The life and work of Hoffmann briefly. Hoffmann: works, a complete list, analysis and analysis of books, a brief biography of the writer and interesting life facts

He graduated from the University of Koenigsberg, where he studied legal law.

After a short practice in the court of the city of Glogau (Glogow), Hoffmann successfully passed the exam for the rank of assessor in Berlin and was assigned to Poznan.

In 1802, after a scandal caused by his caricature of a representative of the upper class, Hoffmann was transferred to the Polish town of Plock, which in 1793 was ceded to Prussia.

In 1804, Hoffmann moved to Warsaw, where he devoted all his leisure time to music, several of his musical stage works were staged in the theater. Through the efforts of Hoffmann, a philharmonic society and a symphony orchestra were organized.

In 1808-1813 he served as bandmaster at the theater in Bamberg (Bavaria). During the same period, he worked as a singing lesson for the daughters of the local nobility. Here he wrote the operas Aurora and Duettini, which he dedicated to his student Julia Mark. In addition to operas, Hoffmann was the author of symphonies, choirs, and chamber compositions.

His first articles were placed on the pages of the Universal Musical Gazette, of which he had been an employee since 1809. Hoffmann imagined music as a special world capable of revealing to a person the meaning of his feelings and passions, as well as comprehending the nature of everything mysterious and inexpressible. Hoffmann's musical and aesthetic views were vividly expressed in his short stories Cavalier Gluck (1809), Musical Sufferings of Johann Kreisler, Kapellmeister (1810), Don Giovanni (1813), and the dialogue Poet and Composer (1813). Hoffmann's stories were later combined in the collection Fantasies in the Spirit of Callot (1814-1815).

In 1816 Hoffmann returned to public service Advisor to the Berlin Court of Appeal, where he served until the end of his life.

In 1816, the most famous opera Hoffmann's "Ondine", but the fire that destroyed all the scenery put an end to her great success.

After that, in addition to his service, he devoted himself literary work. The collection "Serapion's Brothers" (1819-1821), the novel "Everyday Views of Cat Murr" (1820-1822) earned Hoffmann worldwide fame. The fairy tale "The Golden Pot" (1814), the novel "Devil's Elixir" (1815-1816), the story in the spirit of the fairy tale "Little Tsakhes, nicknamed Zinnober" (1819) gained fame.

Hoffmann's novel "The Lord of the Fleas" (1822) led to conflict with the Prussian government, compromising parts of the novel were withdrawn and published only in 1906.

Since 1818, the writer developed a disease of the spinal cord, which for several years led to paralysis.

June 25, 1822 Hoffmann died. He was buried in the third cemetery of the Church of John of Jerusalem.

Hoffmann's works influenced German composers Carl Maria von Weber, Robert Schumann, Richard Wagner. The poetic images of Hoffmann were embodied in the works of composers Schumann ("Kreislerian"), Wagner (" Flying Dutchman"), Tchaikovsky ("The Nutcracker"), Adolphe Adam ("Giselle"), Leo Delibes ("Coppelia"), Ferruccio Busoni ("The Choice of the Bride"), Paul Hindemith ("Cardillac") and others. The plots for the operas were the works Hoffmann "Master Martin and his apprentices", "Little Tsakhes, nicknamed Zinnober", "Princess Brambilla" and others. Hoffmann is the hero of Jacques Offenbach's operas "Tales of Hoffmann".

Hoffmann was married to the daughter of the Poznań clerk Michalina Rohrer. Their only daughter Cecilia died at the age of two.

In the German city of Bamberg, in the house where Hoffmann and his wife lived on the second floor, a writer's museum has been opened. In Bamberg there is a monument to the writer holding the cat Murr in his arms.

The material was prepared on the basis of information from open sources

Ernst Theodor Amadeus Hoffmann was born in 1776. His place of birth is Koenigsberg. At first, Wilhelm was present in his name, but he himself changed the name, as he loved Mozart very much. His parents divorced when he was only 3 years old and he was raised by his grandmother, his mother's mother. His uncle was a lawyer and very smart person. Their relationship was rather complicated, but the uncle influenced his nephew, on the development of his various talents.

early years

When Hoffmann grew up, he also decided that he would become a lawyer. He enters the university in Koenigsberg, after training he served in different cities, his profession is a judicial officer. But such a life was not for him, so he began to draw and play music, which he tried to earn a living.

