Entdecken Sie Millionen von E-Books, Hörbüchern und vieles mehr mit einer kostenlosen Testversion

Nur $11.99/Monat nach der Testphase. Jederzeit kündbar.

Die Elixiere des Teufels
Die Elixiere des Teufels
Die Elixiere des Teufels
eBook410 Seiten6 Stunden

Die Elixiere des Teufels

Bewertung: 3.5 von 5 Sternen

3.5/5

()

Vorschau lesen

Über dieses E-Book

Der Roman 'Die Elixiere des Teufels' von E.T.A. Hofmann, erschienen 1815/16, erzählt die fiktive Autobiographie des Mönches Medardus, der zunächst in einem Kloster aufwächst und wegen seiner Gelehrsamkeit wichtige Aufgaben und Rollen im Klosterleben übernimmt. Jedoch wird die Klosteridylle gestört, als Medardus Liebe zu einer jungen Frau aufflammt. Um ihn zu beruhigen, schickt ihn der Prior auf eine Reise nach Italien.
Er trifft auf die junge Geliebte; er trifft auf einen Doppelgänger, er flüchtet von einem Kloster ins andere und wird schließlich in ein Komplott gegen den Papst verwickelt, bevor er ins heimische Kloster zurückkehrt.
SpracheDeutsch
HerausgeberBooks on Demand
Erscheinungsdatum13. Feb. 2018
ISBN9783746073279

Ähnlich wie Die Elixiere des Teufels

Ähnliche E-Books

Fiktion für Sie

Mehr anzeigen

Ähnliche Artikel

Rezensionen für Die Elixiere des Teufels

Bewertung: 3.25 von 5 Sternen
3.5/5

4 Bewertungen4 Rezensionen

Wie hat es Ihnen gefallen?

Zum Bewerten, tippen

Die Rezension muss mindestens 10 Wörter umfassen

  • Bewertung: 3 von 5 Sternen
    3/5
    Die Elixiere des Teufels was Hoffmann's first go at writing a novel. He was inspired to write it by a visit to a Capuchin monastery in Bamberg (although it obviously also owes a lot to Matthew Lewis's famous gothic novel The Monk). It has just about everything you would look for in a gothic novel - monks pious, depraved, inspired and just plain mad; beautiful women scheming, virtuous, or vulnerable; more Doppelgänger than a season of Shakespeare comedies; a family curse; incest; murder; dreams and visions; guilt and repentance; several Mysterious Strangers; a comic dwarf; castles, prisons, monasteries, hunting-lodges, forests (complete with ravines and magic bullets). And of course the famous magic potion, said to have been confiscated from the Devil himself by St Anthony. Hoffmann obviously wrote it in a continuously highly-excited state, which can become a little tiring at times for the reader. There is also that feeling you get in some of Sir Walter Scott's novels, that it was all written far too fast, leading to a lot of tangling-up of the narrators' (because, yes, there have to be multiple nested narratives, don't there?) arms and legs as the plot desperately attempts to brake to a safe speed before crashing through the last page into oblivion. We all think we've got to the end, and then the author suddenly remembers a dangling plot thread from 200 pages back and has to do a handbrake-turn to dash back and pick it up...The setting is also a little odd: at the start there are clear signs that we are meant to be in a generic, unspoilt and pious pre-reformation Germany of the Narziss und Goldmund type, but then Hoffmann seems to forget himself and bring in all kinds of modern stuff like pianos, post-chaises, confessionals, gothick architecture, and Enlightenment rationalism, so that by the end of the book we're firmly in the late 18th century, and it's all getting a bit closer to Le rouge et le noir. As a novel I felt it takes its own gothic nonsense a bit too seriously to be really enjoyable for the modern reader - the subversively eccentric Kater Murr is much more fun - but an interesting read anyway.
  • Bewertung: 4 von 5 Sternen
    4/5
