Nadie podría imaginar algo tan extraño y maravilloso como lo que le sucedió a mi pobre amigo, el joven estudiante Nataniel, y que voy a referirte, lector. ¿Acaso no has sentido alguna vez tu interior lleno de extraños pensamientos? ¿Quién no ha sentido latir su sangre en las venas y un rojo ardiente en las mejillas? Las miradas parecen buscar entonces imágenes fantásticas e invisibles en el espacio y las palabras se exhalan entrecortadas. En vano los amigos te rodean y te preguntan qué te sucede. Y tú querrías pintar con sus brillantes colores, sus sombras y sus luces destellantes, las vaporosas figuras que percibes, y te esfuerzas inútilmente en encontrar palabras para expresar tu pensamiento. Querrías reproducir con una sola palabra todo cuanto estas apariciones tienen de maravilloso, de magnífico, de sombrío horror y de alegría inaudita, para sacudir a los amigos como con una descarga eléctrica, pero toda palabra, cada frase, te parece descolorida, glacial, sin vida. Buscas y rebuscas, y balbuces y murmuras, y las tímidas preguntas de tus amigos vienen a golpear, como el soplo del viento, tu ardiente imaginación hasta acabar apagándola. Pero si tú, como un hábil pintor, trazas un rápido esbozo de tales imágenes interiores, del mismo modo puedes también animar con poco esfuerzo los colores y hacerlos cada vez más brillantes, y las diversas figuras fascinan a los amigos que te ven en medio del mundo que tu alma ha creado. Debo confesar que, a mí, querido lector, nadie me ha preguntado por la historia del joven Nataniel; pero tú sabes que yo penenezco a esa clase de autores que cuando se encuentra en el estado de ánimo que acabo de describir se imagina que cuantos le rodean, e incluso el mundo entero, le preguntan, «¿qué te pasa? ¡cuéntanos!» Así, una fuerza poderosa me obliga a hablarte del fatal destino de Nataniel. Su vida singular me impresionaba, y por esta razón me atormentaba la idea de comenzar su historia de una manera significativa, original. «Érase una vez…» bonito principio, para aburrir a todo el mundo. «En la pequeña ciudad de S…., vivía…» algo mejor, si se tiene en cuenta que prepara ya el desenlace. O bien entrar in medias res: «-¡Váyase al diablo! exclamó colérico con los ojos llenos de furia y de espanto el estudiante Nataniel cuando el vendedor de barómetros Giuseppe Coppola… » Así había empezado ya a escribir cuando creí ver algo de burla en la enfurecida mirada de Nataniel, aunque la historia no es en absoluto divertida. No me vino a la mente ninguna frase que reflejara el estallido de colores de la imagen que brillaba en mi interior.Decidí entonces no empezar.Toma, querido lector, las tres cartas que mi amigo Lotario me invitó a compartir como el esbozo del cuadro que me esforzaré, en el curso de la narración, en animar cada vez con más colorido, lo mejor que pueda. Quizá consiga, como un buen retratista, dar a algún personaje un toque expresivo de manera que al verlo lo encuentres parecido al original, aun sin conocerlo, y te parecerá verlo en persona. Quizá creerás, lector, que no hay nada tan maravilloso y fantástico como la vida real, y que el poeta se limita a recoger un pálido brillo, como en un espejo sin pulir.

Para que desde el principio quede claro lo que es necesario saber, hay que añadir como aclaración a las cartas que, inmediatamente después de la muerte del padre de Nataniel, Clara y Lotario, hijos de un pariente lejano también recientemente fallecido, fueron recogidos por la madre de aquél. Clara y Nataniel sintieron una fuerte inclinación mutua, contra la que nadie tuvo nada que oponer. Estaban, pues, prometidos cuando Nataniel abandonó la ciudad para proseguir sus estudios en G. Aquí se encuentra mientras escribe su última carta y asiste al curso del célebre profesor de física Spalanzani.