Soon he met his first love Dora. At that time she was only 25, but she was married and had already given birth to 5 children. They entered into a relationship, but gossip began in the city, and the relatives decided that it was necessary to send Hoffmann to Glogau to another uncle.

The beginning of the creative path

In the late 1790s, Hoffmann became a composer, he took the pseudonym Johann Kreisler. There are several works that are quite famous, for example, an opera written by him in 1812 called Aurora. Hoffmann also worked in Bamberg in the theater and served as a bandmaster, and was also a conductor.

It so happened that Hoffmann returned to the civil service. When he passed the exam in 1800, he began to work as an assessor in the Supreme Court of Posen. In this city, he met Michaelina, with whom he married.

Literary creativity

THIS. Hoffmann began writing his works in 1809. The first short story was called "Cavalier Gluck", it was published by the Leipzig newspaper. When he returned to law in 1814, he simultaneously wrote fairy tales, including The Nutcracker and the Mouse King. At the time when Hoffmann worked, German romanticism flourished. If you carefully read the works, you can see the main trends of the school of romanticism. For example, irony, the ideal artist, the value of art. The writer demonstrated the conflict that took place between reality and utopia. He constantly sneers at his heroes, who are trying to find some kind of freedom in art.

Researchers of Hoffmann's work are unanimous in their opinion that it is impossible to separate his biography, his work from music. Especially if you watch short stories - for example, "Kreislerian".

The thing is that the main character in it is Johannes Kreisler (as we remember, this is the pseudonym of the author). The work is an essay, their topics are different, but the hero is one. It has long been recognized that it is Johann who is considered the double of Hoffmann.

In general, the writer is a rather bright person, he is not afraid of difficulties, he is ready to fight the blows of fate in order to achieve a certain goal. And in this case this is art.

"Nutcracker"

This fairy tale was published in a collection in 1716. When Hoffmann created this work, he was impressed by the children of his friend. The children's names were Marie and Fritz, and Hoffmann gave their names to his characters. If you read Hoffmann's The Nutcracker and the Mouse King, an analysis of the work will show us moral principles, which the author tried to convey to children.

The short story is this: Marie and Fritz are getting ready for Christmas. The godfather always makes a toy for Marie. But after Christmas, this toy is usually taken away, as it is very skillfully made.

Children come to the Christmas tree and see that there is a whole bunch of gifts, the girl finds the Nutcracker. This toy is used to crack nuts. Once Marie played with dolls, and at midnight mice appeared, led by their king. It was a huge mouse with seven heads.

Then the toys, led by the Nutcracker, come to life and fight with the mice.

Brief analysis

If you make an analysis of Hoffmann's work "The Nutcracker", it is noticeable that the writer tried to show how important goodness, courage, mercy are, that one cannot leave anyone in trouble, one must help, show courage. Marie was able to see his light in the unsightly Nutcracker. She liked his good nature, and she did her best to protect her pet from the nasty brother Fritz, who always offended the toy.

Despite everything, she tries to help the Nutcracker, gives sweets to the impudent Mouse King, so that he does not harm the soldier. Here courage and courage are shown. Marie and her brother, toys and the Nutcracker team up to achieve their goal of defeating mouse king.

This work is also quite famous, and Hoffmann created it when French troops led by Napoleon approached Dresden in 1814. At the same time, the city in the descriptions is quite real. The author tells about the life of people, how they rode a boat, went to visit each other, held festivities and much more.

The events of the fairy tale unfold in two worlds, this is the real Dresden, as well as Atlantis. If you do an analysis of the work "The Golden Pot" by Hoffmann, you can see that the author describes the harmony, which in ordinary life in the daytime with fire you will not find. The main character is the student Anselm.

The writer tried to tell beautifully about the valley, where beautiful flowers grow, amazing birds fly, where all the landscapes are simply magnificent. Once the spirit of the Salamanders lived there, he fell in love with the Fire Lily and inadvertently caused the destruction of the garden of Prince Phosphorus. Then the prince drove this spirit into the world of people and told what the future of the Salamander would be: people would forget about miracles, he would meet his beloved again, they would have three daughters. Salamander will be able to return home when his daughters find lovers who are ready to believe that a miracle is possible. In the work, Salamander can also see the future and predict it.