    This is a Gothic horror novel in which Hoffmann turns his personal obsession with a Doppengaenger into a novel. The protagonist, a monk named Brother Medardus, is charged with the task of guarding one of the monastery’s relics: an ancient flask of wine. The legend concerning the flask is that Saint Antonius, in order to dedicate his soul entirely to God, separated himself and went into the desert. There, the Devil pursued him, tempting him to partake of one of the flasks of elixir in his possession, and boasting that he had an elixir to tempt everyone. Anyone who drinks one of them, condemns himself eternally. When Saint Antonius found that the Devil had left some of his flasks behind, he became anxious for those who might stumble upon them and become tempted. He decided to steal the Devil’s elixirs and hide them away. Now, the last one comes into the care of Brother Medardus, who cannot withstand the temptation to drink it. The consequences of his folly are not immediately apparent; indeed, he becomes an eloquent speaker in the service of God, but then, a mysterious Doppelgaenger begins to catch up with him.
  • Bewertung: 3 von 5 Sternen
    3/5
    E.T. Hoffman has been one of the most important representatives of the European imaginary, but also by the most remarkable writers of German romance in the early 19th century. In the strange universe of his work circulating mysterious beings and diabolical creatures - nothing is predictable or expected, surprises are usually unpleasant and painful. In the Elixir of the Devil, Hoffman remarkably renews the subject of the twofold. The monk Mentar drinks the wine he finds in a cloister of the monastery, resulting in a change in his personality and lead to madness and crime. "In this work," Freud notes, "the second self is outlined in a unique way - the division of the human soul into consciousness and unconsciousness".
  • Bewertung: 3 von 5 Sternen
    3/5
    This is one bizarre book. Krazy. Yeah, with a K. That’s how crazy it is. Maybe even Krazee. Said in your best Jerry Lewis voice.See there’s this monk, Medardus, and he takes orders really early because he doesn’t understand girls. Then he gets all uppity with his famous preaching and the Prior send him on a mission because his head is taking up far too much room. Unbeknownst to them the reason for his colossal ego is some enchanted wine that is kept with the other relics of the convent. He and a Count on tour each drink from the bottle of the Devil’s elixir and become bound to each other on some unfathomable plain. Ostensibly out to fulfil his monkly duties, Medardus goes off the reservation and his pilgrimage quickly becomes a crime spree. And that’s only the half of it. It’s hyperbolic, over-the-top, emotionally overwrought and a lot of fun. If you can overlook a few things that is. There’s lots of pointless rambling and wicked long speeches, but we get nothing of the murders in the Baron’s castle. Only later do we sort of understand why, but it’s really not an encouraging way to write a story. Come to think of it, the whole editor device, leaving out parts of the story, etc, is strange. At the end of the book, there’s a construct for it of sorts, but by then we’ve forgotten all about it. Of course there are histrionic women perpetually having some kind of fit. Well actually some of the men got the vapors, too, including Medardus. He makes some really daft decisions at times like at one point when he can escape arrest he waits around until it’s too late. Then of course there has to be a super dramatic scene to resolve that. And trust me, stuff does get resolved. It doesn’t always make sense and really strains the bounds of believability, but it’s a gothic novel and if you aren’t willing to go with that kind of thing, just pack it in and read something else. Also there’s the odd spelling of words - not sure if it’s the translation from German or if it was common spelling in 1815. Here are some -tostpannelsCourt Marshaldevelopeblestphantasydiptdivers (as in divers objects)wert

