An Fouqué Von Hitzig
by Adelbert von Chamisso · from Peter Schlemihls wundersame Geschichte
Adapted Version
Hello! I will tell you a story secret. I am Eduard (The story friend). Fouqué (The Friend) is my friend. We had a very special story. It was *my* big secret. *I* kept it safe. But Fouqué shared it. He printed the story for all people. Now many, many people know it. This made me feel upset.
The story went far away. It went to many places far away. Many, many people read our story. It was all over now. My secret was gone! I felt sad.
The writer (The Writer) wrote this special story. He traveled all around the world. He went to many, many places. He saw many new things. Maybe he felt a little grumpy. His secret story was all over. He might have talked about it. He told his friends, "Oh dear!"
My friends loved the story. They read it many times. Hoffmann (The Other Writer) was my friend. He was a clever writer too. I read the story to him. He listened very well. He loved it so much. He wanted to write a story like it. He tried to copy the idea. It was a good try.
One day, I walked with the writer. A small boy played outside. He laughed loudly. The boy ran away. He shouted, "Wait, Peter Schlemihl!" Children knew the story.
This story is very good. It is still loved today. Many new children read it. It makes them very happy. More people can read it now. I saw this. I learned a lesson. This is a good thing. It makes me very glad. The story is special.
So, thank you, Fouqué (The Friend). You shared our story. You helped many people read it. Now more people can enjoy it. It is a very good story. The writer (The Writer) is a good writer. He has a kind heart. He writes nice words. My pride was wrong. Sharing good stories makes many people happy! It was good that Fouqué shared it.
Original Story
An Fouqué von Hitzig.
Da haben wir denn nun die Folgen deines verzweifelten Entschlusses, die Schlemihlshistorie, die wir als ein bloß uns anvertrautes Geheimnis bewahren sollten, drucken zu lassen, daß sie nicht allein Franzosen und Engländer, Holländer und Spanier übersetzt, Amerikaner aber den Engländern nachgedruckt, wie ich dies alles in meinem gelehrten Berlin des breiteren gemeldet; sondern daß auch für unser liebes Deutschland eine neue Ausgabe, mit den Zeichnungen der englischen, die der berühmte Cruikshank nach dem Leben entworfen, veranstaltet wird, wodurch die Sache unstreitig noch viel mehr herumkommt. Hielte ich dich nicht für dein eigenmächtiges Verfahren (denn mir hast du 1814 ja kein Wort von der Herausgabe des Manuskripts gesagt) hinlänglich dadurch bestraft, daß unser Chamisso bei seiner Weltumsegelei, in den Jahren 1815 bis 1818, sich gewiß in Chili und Kamtschatka und wohl gar bei seinem Freunde, dem seligen Tameiamaia auf O-Wahu, darüber beklagt haben wird, so fordere ich noch jetzt öffentlich Rechenschaft darüber von dir.