Hoffmann's works

I must say that although the author had very interesting musical works However, he is known as a storyteller. Hoffmann's works for children are quite popular, some of them can be read little child, some teenager. For example, if we take a fairy tale about the Nutcracker, then it is suitable for both.

"The Golden Pot" is a rather interesting fairy tale, but filled with allegories and double meanings, which demonstrates the basics of morality that are relevant in our difficult times, for example, the ability to make friends and help, protect, and show courage.

Suffice it to recall the "Royal Bride" - a work that was based on real events. We are talking about the estate where one scientist lives with his daughter.

An underground king rules over vegetables, he and his retinue come to Anna's garden and occupy it. They dream that one day only human-vegetables will live on the whole Earth. It all started with the fact that Anna found an extraordinary ring...

Tsakhes

In addition to the tales described above, there are other works of this kind by Ernst Theodor Amadeus Hoffmann - "Little Tsakhes, nicknamed Zinnober." Once upon a time there was a little freak. The fairy took pity on him.

She decided to give him three hairs that have magical properties. As soon as something happens in the place where Tsakhes is, significant or talented, or someone like that says, then everyone thinks that he did it. And if the dwarf does some dirty trick, then everyone thinks of others. Possessing such a gift, the baby becomes a genius among the people, he is soon appointed minister.

"New Year's Eve Adventure"

Once upon a night just under New Year one wandering comrade ended up in Berlin, where a certain completely magic story. He meets Julia, his beloved, in Berlin.

Such a girl really existed. Hoffmann taught her music and was in love, but her relatives engaged Julia to another.

"The Story of the Lost Reflection"

An interesting fact is that in general, in the works of the author, the mystical lurks somewhere, and it’s not worth talking about the unusual. Skillfully mixing humor and morality, feelings and emotions, real and unreal world, Hoffmann seeks the full attention of his reader.

This fact can be traced in interesting work"The Story of the Lost Reflection". Erasmus Speaker wanted to visit Italy very much, which he was able to achieve, but there he met the beautiful girl Juliet. He committed bad thing so he had to go home. Telling everything to Juliet, he says that he would like to stay with her forever. In response, she asks him to give his reflection.

Other works

It must be said that famous works Hoffmann of different genres and for different ages. For example, the mystical "Ghost Story".

Hoffman gravitates towards mysticism very much, which can be seen in stories about vampires, about a fatal nun, about a sandman, as well as in a series of books called "Night Studies".

An interesting funny tale about the lord of fleas, where we are talking about the son of a rich merchant. He does not like what his father is doing, and he is not going to follow the same path. This life is not for him, and he is trying to escape from reality. However, he is unexpectedly arrested, although he does not understand why. The Privy Councilor wants to find the criminal, and whether the criminal is guilty or not, he is not interested. He knows for sure that every person can find some kind of sin.

In most of the works of Ernst Theodor Amadeus Hoffmann, there is a lot of symbolism, myths and legends. Fairy tales are generally difficult to divide by age. For example, take The Nutcracker, this story is so intriguing, filled with adventures and love, events that happen to Mary, which will be quite interesting for children and teenagers, and even adults reread it with pleasure.

By this work cartoons are filmed, performances, ballet, etc. are repeatedly staged.

In the photo - the first performance of The Nutcracker at the Mariinsky Theatre.

But other works by Ernst Hoffmann may be a little difficult for a child to perceive. Some people come to these works quite consciously to enjoy the extraordinary style of Hoffmann, his bizarre mixture.

Hoffmann is attracted by the theme when a person suffers from insanity, commits some kind of crime, he has " dark side". If a person has imagination, has feelings, then he can fall into madness and commit suicide. In order to write the story "The Sandman", Hoffmann studied scientific works on diseases and clinical components. The short story attracted the attention of researchers, among them was Sigmund Freud, who even devoted his essay to this work.

Everyone decides for himself at what age he should read Hoffmann's books. Some don't quite understand his overly surreal language. However, as soon as you start reading the work, you are involuntarily drawn into this mixed mystical and crazy world, where real city lives a dwarf, where spirits walk the streets, and lovely snakes are looking for their beautiful princes.

hoffmann double world fairy tale romantic

As an artist and thinker, Hoffmann is successively connected with the Jena romantics, with their understanding of art as the only possible source world transformations. Hoffmann develops many of the ideas of F. Schlegel and Novalis, such as the doctrine of the universality of art, the concept of romantic irony and the synthesis of arts. Musician and composer, decorator and craftsman graphic drawing, the writer Hoffmann is close to the practical implementation of the idea of ​​art synthesis.