Buchvorschau

Die Elixiere des Teufels - E. T. A. Hoffmann

[book_preview_excerpt.html}˒صݯ@3;"]7lϺRDC.̓`Q>V<#49QT/^k}fڞt2sc?㔇ߦw/cNU''|wݐC[Yi'o_|ڤ1jgzcjjwծ퀯iGp+ߞ5񧦯vvcOSSXOӣOkRWgyŇjmJ|}MՏm=սmU΃_"UXwI, /Kcug;ٱzvucu?wU^ڮUtvt :ԮU=qy6mˬn.Sڪp@u;wӶmxǷOV<ݧ{rq΍%'{бvӪvm[?{^>໶γ-̴KxM/.uv6ۺŃNױS6a~O^3͐ ~cvҶ{s_N\LXkT[^oіIegaknC]f%?` +٤"PZ[pS[UX;|z2㿵"\y_=i< =|i~#. elok$H5MՎiu`v;|Lۉ'~MN:aWsUvX:$,[m:x]aH~|Wkp]p?C-?[O_M}l?ԏc|Y6_l?h`l{eil;]j!0yү!vUmO+"B9$7ެ-O64#Q`믷.S x0j߀m:QSCw\'t}3~ZH-%Si9}}{-v;X^ܛ m_&vQrQ禵j\t@D_YaU9t&8L_}8˵{_֚M*O+%LF>Gת3Kجl[њw2kRM3h{|6;rwim*oh⩴ևM7gӠ왕mهBNYk;>n8V#=‡B'qkWdOld(?1 h$~֤ fhg7 3V3U17;3 wvpVv5L6\gW=1=k>t6`hʉ9d.LV Gmb'ۏ6/fZ3DFo6Redkod⨕7j8ڪÄ@f} Z2ML>觏8!w<=^?&[zbpH*bmA$VVM8Ƥ hrѱ=yiw+h#%"JNnMV;>:cz]ߘ߇,MuWxәOVC|nDV-LþJ?u5sBT;aC2`ڟ_$ FSn3a4f'Wn<+4<$-8J*伇AGjš o^hq+lۉ(ph !zinE1 ;38Js8:KhM~#qo>506?ζv4NGןj)q6 b`ho/~4N;џkOjteB#8}@/u= ; ք!>y9ՔlwDžܲwtfF`$<B'&zF8DŠ%Nm`Wdrn;3ɄcǞu;,LG6dN+w`{SorñG 3MЉuaMH͔f<;860@5 "[k48YScVQF'>IJkY D!s{N,W)YD1 Gf4=oP%ھsy7]C3I UnNZ5 zpߑ0'`fɑ˃@)V3xv_qf*@CHû2e━q&6 4gFGoޡ2T ǵ â!45=<6<3N5l`@(aSK Yb?= ?JcNgjYvX,MĊY[frhy W&b\)~wH[>FX+@oMr_K;fJDeCBO!=ͱ&3aBw>L)}CyّޕA Mެw:(|!nW۩a廊Zdh4&&Us܂#{ i۝mO. 4Wz7MOɜ3j4ΠdDK2@V['i@;cw2ۦ݆S NuLmheq)97$!Ɨ2GS=JB!kJÕ\($ ͻ1i/9| ߎ!i2~ܺM!/`% s9|y؇:n:YܑoCWLb TGkțt?@qLs <7 '7`ɹ HM~~ޔnwbf!CDHEv=^'jC<;v wUwO|ɝ(7uf2?+z y–dȵm|M-@Wxo|¯)]J!n?  NsoˌiYXkj;r*@rxJ;´ѱەC9 )0eR=nY 0c>Amu!+Vņ}dz`[@"Bb \6ΉOcn'c`!Jxq n$R정0ĐLeL| Bޥ! %g#Jvv< ́m !?<~ko9zς2bS]ݤj7]9+1d+)G9̙!2in;dkLȗ0Ev9`k d y+i%Тi"[ #ܸ#J.g2n$#IK+)XPj޶ZOע``<~rg3| L "o785 ăj[ӸZӂكBL*p@M;V`@ΏDs<soYO*v@aN86k 32 %A9WksEEpQ:qIGYD ^n_xd,azm"&cO4M8^ svaExb#_{>|&L6kpP.xAR*4ů}~҃"]&%#Kv2dbmK^ztcrHUa>1%d#mQ{VbP ‘PBoAIsUgv;ջr2'IftJ}F̓EH_~q3|nH$ EfT{$xhY`6cs&Qo fSgqeA VmNww2LP5R8o' `NIGՐC$}Tn\O1|v{Vǽ4>.G%1Y/5.EKQV˂-$E{w{/poC9%Va QS$܉Aߔ/O]{ٓa܁[rLW#sӺf~GT7 =0|A\bcSp֢zpiڗ?"9ދXr mIEȿ~_s͎`md /d2Ѕv{onn^OXB :2E=&Q78RGp]NM?BY`oSJ5Oi'Ż\<mYt1dд&25tn^(+܎l?“wų"nQr#ɧui v9;3zH~iI^=Ty~ zI \d@3EC| Y>ml)W'2#zYNa䈯 Pɍjr[ϦB^-Ґ@fD63WzmG67*Cf^ OSGXBȔ$ Rr">>|䃹yq&(ݥu) S,S3iNq.،9bs:fCվ2EYQELa\3Cj` *)Qqvu._X}l~EUrvs"u_*CPXEˈzYWZڨt ^E2ڇ⼺PQ' g߆nq7dtg.Y]8( G_khDxgqglg/vyRW[]m2)t ‚B2S^[B bIJɁ^{}A+Rj6(TNȁoYS - Yʹ)}*|dJ~{2ci&Q(Xlo 8$[pEKY¾ţ@ЕҬ*ZFxjv^7s_溅qM]%K-?