Ahora podría continuar mi relato tranquilamente, pero la imagen de Clara se presenta ante mis ojos tan llena de vida que no puedo apartarla de mí, como me pasaba siempre que me miraba dulcemente.

No podía decirse que Clara fuese bella, esto pensaban al menos los entendidos en belleza. Sin embargo, los arquitectos elogiaban la pureza de las líneas de su talle; los pintores decían que su nuca, sus hombros y su seno eran tal vez demasiado castos, pero todos amaban su maravillosa cabellera que recordaba a la de la Magdalena y coincidían en el color de su tez, digno de un Battoni. Uno de ellos, un auténtico extravagante, comparaba sus ojos a un lago de Ruisdael, donde se reflejan el azul del cielo, el colorido del bosque y las flores del campo, la vida apacible. Poetas y virtuosos iban más lejos y decían:

-¡Cómo habláis de lagos y de espejos! No podemos contemplar a esta muchacha sin que su mirada haga brotar de nuestra alma cantos y armonías celestes que nos sobrecogen y nos animan. ¿Acaso no cantamos nos otros también, y alguna vez hasta creemos leer en la tenue sonrisa de Clara, que es como un cántico, no obstante algunos tonos disonantes?

Así era, Clara poseía la imaginación alegre y vivaz de un niño inocente, un alma de mujer tierna y delicada, y una inteligencia penetrante y lúcida. Los espíritus ligeros y presuntuosos no tenían nada que hacer a su lado, pues ella, sin muchas palabras, conforme a su temperamento silencioso, parecía decirles con su mirada transparente y su sonrisa irónica: «Queridos amigos, ¿pretendéis que mire vuestras tristes sombras como auténticas figuras animadas y con vida?» Por esta razón Clara fue acusada por muchos de ser fría, prosaica e insensible. Pero otros, que veían la vida con más claridad, amaban fervorosamente a esta joven y encantadora muchacha; pero nadie tanto como Nataniel, quien se dedicaba a las ciencias y a las artes con pasión. Clara le correspondía con toda su alma. Las primeras nubes de tristeza pasaron por su vida cuando se separó de ella. ¡Con cuánta alegría se arrojó en sus brazos cuando él, al volver a su ciudad natal, entró en casa de su madre, como había anunciado en su última carta a Lotario! Sucedió entonces lo que Nataniel había imaginado; en el momento en que volvíó a ver a Clara desapareció la imagen del abogado Coppelius y la fatal y razonable carta de Clara, que tanto le había contrariado.

Sin embargo, Nataniel tenía razón cuando escribía a su amigo Lotario que su encuentro con el repugnante vendedor de barómetros había ejercido una funesta influencia en su vida. Todos sintieron desde los primeros días de su estancia que Nataniel había cambiado su forma de ser. Se hundía en sombrías ensoñaciones y se comportaba de un modo extraño, no habitual en él. La vida era sólo sueños y presentimientos; hablaba siempre de cómo los hombres, creyéndose libres, son sólo juguete de oscuros poderes, y humildemente deben conformarse con lo que el destino les depara. Aún iba más lejos, y afirmaba que era una locura creer que el arte y las ciencias pueden ser creados a nuestro antojo, puesto que la exaltación necesaria para crear no proviene de nuestro interior sino de una fuerza exterior de la que no somos dueños.

Clara no estaba de acuerdo con esos delirios místicos pero era inútil refutarlos. Sólo cuando Nataniel afirmaba que Coppelius era el principio maligno que se había apoderado de él en el momento en que se escondió tras la cortina para observarle, y que aquel demonio enemigo turbaría su dichoso amor, Clara decía seriamente:

-Sí, Nataniel, tienes razón, Coppelius es un principio maligno y enemigo, puede actuar de forma espantosa, como una fuerza diabólica que se introduce visiblemente en tu vida, pero sólo si no lo destierras de tu pensamiento y de tu alma. Mientras tú creas en él, existirá; su poder está en tu credulidad.