The work of Hoffmann in the development of German romanticism represents a stage of a more acute and tragic understanding of reality, the rejection of a number of illusions of the Jena romantics, and a revision of the relationship between the ideal and reality. V. Solovyov described the work of Hoffmann as follows:

“The essential character of Hoffmann’s poetry ... consists in the constant internal connection and mutual penetration of fantastic and real elements, and fantastic images, despite all their fancifulness, appear not as ghosts from another, alien world, but as another side of the same reality, the same real world in which the living faces act and suffer, which the poet draws. …IN fantasy stories Hoffmann all faces live double life, alternately speaking now in fantasy, then in real world. As a result of this, they, or rather, the poet - through them - feels free, not tied exclusively to one or the other area.

Hoffmann is sometimes called a romantic realist. Having appeared in literature later than both the older - "Jenian" and younger - "Heidelberg" romantics, he in his own way translated their views on the world and their artistic experience. The feeling of the duality of being, the painful discord between the ideal and reality pervades all his work, however, unlike most of his fellows, he never loses sight of earthly reality and, probably, could say about himself in the words of the early romantic Wackenroder: “... in spite of all the efforts of our spiritual wings, it is impossible to tear ourselves away from the earth: it forcibly draws us to itself, and we again plop down into the most vulgar human thicket. “Hoffman watched the “vulgar human thicket” very closely; not speculatively, but from his own bitter experience, he comprehended the full depth of the conflict between art and life, which especially worried the romantics. A multi-talented artist, with rare insight, he caught the real vices and contradictions of his time and captured them in the enduring creations of his imagination.

The hero of Hoffmann tries to escape from the shackles of the world around him by means of irony, but, realizing the impotence of romantic confrontation real life, the writer himself chuckles at his hero. Romantic irony in Hoffmann changes its direction, it, unlike the Yentsy, never creates illusions absolute freedom. Hoffmann concentrates close attention on the personality of the artist, believing that he is the most free from selfish motives and petty worries.

Hoffmann spends his worldview in a long line of incomparable in his kind fantastic stories and fairy tales. In them, he skillfully mixes the miraculous of all ages and peoples with personal fiction, sometimes darkly painful, sometimes gracefully cheerful and mocking.

Hoffmann's works are a stage action, and Hoffmann himself is a director, a conductor, and a director of special effects. Actors play two or three roles in one and the same play. And behind one plot, at least two more are guessed. “There is an art to which the stories and short stories of Hoffmann are most close. This is the art of the theatre. Hoffmann is a writer with a vivid theatrical consciousness. Hoffmann's prose is almost always a kind of scenario secretly implemented. It seems that in their narrative works he still directs performances in Bamberg or retains his place at the conductor's stand in the Dresden and Leipzig performances of the Seconda group. He has the same disposition towards the script as towards an independent art form, as in Ludwig Tieck. Like the hermit Serapion, Hoffmann has a passion for spectacles that are perceived not by the physical eye, but by the mental one. He almost did not write texts for the stage, but his prose is a theater contemplated spiritually, a theater invisible and yet visible.” (N.Ya.Berkovsky).

In his time, German criticism did not have a very high opinion of Hoffmann; there they preferred romanticism, thoughtful and serious, without admixture of sarcasm and satire. Hoffmann was much more popular in other European countries and in North America; in Russia, Belinsky called him "one of the greatest German poets, painter inner world”, and Dostoevsky re-read the entire Hoffmann in Russian and in the original language.

The theme of duality in the work of Hoffmann

“It was Hoffmann who most poignantly embodied the words in the art of “Dvoeworld”; it is his identification mark. But Hoffmann is neither a fanatic nor a dogmatist of dual worlds; he is his analyst and dialectician…”

A. Karelsky

The problem of dual worlds is specific to romantic art. Dual worlds is a comparison and opposition of the real and imaginary worlds - the organizing, constructing principle of the romantic artistic and figurative model. Moreover, reality, the “prose of life”, with their utilitarianism and lack of spirituality, are regarded as an empty “appearance” unworthy of a person, opposing the true value world.