_Tx؀aS~aXYSRrwQ!6Hd^rVѼP(d/ Z$eB͂Ř{ܕmӶEIe{ः|+ڹYf̶nՏ& Zuעٝち\tt e5pt )T&*U/{9y ؗ2em'R=MVUL]ruՂzr arS ;/hcM !:;Gp0bЛې ѧ$O@}}ץɭ5{k) @&An03>] ن98h{?yiAN"ݺm*m~)`[rhq@R~@%t (br?P C9 =e󘞙$ٿn Svh%Rռ RxNI8|O+J s: '9kސLXN4*Uy:< ԫ1f˜c?g\d v c31Q2uQr Q*l[oJGXA噄Im[V1#g 2g>4~ߗ!AFtЉY cO ǶM_0U7ァŭv^I[mĿ;6˰M>&rY;j]GVVf  A°(#FF >ͱ+/]$Br^ QһJlmc zKw1nz--W* \![ՐԒTaroc"6.Y8$Q7kwKRMYGY72"dZYT{ uYp?qUeCծWFoFхMT=?14]q~?ժ*cWFR?46[?[ҕ1id{V|1M.ʃiNNWQ]?Rś4>sEL>4V+"|9D ggqLn=3w9 qPfBwzZTO$q@ H⡋Y2~hoϽd[22EW=*tú!@ E{) r09Z:%}UIPANFkgWcGUtDA(qa"ہ 2,f`@#Of`qq#=vr,Dt)eGeOm$GZ=/[BOjiF_xcyӼkRn u57sGS,CkKM)M0sS6a‘]Bo0m++*VJ&`lPh\eIʭe_7^T1/"um%it\Urs`=襝TAU.&E{iiDJ4)fUlT5iX5A!K =^yq` -Q(ZIQ$CV5 7AY.(7j@ OZp`= WTsIC&U 4*#1'$nK7HAUM;.^9 wRv];#{}>3 L Y2?ңu6. 1{a<*L%;+z̘92ZRGx)Zge? q=4F;)<AD=lj < #QabӴ ($L*R\VܓQ@ bT+-L麃v|T#,~,v%)mp44kA@3]{ʧ}j+*bD_9.e@I6uob2Xs:Yj(ɦDOmBXjvK̾Z{j v'eʡNyZbDfCIĒ1u[Ӄaxkw؇_#Mx|+ѳϓI1% 9" 15e&f_|w0gg Xc~ cʫ4)*aX7˭3 dCj)BAuӡ0Zp@QBsb5Zz|<ĊmsOzM_i5O#ʈU!`h1DW3Z)CV%]AQep (F18=bΊqXFGE;WN-s6n{mVƬX 8m>fNl;ҟ{n+#{AnSIܘ ћ.A|yLG]3j-R>C: pilZʿ8WfS,g; dοQ_E5˜m4KpTq{MU_w|”eΥ>cQ=] U Hc | D4  #GWRc]渫!mO-S~Wi@\^0SPqA1:C9Y#{˄~`5UfȔȤn{< `78M6čR~LzxoS{3 dSRUjtc|1.'?vrSZ'FriHvh{VsDV XqXJQp(Ly6Ṕ=/T;aϗİ`5hwEhIwAnaJ@ to*D0֡R=uvb6#3z1G& W-ei, - &OKTn~Ds!Ű ;J(2My +3âZ©! 8%B\5 a:+:i1$x ya^I5H7RQ-EgKu%kLWAk*)ݦOH^q /lVJO0Eaҁ]1CU JR(fbiХ< 8ڹBW gD&b7}6t/:9ze|ʖv:T-\8_>?Flk@ ش{AY-*'f}eA *񒙗_*Hz9/q U|T1Tձ]m^5̈ob۶"Zǟe]F]䧤eB[ƪU,@ê8%{,[zhqU܄ɃgW@2y{?dEݼ pPy %57i S ߭_%K7k?z+2k6Guq߀ .݄_1-Y)af{44 ;hJ(kP 0K0w|43A 'pu`9p51 pVKN2hW{،DfZќ._FH٪ mMe4ٿzƁZ/__d@{ %7$TΫ$eӖ^R xa'm!z+Aq)¬hV|g^ Vևz% fh/&թ[Z(1>F1ϬL~XD'繗73ؼnS&"|Όܔd1<~FuȦ@wE 5~~5U~ȁzMQ"\F`8U|/3N)4x9sw?{3'eo&̨ V Dl[mXҶw2\,shAXQD;w4|Cp(#B/Uy4O<'nD9V9Փ ֏ݒT*R[30s7<؁)uwm=5–DD lw^ JE3NאKXfFVo=tmDhU|݇%.Э? Jzd1F%گ"x(coAxb,88/r(0'T{[uA3 2좌a+qI5oތEէ y[mJlyܙ-U2S$Ip2;@UgKO"C8|Gm$Inݎ9d,>'1ٞChebVҪS8!aRW×%$绕Q~mdM=2h-ߌ5]u[V|wP^(;=vŶ/༓GGoNʪqs>pcLB=+ŮL ɇO9qjSi^ң*MQOȡ~K-H?9ԧUy V1&rXb!i =림Y _u^Jx=ϫ~Ljj`2f.hb*2.H-0#g[缼j%"_5]z$4 EA}A,vJS_Uo^@%1~@VONCPS AbNjeW1_zM;zڲcIOK(ԯ%t䅕 /*Q)Vlw=OEqfnj^T ^b4#'*K=uDPǕeB0DvZE:Yl6)Oľ=j/M;xOGN=&ClܒlqSUX" S@o6y<[j7f.|+ ED}A#\OҔwK廍#)Y1X⨁|"rQ]Ebi#^˦zbeA {զ'ӺpOV@Rmpc T=tKb 9>Ոu~϶R nPTuYIL) QFLS"{(jiJvm
Gefällt Ihnen die Vorschau?
Seite 1 von 1