Nataniel, irritado al ver que Clara sólo admitía la existencia del demonio en su interior quiso probársela por medio de doctrinas místicas de demonios y fuerzas oscuras, pero Clara interrumpió la discusión con una frase indiferente, con gran disgusto de Nataniel. Pensó entonces que las almas frías encerraban estos profundos misterios sin saberlo, y que Clara percenecía a esta naturaleza secundaria, por lo cual decidió hacer todo lo posible para iniciarla en tales secretos. Al día siguiente, mientras Clara preparaba el desayuno, fue a su lado y empezó a leer diversos pasajes de libros místicos, hasta que Clara dijo:

-Pero, mi querido Nataniel, ¿y si yo te considerase a ti como el principio diabólico que actúa contra mi café? Porque, si me pasara el día escuchándote mientras lees y mirándote a los ojos como tú quieres, el café herviría en el fuego y no desayunaríais ninguno. 

Nataniel cerró el libro de golpe y se dirigió malhumorado a su habitación.

En otro tiempo había escrito cuentos agradables y animados que Clara escuchaba con indescriptible placer, pero ahora, sus composiciones eran sombrías, incomprensibles, vagas, y podía sentir en el indulgente silencio de Clara, que no eran de su gusto. Nada era peor para Clara que el aburrimiento; su mirada y sus palabras dejaban ver que el sueño se apoderaba de ella. Las obras de Nataniel eran de hecho muy aburridas. Su disgusto por el frío y prosaico carácter de Clara fue en aumento, y Clara no podía vencer el mal humor que le producía el sombrío y aburrido misticismo de Nataniel; y así, sus almas se fueron alejando una de otra, sin que se dieran cuenta. La imagen del odioso Coppelius, como el mismo Nataniel podía reconocer, cada vez era más pálida en su fantasía, y hasta le costaba a menudo un esfuerzo darle vida y color en sus poemas, donde aparecía como un horrible espantajo del destino. Finalmente, el atormentado presentimiento de que Coppelius destruiría su amor le inspiró el tema de una de sus composiciones. Se describía a él mismo y a Clara unidos por un amor fiel, pero, de vez en cuando, una mano amenazadora aparecía en su vida y les arrebataba su alegría. Cuando por fin se encontraban ante el altar aparecía el horrible Coppelius que tocaba los maravillosos ojos de Clara; éstos saltaban al pecho de Nataniel como chispas sangrientas encendidas y ardientes, luego Coppelius se apoderaba de él, le arrojaba a un círculo de fuego que giraba con la velocidad de la tormenta y le arrastraba en medio de sordos bramidos. Es un rugido, como cuando el huracán azota la espuma de las olas en el mar, que se alzan, como negros gigantes de cabeza blanca, en furiosa lucha. En medio de aquel salvaje bramido oye la voz de Clara: «¿No puedes mirarme? Coppelius te ha engañado, no eran mis ojos los que ardían en tu pecho, eran ardientes gotas de sangre de tu propio corazón… yo tengo mis ojos, ¡mírame!» Nataniel piensa: Es Clara, y yo soy eternamente suyo. Es como si dominase el círculo de fuego donde se encuentra, y el sordo estruendo desaparece en un negro abismo. Nataniel mira los ojos de Clara, pero es la muerte la que le contempla amigablemente con los ojos de Clara.

Mientras Nataniel escribía el poema estaba muy tranquilo y reflexivo, limaba y perfeccionaba cada línea, y volcado por completo en la rima, no descansaba hasta conseguir que todo fuera puro y armonioso. Cuando terminó y leyó el poema en voz alta, el horror se apoderó de él y exclamó espantado:

-¿De quién es esa horrible voz?

Enseguida le pareció, sin embargo, que había escrito un poema excelente, y que podría inflamar el frío ánimo de Clara, sin darse cuenta de que así conseguiría sobresaltarla con terribles imágenes presagiando un destino fatal que destruiría su amor.