The phenomenon of duality is characteristic of Hoffmann's work, the motif of duality is embodied in many of his works. Hoffmann's duality is realized both at the level of splitting the world into real and ideal, which occurs as a result of the protest of the poetic soul against everyday life, reality, and at the level of splitting consciousness romantic hero, which in turn causes the appearance of a kind of twin. Here it must be said that this type of hero, with his dual consciousness, most likely reflects the consciousness of the author himself, and to some extent his heroes are his own doubles.

The duality is contained in the narrative as a whole. From the outside, these are just fairy tales, funny, entertaining, a little instructive. Moreover, if you do not think about philosophical sense, then morality is not even always clear, as when reading The Sandman. But as soon as we compare fairy tales with philosophy, we see the history of the human soul. And then the meaning increases a hundredfold. This is no longer a fairy tale, this is an incentive for decisive deeds and actions in life. By this Hoffmann inherits the old folk tales- in them, too, is always encrypted, the deep meaning is sealed.

Even time in Hoffmann's works is dual. There is the usual course of time, and there is the time of eternity. These two periods are closely related. And again, only those who are initiated into the secrets of the universe can see how eternity breaks through the veil of the daily measured course of time. I will give an excerpt from the work of Fedorov F.P. “Time and eternity in Hoffmann’s fairy tales and capriccios”: “... the history of the relationship between the student Anselm and the Paulmann family (“Golden Pot”) is earth history, moderately banal, moderately touching, moderately comic. But at the same time, as in short stories, there is a sphere of the higher, extrahuman, extrahistorical, there is a sphere of eternity. Eternity unexpectedly knocks on everyday life, unexpectedly reveals itself in everyday life, giving rise to a commotion in a sober rationalistic and positivist consciousness that does not believe in either God or the devil. The system of events, as a rule, takes its countdown from the moment of the invasion of eternity into the sphere of everyday history. Anselm, not getting along with things, knocks over a basket of apples and pies; depriving himself of the festive pleasures (coffee, double beer, music and contemplation of smart girls), he gives the merchant his skinny purse. But this comical incident turns into serious consequences. In the sharp, piercing voice of the merchant, who scolds the unlucky young man, there is such a sound that terrifies both Anselm and the walking townsfolk. The super-real looked into the real, or rather, the super-real found itself in the real. The earth, immersed in everyday life, in the vanity of vanities, in the game of limited interests, does not know the highest game - the game of cosmic forces, the game of eternity ... ”Eternity, according to Hoffmann, is also magic, a mysterious area of ​​\u200b\u200bthe universe where people who are satisfied with life do not want and are afraid to look townsfolk.

And, probably, one of the most important "two worlds" of Hoffmann's narratives is the two worlds of the author himself. As A. Karelsky wrote in his preface to full assembly writings of E.T.A. Hoffmann: “We have come to the most intimate and most simple secret of Hoffmann. It was not for nothing that he was haunted by the image of a double. He loved his Music to self-forgetfulness, to madness, loved Poetry, loved Fantasy, loved the Game - and he continually cheated on them with Life, with its many faces, with its bitter and joyful prose. Back in 1807, he wrote to his friend Gippel - as if justifying himself to himself for choosing not a poetic, but a legal field as his main field: “And most importantly, I believe that, due to the need to send, in addition to serving art, and civil service, I acquired a broader view of things and largely escaped the selfishness, by virtue of which professional artists, if I may say so, are so inedible.” Even in social life he couldn't be just one. He was like his "actors", performing different tasks, but with the same potential. The main reason for the duality of Hoffmann's works is that the duality tore apart, first of all, himself, it lived in his soul and manifested itself in everything.

HOFFMANN, ERNST THEODOR AMADEUS(Hoffman, Ernst Theodor Amadeus) (1776–1822), German writer, composer and artist whose fantastic stories and novels embodied the spirit of German Romanticism. Ernst Theodor Wilhelm Hoffmann was born on January 24, 1776 in Königsberg (East Prussia). Already in early age discovered the talents of a musician and draftsman. He studied law at the University of Königsberg, then served as a judicial officer in Germany and Poland for twelve years. In 1808, the love of music prompted Hoffmann to take the post of theater bandmaster in Bamberg, six years later he conducted the orchestra in Dresden and Leipzig. In 1816 he returned to public service as an adviser to the Berlin Court of Appeal, where he served until his death on July 24, 1822.