Indes – auch hievon abgesehn – geschehn ist geschehn und recht hast du auch darin gehabt, daß viele, viele Befreundete in den dreizehn verhängnisvollen Jahren, seit es das Licht der Welt erblickte, das Büchlein mit uns liebgewonnen. Nie werde ich die Stunde vergessen, in der ich es Hoffmann zuerst vorlas. Außer sich vor Vergnügen und Spannung, hing er an meinen Lippen, bis ich vollendet hatte; nicht erwarten konnte er, die persönliche Bekanntschaft des Dichters zu machen und, sonst jeder Nachahmung so abhold, widerstand er doch der Versuchung nicht, die Idee des verlornen Schattens in seiner Erzählung: Die Abenteuer der Silvesternacht, [2] durch das verlorne Spiegelbild des Erasmus Spikher, ziemlich unglücklich zu variieren. Ja – unter die Kinder hat sich unsre wundersame Historie ihre Bahn zu brechen gewußt; denn als ich einst, an einem hellen Winterabend, mit ihrem Erzähler die Burgstraße hinaufging und er einen über ihn lachenden, auf der Glitschbahn beschäftigten Jungen unter seinen dir wohlbekannten Bärenmantel nahm und fortschleppte, hielt dieser ganz stille; da er aber wieder auf den Boden niedergesetzt war und in gehöriger Ferne von den, als ob nichts geschehen wäre, Weitergegangenen, rief er mit lauter Stimme seinem Räuber nach: »Warte nur, Peter Schlemihl!«
So, denke ich, wird der ehrliche Kauz auch in seinem neuen, zierlichen Gewande viele erfreuen, die ihn in der einfachen Kurtka von 1814 nicht gesehen; diesen und jenen aber es außerdem noch überraschend sein, in dem botanisierenden, weltumschiffenden, ehemals wohlbestallten königlich preußischen Offizier, auch Historiographen des berühmten Peter Schlemihl, nebenher einen Lyriker kennen zu lernen, [3] der, er möge malaiische oder litauische Weisen anstimmen, überall dartut, daß er das poetische Herz auf der rechten Stelle hat.
Darum, lieber Fouqué, sei dir am Ende denn doch noch herzlich gedankt für die Veranstaltung der ersten Ausgabe, und empfange mit unsern Freunden meinen Glückwunsch zu dieser zweiten.
Berlin, im Januar 1827.
Eduard Hitzig.
Story DNA
Plot Summary
The narrator, Eduard Hitzig, addresses Fouqué von Hitzig, playfully scolding him for publishing the 'Schlemihlshistorie' (Peter Schlemihl's Wondrous Story), which was meant to be a secret. He details how the story has become a global phenomenon, translated into many languages, and even recounts how E.T.A. Hoffmann was captivated by it and how children recognized the author, Chamisso, as 'Peter Schlemihl'. Despite his initial 'grievances', Hitzig ultimately expresses gratitude to Fouqué for bringing the beloved story to the world and congratulates him on its continued success, acknowledging Chamisso's poetic talent.
Themes
Emotional Arc
pride to humility
Writing Style
Narrative Elements
Cultural Context
This text is a letter (or a literary piece styled as one) from Eduard Hitzig to Fouqué von Hitzig, discussing the publication and reception of Adelbert von Chamisso's famous novella 'Peter Schlemihl's Wondrous Story'. It provides insight into the literary world and the impact of the story shortly after its initial publication in 1814 and its subsequent editions.
Plot Beats (7)
- The narrator confronts Fouqué von Hitzig about his unauthorized decision to publish the 'Schlemihlshistorie', which was meant to be a secret.
- The narrator expresses frustration that the story has been translated into many languages and reprinted globally.
- He mentions that Chamisso, the author, must have complained about this during his world travels.
- The narrator recounts the positive reception of the story among friends, particularly E.T.A. Hoffmann, who was deeply impressed and even tried to imitate its central idea.
- The story's popularity is further illustrated by a child recognizing Chamisso as 'Peter Schlemihl' in a street encounter.
- The narrator concludes by acknowledging the story's enduring charm and its ability to delight new readers in its new edition.
- He finally thanks Fouqué for the initial publication and congratulates him on the second, recognizing Chamisso's poetic heart.
Characters
Eduard Hitzig
A man of scholarly disposition, likely of average height and build for a German intellectual of the early 19th century. His appearance would suggest a life spent in study and literary pursuits rather than physical labor.
Attire: Typical German Biedermeier period attire for a scholar or man of letters: a dark wool frock coat, a high-collared white linen shirt, a cravat, and dark trousers. The clothing would be well-maintained but not ostentatious, reflecting his intellectual standing.
Wants: To reflect on the success of 'Peter Schlemihl' and to acknowledge the impact of the story, while also playfully chastising Fouqué for its publication.
Flaw: Perhaps a tendency to be overly formal or to dwell on past decisions, even if playfully.