Nataniel y Clara se hallaban sentados en el pequeño jardín de su madre. Clara estaba muy alegre, porque Nataniel, desde hacía tres días, durante los cuales había trabajado en el poema, no la había atormentado con sus sueños y presentimientos. También Nataniel hablaba con entusiasmo y alegría de cosas divertidas, de modo que Clara dijo:

-Ahora vuelvo a tenerre, ¿ves cómo hemos desterrado al odioso Coppelius?

Nataniel entonces se acordó de que llevaba el poema en el bolsillo, y de que deseaba leérselo; sacó las hojas y comenzó su lectura.

Clara, esperando algo aburrido como de costumbre, y resignándose, empezó a hacer punto. Pero, del mismo modo que se van levantando los negros y cada vez más sombríos nubarrones, dejó caer su labor y miró fijamente a Naraniel a los ojos. Éste seguía su lectura fascinado, con las mejillas encendidas y los ojos llenos de lágrimas. Cuando terminó suspiró profundamente abatido, cogió la mano de Clara y sollozando exclamó desconsolado:

-¡Ah, Clara, Clara! 

Clara le estrechó contra su pecho y le dijo dulcemente pero seria:

-Nataniel, querido Nataniel, ¡arroja al fuego esa loca y absurda historia!

Nataniel se levantó indignado y exclamó apartándose de Clara:

-Eres un autómata inanimado y maldito -y se alejó corriendo.

Clara se echó a llorar amargamente, y decía entre sollozos:

-Nunca me ha amado, pues no me comprende.

Lotario apareció en el cenador y Clara tuvo que contarle lo que había sucedido; como amaba a su hermana con toda su alma, cada una de sus quejas caía como una chispa en su interior de tal modo que el disgusto que llevaba en su corazón desde hacía tiempo contra el visionario Nataniel se transformó en una cólera terrible. Corrió tras él y le reprochó con tan duras palabras su loca conducta para con su querida hermana que el fogoso Nataniel contestó de igual manera. Los insultos de fatuo, insensato y loco, fueron contestados por los de desgraciado y vulgar. El duelo era inevitable. Decidieron batirse a la mañana siguiente detrás del jardín y conforme a las reglas académicas con afilados floretes. Se separaron sombríos y silenciosos. Clara había oído la violenta discusión, y al ver que el padrino traía los floretes al atardecer, presintió lo que iba a ocurrir.

Llegados al lugar del desafío se quitaron las levitas en medio de un hondo silencio, e iban a abalanzarse uno sobre otro con los ojos relampagueantes de ardor sangriento cuando apareció Clara en la puerta del jardín. Separándolos, exclamó entre sollozos:

-¡Locos, salvajes, tendréis que matarme a mí antes que uno de vosotros caiga!, porque ¿cómo podría seguir viviendo en este mundo si mi amado matara a mi hermano o mi hermano a mi amado?

Lotario dejó caer el arma y bajó los ojos en silencio; pero Nataniel sintió renacer dentro de sí toda la fuerza de su amor hacia Clara de la misma manera que lo había sentido en los hermosos días de la juventud. El arma homicida cayó de sus manos y se arrojó a los pies de Claa diciendo:

-¿Podrás perdonarme alguna vez tú, mi querida Clara, mi único amor? ¿Podrás perdonarme, querido hermano Lotario?

Lotario se conmovió al ver el profundo dolor de su amigo y derramando abundantes lágrimas se abrazaron los tres y se juraron permanecer unidos por el amor y la fidelidad.

