the wood and flowery field, the whole cheerful life of the rich landscape are reflected. Poets and composers went still further. “What is a lak
e what is a mirror!” said they. “Can we look upon the girl without wondrous, heavenly music flowing towards us from her glances, to penetrate our inmost soul so that all there is awakened and stirred? If we don’t sing well then, there is not much in us, as we shall learn from the delicate smile which plays on Clara’s lips, when we presume to pipe up before her with something intended to pass for a song, although it is only a confused jumble of notes.”
So it was. Clara had the vivid fancy of a cheerful, unembarrassed child; a deep, tender, feminine disposition; an acute, clever understanding. Misty dreamers had not a chance with her; since, though she did not talk – talking would have been altogether repugnant to her silent nature – her bright glance and her firm ironical smile would say to them: “Good friends, how can you imagine that I shall take your fleeting shadowy images for real shapes imbued with life and motion?” On this account Clara was censured by many as cold, unfeeling and prosaic; while others, who understood life to its clear depths, greatly loved the feeling, acute, childlike girl; but none so much as Nathaniel, whose perception in art and science was clear and strong. Clara was attached to her lover with all her heart, and when he parted from her the first cloud passed over her life. With what delight, therefore, did she rush into his arms when, as he had promised in his last letter to Lothaire, he actually returned to his native town and entered his mother’s room! Nathaniel’s expectations were completely fulfilled; for directly he saw Clara he thought neither of the Advocate Coppelius nor of her ‘sensible’ letter. All gloomy forebodings had gone.
However, Nathaniel was quite right, when he wrote to his friend Lothaire that the form of the repulsive barometer dealer, Coppola, had had a most evil effect on his life. All felt, even in the first days, that Nathaniel had undergone a complete change in his whole being. He sank into a gloomy reverie, and behaved in a strange manner that had never been known in him before. Everything, his whole life, had become to him a dream and a foreboding, and he was always saying that man, although he might think himself free, only served for the cruel sport of dark powers. These he said it was vain to resist; man must patiently resign himself to his fate. He even went so far as to say that it is foolish to think that we do anything in art and science according to our own independent will; for the inspiration which alone enables us to produce anything does not proceed from within ourselves, but is the effect of a higher principle without.