He doesn't undergo a significant arc within this short text, but rather reflects on the past and celebrates the present success of a literary work.
Scholarly, a bit chiding, appreciative, reflective, and a loyal friend. He expresses a mix of mock-annoyance and genuine affection for Fouqué's actions.
Fouqué von Hitzig
Though not explicitly described, as a contemporary and friend of Hitzig and Hoffmann, he would likely be a man of similar intellectual and social standing, perhaps with a more adventurous or decisive demeanor given his 'desperate decision' to publish.
Attire: Similar to Hitzig, he would wear Biedermeier era clothing, perhaps with a slightly more artistic or individualistic flair, but still within the bounds of respectable gentleman's attire: a tailored coat, waistcoat, cravat, and trousers.
Wants: To share the 'Schlemihlshistorie' with a wider audience, believing in its merit despite initial secrecy.
Flaw: His independent decision-making could be seen as a weakness by those who preferred to keep the story a secret.
His decision to publish has led to the story's widespread success, validating his initial 'desperate decision'.
Decisive, independent, perhaps a bit headstrong (in Hitzig's playful view), and ultimately successful in his literary endeavors.
Chamisso
As a 'botanizing, world-circumnavigating, formerly well-appointed royal Prussian officer' and 'historiographer', he would likely possess a robust build from his travels, perhaps with a weathered look from exposure to various climates.
Attire: While traveling, he might wear practical but still respectable attire, perhaps a sturdy wool coat, practical trousers, and boots. When in Berlin, he would likely wear a more formal Biedermeier gentleman's suit, but with a hint of his adventurous spirit.
Wants: To explore the world, document his experiences, and express himself through poetry and prose.
Flaw: Perhaps a tendency to complain about inconveniences, even if playfully mentioned by Hitzig.
His story 'Peter Schlemihl' has gained international renown, and he is recognized as a significant literary figure.
Adventurous, literary, perhaps a bit prone to complaining (as Hitzig suggests), and deeply poetic.
Hoffmann
As a celebrated author, he would likely have a distinctive appearance, perhaps intense or artistic. He would be of average build for a German man of his era.
Attire: Biedermeier era clothing, perhaps with a slightly more artistic or bohemian touch than Hitzig, but still respectable. Dark, well-tailored garments, possibly a velvet waistcoat or a distinctive cravat.
Wants: To experience and create captivating stories, and to engage with other literary minds.
Flaw: His strong desire to experiment with literary ideas, sometimes leading to 'unhappy' variations.
His encounter with 'Peter Schlemihl' inspires him to create his own variation on the theme of a lost shadow/reflection.
Passionate, imaginative, easily captivated by stories, and prone to literary experimentation (even if 'unhappily' in Hitzig's view).
The Boy
A young boy, small enough to be picked up and carried under a man's coat. He would have the typical build of a child playing in the streets of Berlin.
Attire: Simple, practical clothing for a child in early 19th century Berlin, likely made of sturdy wool or linen, possibly patched or worn from play. Perhaps a simple jacket, trousers, and sturdy shoes.
Wants: To play and have fun on the ice, and to assert himself when challenged.
Flaw: His small size makes him vulnerable to being easily carried away.
He briefly interacts with Chamisso, identifying him as 'Peter Schlemihl', highlighting the story's reach even among children.
Playful, mischievous, bold, and defiant. He is not easily intimidated.
Locations
Berlin (General)
A learned city in Germany, implied to have bustling streets and intellectual circles.
Mood: Intellectual, lively, a center for publishing and discussion.
The setting for the author's reflections on the story's publication and reception, where he learned of its widespread translation and new editions.
Burgstraße, Berlin
A specific street in Berlin, where a 'bright winter evening' allows for ice-skating or sliding.
Mood: Playful, chilly, with a touch of unexpected recognition.
The author and Chamisso encounter a boy playing on an ice slide who recognizes Chamisso as 'Peter Schlemihl,' highlighting the story's unexpected popularity even among children.