Nothing more strange and chimerical can be imagined than that which occurred to my poor friend, the young student Nathaniel, and which I, gracious reader, have undertaken to tell you. Have you, kind reader, ever known a something that has completely filled your heart, thoughts, and senses, so as to exclude every thing else? There was in you a fermentation and a boiling, and your blood inflamed to the hottest glow bounded through your veins, and gave a higher colour to your cheeks. Your glance was so strange, as if you wished to perceive, in empty space, forms which to no other eyes are visible, and your speech flowed away into dark sighs. Then your friends asked you: “What is it, revered one?” “What is the matter, dear one.” And now you wished to express the internal picture with all its glowing tints, with all its light and shade, and laboured hard to find words only to begin. You thought that in the very first word you ought to crowd together all the wonderful, noble, horrible, comical, frightful, that had happened, so that it might strike all the hearers at once like an electric shock. But every word, every thing that is in the form of speech, appeared to you colourless, cold and dead. You hunt and hunt, and stutter and stammer, and the sober questions of your friends dart like icy breezes upon your internal fire until it is ready to go out; whereas if, like a bold painter, you had first with a few daring strokes drawn an outline of the internal picture, you might with small trouble have laid on the colours brighter and brighter, and the living throng of various forms would have carried your friends along with it, and they, like you, would have seen themselves in the picture that had proceeded from your mind. 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 any thing in their mind, such as I have just described, feel as if every one who comes near them, and indeed perhaps the whole world besides, is asking them: “What is it then—tell it, my dear friend?” Thus was I forcibly compelled to tell you of the momentous life of Nathaniel. The singularity and marvellousness of the story filled my entire soul, but for that very reason and because, my reader, I had to make you equally inclined to endure oddity, which is no small matter, I tormented myself to begin the history of Nathaniel 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-seller, Guiseppe Coppola?”—I had indeed already written this down, when I fancied that in the wild looks of the student Nathaniel, I could detect something ludicrous, whereas the story is not comical at all. No form of language suggested itself to my mind, which even in the slightest degree seemed to reflect 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 as I proceed in my narrative. Perhaps, like a good portrait-painter, I may succeed in catching many a form in such a manner, that you will find it is a likeness without having the original, and feel as if you had often seen the person with your own corporeal eyes. Perchance, dear reader, you will then believe that nothing is stranger and madder than actual life, and that this is all that the poet can conceive, as it were in the dull reflection of a dimly polished mirror.

In order that that which it is necessary in the first place to know, may be made clearer, we must add to these letters the circumstance, 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 to 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——. He is, according to the date of his last letter, hearing the lectures of the celebrated professor of physics, Spalanzani.

Now I could proceed in my story with confidence, but at this moment Clara’s image stands so plainly before me, that I cannot look another way, as indeed was always the case when she gazed at me, with one of her lively smiles. 

Clara could not by any means be reckoned beautiful; that was the opinion of all who are competent judges of beauty, by their calling. Nevertheless, the architects praised the exact symmetry of her frame, and the painters considered her neck, shoulders, and bosom almost too chastely formed, but then they all fell in love with her wondrous Magdalen-hair, and above every thing prated about battonisch colouring. One of them, a most fantastical fellow, singularly 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 lake—what is a mirror!” said they, “can we look upon the girl without wondrous, heavenly songs and tunes flashing towards us from her glances, and penetrating our inmost soul, so that all there is awakened and stirred. If even then we sing nothing that is really sensible, there is not much in us, and that we can feelingly read in the delicate smile which plays on Clara’s lips, when we presume to tinkle something before her, which is to pass for a song, although it is only a confused jumble of tones.” 

