One evening during the early years of the last century, a gay company of noisy young students were drinking together in Luther\'s famous wine-cellar at Nuremberg. They had come in for refreshment between the acts of the Opera which was being performed in the adjacent theatre; and all were merry and ready for any revel which might arise, with the exception of one of their number who sat apart, full of gloom and leaning his head upon his hand, lost to his surroundings in a deep reverie of sad thoughts.

This was Hoffmann, the poet and musician, a man somewhat older than the others—a man who, though blessed with handsome looks, exceptional grace of form and manner, and a fascinating charm of personality, was yet prone to frequent fits of despondency, from which his boon companions had the utmost difficulty in arousing him. Not even his greatest friend, Nicklaus, had the power to call up a smile to pierce through the dark clouds of these gloomy spells; and to no one had he yet related the story of the circumstances that had made him the victim of such an unhappy state of mind.

That he had suffered sorely from the onslaughts of more than one deep love-passion, they were well aware, and also suspected that he had been drawn into the meshes of some weird supernatural influence; but though Nicklaus could have enlightened them—knowing all the circumstances of his friend\'s life—the young students, in spite of their curiosity, refrained from asking questions which might lose them the friendship of one whom they loved dearly.
offenbach

OFFENBACH

This evening, however, to their surprise and pleasure, Hoffmann, on being rallied by his companions upon his unusually deep fit of gloom, suddenly roused himself, and offered to tell them the stories of his three unfortunate love episodes; and the students, abandoning the opera for that night, ordered in a fresh bowl of steaming punch and gathered round the handsome Hoffmann, eager to listen to the enthralling tales he had to tell.

In the first story, Hoffmann appeared as an impressionable and sensitive youth in the throes of a first boyish love-passion.

Having several times beheld the dainty form of a beautiful maiden standing at the windows of the house of Spallanzani, a famous physiologist, young Hoffmann became so fascinated by her fair looks that he fell in love with her, and eagerly sought an opportunity for declaring his passion; and, with this object in view, he offered himself as a pupil to the scientist, hoping thus to secure an introduction to the charming young lady whom he believed to be Spallanzani\'s child, since the latter talked continually of his wonderful "daughter," Olympia, speaking always in enthusiastic terms of her many graces, of her clever singing and dancing, and of the grand party he intended to give very shortly in honour of her coming-out.

Now, in reality, Olympia was not a human being at all, but merely a marvellously life-like automaton, made by Spallanzani, who had been assisted in the work by another scientist named Coppelius, a mysterious man who had gained a considerable reputation as a wizard and dabbler in the occult arts; but, seeing that young Hoffmann had no knowledge of the wonderful piece of mechanism they had contrived to make, but believed the latter to be indeed a real flesh-and-blood maiden, the pair conspired together to keep him in this belief, in order to retain him longer as a pupil, and also to amuse their friends at his expense.

Consequently, they would not permit Hoffmann any closer inspection of Olympia until the night of the party; and the magician, Coppelius, next informed the young man that his sight was bad, and sold to him a pair of specially prepared spectacles through which he knew that the automaton would appear to him to be indeed a living person.

Coppelius, seeing that a large fortune could probably be made by exhibiting the mechanical figure, now claimed a substantial share in the anticipated profits, he having made half of her body and supplied her with her beautiful eyes; so Spallanzani agreed to buy him out, and to that end gave him a draft on a Jew—knowing the latter to be bankrupt, but craftily concealing the fact from Coppelius, whom he believed was about to depart from the country, and, consequently, would not be likely to discover the fraud until many miles had separated them.

Coppelius, quite unsuspicious, accepted the false draft and departed; and on the same day Spallanzani gave his grand entertainment in honour of the coming-out of his beautiful "daughter."

When all the guests had arrived, the scientist produced the exquisitely made life-sized doll, dressed daintily in pretty girlish garments; and the automaton, having been wound up beforehand, was led round the ball-room by Spallanzani with great pride, and bowed to the guests, greeting them in clear, bell-like tones, and finally singing to them a fine operatic song, full of such finished trills and flourishes that the audience was astounded by the wonderful performance.

The visitors, of course, knew perfectly well that the figure was merely an automaton; but seeing that young Hoffmann—who was wearing the magic spectacles that caused the doll to appear to him more than ever to be a real human being—thought otherwise, they merrily conspired with Spallanzani to pretend that Olympia was indeed his daughter.

Becoming more and more enamoured of the pretty "maiden," as he gazed admiringly at her through his strange spectacles, Hoffmann was at last completely bewitched by her pink-and-white waxen beauty; and sitting down beside her, he took the first opportunity of their being alone to declare his passion for her, utterly regardless of her stolid attitude, stiff, jerky movements and mechanical replies of "Yes! Yes!" to all he said.

So enraptured was he that he became entirely oblivious of his surroundings, continuing to pour forth tender love speeches into the unheeding ears of the pretty Olympia, to the great amusement of the other guests; and when his friend, Nicklaus, who was also present, tried to enlighten him as to the true state of affairs, he thrust him aside roughly, and devoted himself more assiduously than ever to the unresponsive doll.

When dancing began he immediately engaged her as his partner, lovingly encircling her slender waist with his ready arm; but the doll, having been overwound, now got out of control, and whirled the unfortunate Hoffmann round and round the room at so dizzy a pace that he at length fell to the ground in a swoon, Olympia spinning on alone until finally caught and placed in the laboratory once more.

At this moment, to the dismay of Spallanzani, the wizard, Coppelius, rushed into the house in a towering rage, having discovered the fraud which had been practised upon him and returned to wreak vengeance upon his false partner by destroying the mechanical doll; and hastening to the laboratory, he managed to break the wonderful automaton into little pieces before his brother scientist could prevent him.

Hoffmann awakened to his senses once more whilst the work of destruction was in progress; and his magic spectacles having been broken in his fall, he quickly realised, to his shame and mortification, that he had been in love with a mere lifeless doll, and had made himself a laughing-stock to all who had witnessed his folly. Full of confusion, he rushed from the room, amidst the derisive jeers of the amused guests; and thus ended his first adventure in the realms of Cupid.

A few years later, Hoffmann, now in the first flush of hot-blooded manhood, was to be found in Venice, where his ardent nature revelled in the joyous life of love and warmth to be enjoyed there and the glamour of beauty and sensuous pleasure that drew him so easily into its magic circle.

Both he and his friend, Nicklaus, were frequent visitors in the luxurious palace of the beautiful courtesan, Giulietta; for Hoffmann had conceived a violent passion for his lovely hostess, stubbornly refusing to believe evil of her, in spite of the warnings of the more prudent Nicklaus, who assured him that she had numerous other lovers and would certainly deceive and cast him aside in the end.

Giulietta, for her own ends, very willingly encouraged the advances of Hoffmann, graciously accepting his eager declarations of love, and even persuading him into the belief t............