Hoffmann took up literature late. The most significant collections of short stories Fantasies in the manner of Callot (Fantasiestucke in Callots Manier, 1814–1815), Night stories in the manner of Callot (Nachtstucke in Callots Manier, 2 vol., 1816–1817) and Serapion brothers (Die Serapionsbrüder, 4 vol., 1819-1821); dialogue about the problems of theatrical business The Extraordinary Sufferings of a Theater Director (Seltsame Leiden eines Theater directors, 1818); fairy tale story Little Tsakhes, nicknamed Zinnober (Klein Zaches, genannt Zinnober, 1819); and two novels Devil's Elixir (Die Elexiere des Teufels, 1816), a brilliant study of the problem of duality, and Worldly beliefs of the cat Murr (Lebensansichten des Kater Murr, 1819–1821), partly autobiographical work full of wit and wisdom. Among the most famous stories Hoffmann, which were included in the mentioned collections, belong to fairy tale golden pot (Die Golden Topf), gothic tale Majorat (Das Mayorat), a realistic psychological story about a jeweler who is unable to part with his creations, Mademoiselle de Scudery (Das Fraulein von Scudery) and a cycle of musical short stories, in which the spirit of some musical compositions and images of composers.

Brilliant fantasy, combined with a strict and transparent style, provided Hoffmann with a special place in German literature. The action of his works almost never took place in distant lands - as a rule, he placed his incredible heroes in an everyday setting. Hoffmann had a strong influence on E. Poe and some French writers; several of his stories served as the basis for the libretto famous opera – Hoffmann's Tale(1870) J. Offenbach.

All the works of Hoffmann testify to his talents as a musician and artist. He illustrated many of his works himself. Of Hoffmann's musical compositions, opera was the most famous. Undine (Undine), first staged in 1816; among his writings chamber music, mass, symphony. How musical critic he showed in his articles such an understanding of the music of L. Beethoven, which few of his contemporaries could boast of. Hoffmann revered so deeply

Brief biography of Hoffmann outlined in this article.

Hoffmann biography briefly

Hoffmann Ernst Theodor Amadeus is a German writer and composer.

Was born January 24, 1776 in Koenigsberg (now Kaliningrad). Son of an official. The parents separated when the boy was three years old; he was raised by his uncle, a lawyer by profession.

In 1800, Hoffmann perfectly completed the course of legal sciences at the University of Königsberg and connected his life with public service. Until 1807 he worked in various ranks, in free time doing music and drawing. After university, he received a position as an assessor in Poznań, where he was warmly received by society. In Poznan, the young man became so addicted to carousing that he was transferred to Polotsk with a demotion. There Hoffmann married a Polish woman from a respectable bourgeois family and settled down.

For several years the family was in poverty, Hoffmann periodically worked as a conductor, composer and decorator in theaters in Berlin, Bamberg, Leipzig and Dresden, wrote articles about music for magazines.

After 1813, things improved for him after receiving a small inheritance. The position of Kapellmeister in Dresden briefly satisfied his professional ambitions.

He was one of the founders of romantic aesthetics, he represented music as an "unknown kingdom", revealing to a person the meaning of his feelings and passions.

He owns romantic opera"Ondine" (1813), symphonies, choirs, chamber compositions, etc.

During the Battle of Waterloo, the Hoffmanns ended up in Dresden, where they survived all the hardships and horrors of the war. It was then that Hoffmann prepared for publication the collection “Fantasy in the spirit of Callot” (in four volumes, 1815), which included the short stories "Cavalier G'luk", "Musical Sufferings of Johann Kreisler, Kapellmeister", "Don Giovanni".

In 1816, Hoffmann received a position as an adviser to justice in Berlin, providing a solid income and allowing him to devote time to art. IN literary creativity he showed himself as a classical romantic.

In the short stories, the stories "The Golden Pot" (1814), "Little Tsakhes, nicknamed Zinnober" (1819), the novel "Devil's Elixir" (1816), the world is presented as if visible in two plans: real and fantastic, and the fantastic constantly invades the real (the fairies drink coffee, the sorceresses sell pies, etc.).

The writer was attracted by the area of ​​the mysterious, beyond: delirium, hallucinations, unaccountable fear - his favorite motives.