So it was. Clara had the vivid fancy of a cheerful, unembarrassed child, a deep, tender, feminine disposition, an acute, clever understanding. The misty dreams had but a bad chance with her, since, though she did not talk,—as indeed talking would have been altogether repugnant to her tacit 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 forms with life and motion?” On this account Clara was censured by many as cold, unfeeling and prosaic; while others, who conceived life in its clear depth, 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 soul, and when he parted from her, the first cloud passed over her life. With what transport did she rush into his arms when, as he had promised in his last letter to Lothaire, he had 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-seller, Coppola, had had a most hostile effect on his life. All felt, even in the first days, that Nathaniel had undergone a thorough change in his whole temperament. He sank into a gloomy reverie, and conducted himself in a strange manner, that had never been known in him before. Every thing, his whole life, had become to him a dream and a foreboding, and he was always saying that every man, although he might think himself free, only served for the cruel sport of dark powers. These he said it was vain to resist, and man must patiently resign himself to his fate. He went even so far as to say, that it is foolish to think that we do any thing in art and science according to our own self-acting will, for the inspiration which alone enables us to produce any thing, does not proceed from within ourselves, but is the effect of a higher principle without.

To the clear-headed Clara this mysticism was in the highest degree repugnant, but contradiction appeared to be useless. Only when Nathaniel proved that Coppelius was the evil principle, which had seized him at the moment when he was listening behind the curtain, and that this repugnant principle would in some horrible manner disturb the happiness of their life, Clara grew very serious, and said: 

“Yes, Nathaniel, you are right. Coppelius is an evil, hostile principle; he can produce terrible effects, like a diabolical power that has come invisibly into life; but only then, when you will not banish him from your mind and thoughts. So long as you believe in him he really exists, and exerts his influence; only your belief is his power.”

Nathaniel, quite indignant that Clara established the demon’s existence only in his own mind, would then come out with all the mystical doctrine of devils and fearful powers. But Clara would break off peevishly, by introducing some indifferent matter, to the no small annoyance of Nathaniel. He thought that such deep secrets were closed to cold, unsusceptible minds, without being clearly aware that he reckoned Clara among these subordinate natures, and therefore he constantly endeavoured to initiate her into the mysteries. In the morning, when Clara was getting breakfast ready, he stood by her, and read out of all sorts of mystical books, till she cried: 

“But, dear Nathaniel, suppose I blame you as the evil principle, that has a hostile effect upon my coffee? For if to please you, I leave every thing standing still, and look in your eyes, while you read, my coffee will run into the fire, and none of you will get any breakfast.”

Nathaniel closed the book at once, and hurried indignantly to his chamber. 

Once he had a remarkable forte for graceful, lively tales, which he wrote down, and to which Clara listened with the greatest delight; now, his creations were gloomy, incomprehensible, formless, so that although Clara, out of compassion, did not say so, he plainly felt how little she was interested. Nothing was more insupportable to Clara than tediousness; in her looks and in her words a mental drowsiness, not to be conquered, was expressed. Nathaniel’s productions were, indeed, very tedious. His indignation at Clara’s cold, prosaic disposition, constantly increased, and Clara could not overcome her dislike of Nathaniel’s dark, gloomy, tedious mysticism, so that they became more and more estranged from each other in mind, without perceiving it. The form of the ugly Coppelius, as Nathaniel himself was forced to confess, grew more dim in his fancy, and it often cost him trouble to colour with sufficient liveliness in his pictures, when he appeared as a ghastly bugbear of fate. At last it struck him that he would make the gloomy foreboding, that Coppelius would destroy his happiness in love, the subject of a poem. He represented himself and Clara as united by true love; but occasionally it seemed as though a black hand darted into their life, and tore away some newly-springing joy. At last, while they were standing at the altar, the hideous Coppelius appeared, and touched Clara’s lively eyes. They flashed into Nathaniel’s heart, like bleeding sparks, scorching and burning, when Coppelius caught him, and flung him into a flaming, fiery circle, which flew round with the swiftness of the stream, and carried him along with it, amid its roaring. The roar is like that of the hurricane, when it fiercely lashes the foaming waves, which, like black giants with white heads, rise up for the furious combat. But through the wild tumult he hears Clara’s voice: “Can you not, then, see me? Coppelius has deceived you. Those, indeed, were not my eyes, which so burned in your breast—they were glowing drops of your own heart’s blood. I have my eyes still—only look at them!” Nathaniel reflects: “That is Clara, and I am hers for ever!” Then it seems to him as though thought forcibly entered the fiery circle, which stands still, while the noise dully ceases in the dark abyss. Nathaniel looks into Clara’s eyes, but it is only death that, with Clara’s eyes, kindly looks on him.

While Nathaniel composed this poem he was very calm and collected; he polished and improved every line, and having subjected himself to the fetters of metre, he did not rest till all was correct and melodious. When at last he had finished and read the poem aloud to himself, a wild horror seized him, and he cried out: 

“Whose horrible voice is that?” 

Soon, however, the whole appeared to him a very successful work, and he felt that it must inflame Clara’s cold temperament, although he did not clearly consider for what Clara was to be excited, nor what purpose it would answer to torment her with the frightful images which threatened a horrible destiny, destructive to their love. 

Both of them—that is to say Nathaniel and Clara—were sitting in their mother’s little garden, Clara very cheerful, because Nathaniel, during the three days in which he had been writing his poem, had not teased her with his dreams and his forebodings. Even Nathaniel spoke livelily and joyfully about pleasant matters, as he used to do formerly, so that Clara said: 

“Now for the first time I have you again! Do you not see that we have driven away the ugly Coppelius?” 

Then it first struck Nathaniel that he had in his pocket the poem, which he had intended to read. He at once drew the sheets out and began, while 

Clara, expecting something tedious as usual, resigned herself and began quietly to knit. But as the dark cloud rose ever blacker and blacker, she let the stocking fall and looked full into his face. He was carried along unceasingly by his poem, an internal fire deeply reddened his cheeks, tears flowed from his eyes. At last when he had concluded, he groaned in a state of utter exhaustion, and catching Clara’s hand, sighed forth, as if melted into the most inconsolable grief: 

“Oh Clara!—Clara!” 

Clara pressed him gently to her bosom, and said softly, but very solemnly and sincerely: 

“Nathaniel, dearest Nathaniel, do throw that mad, senseless, insane stuff into the fire!” 

Upon this Nathaniel sprang up enraged, and thrusting Clara from him, cried: 

“Thou inanimate, accursed automaton!” 

He ran off; Clara, deeply offended, shed bitter tears, and sobbed aloud: 

“Ah, he has never loved me, for he does not understand me.” 

Lothaire entered the arbour; Clara was obliged to tell him all that had occurred. He loved his sister with all his soul, and every word of her complaint fell like a spark of fire into his heart, so that the indignation which he had long harboured against the visionary Nathaniel, now broke out into the wildest rage. He ran to Nathaniel and reproached him for his senseless conduct towards his beloved sister in hard words, which the infuriated Nathaniel retorted in the same style. The appellation of “fantastical, mad fool,” was answered by that of “miserable common-place fellow.” A duel was inevitable. They agreed on the following morning, according to the academical custom of the place, to fight with sharp rapiers behind the garden. Silently and gloomily they slunk about. Clara had overheard the violent dispute, and seeing the fencing-master bring the rapiers at dawn, guessed what was to occur. 

Having reached the place of combat, Lothaire and Nathaniel had in gloomy silence flung off their coats, and with the fierce desire of fighting in their flaming eyes, were about to fall upon one another, when Clara rushed through the garden door. Sobbing, she cried aloud, 

“Ye wild cruel men! Strike me down before you attack each other, for how shall I live longer in the world if my lover murders my brother, or my brother murders my lover.” 

Lothaire lowered his weapon, and looked in silence on the ground; but in Nathaniel’s heart, amid the most poignant sorrow, revived all the love for the beautiful Clara, which he had felt in the best days of his happy youth. The weapon fell from his hand, he threw himself at Clara’s feet. 

“Can you ever forgive me, my only—my beloved Clara? Can you forgive me, my dear brother, Lothaire?”

Lothaire was touched by the deep contrition of his friend; all three embraced in reconciliation amid a thousand tears, and vowed eternal love and fidelity.