Rachel Moyer

European Literature II
March 14, 2013
Professor Terry Riley
The Imagination To be Feared More than the Monsters under Your Bed
A fine line exists between an imagination that leads toward enhancement and creation
in a persons life and one that leads to destruction of self and others. While the former is the
more favorable illustration of imagination, the latter is quite prominent and can be seen
repeatedly throughout literature. Often, the dark side of imagination originates from the misuse
of such a powerful tool. When used as a persons sole guidance system, it can delude the
individual; one must establish balance between the teeter of imagination and the totter of
reality. Goethes The Sorrows of Young Werther and Hoffmanns The Sandman both
support this philosophy by proving that lack of control of the imagination is dangerous and its
misuse has the potential to destroy countless human lives.
Werther, the protagonist of Goethes The Sorrows of Young Werther, is a catalyst of
reckless imagination and not only destroys his own life, but also paralyses his closest friends.
The basis of Werthers thoughtlessness is his inability to tame the romantic feelings he rapidly
forms for Charlotte. Upon some of his first interactions with the spoken-for woman, he falls
into great admiration of her. Werthers description of Charlotte, An angel! Nonsense!
Everybody so describes his mistress; and yet I find it impossible to tell you how perfect she is,
or why she is so perfect: suffice it to say she has captivated all my senses (10) demonstrates

Commented [RCM1]: By using two types of texts in my

essay, I continue to show that I am familiar with a variety of
texts. Thus, I show my ability to know/use an extensive
range of literature (NCTE/NCATE 3.5 know/use extensive
range of literature).
Commented [RCM2]: My thesis is constantly supported
and referred to at the beginning of every paragraph,
showing that all of my paragraphs lead back to proving this
point. This formatting is a method of making an essay align
and effectively argue your point. By utilizing quotations and
showing direct evidence in every paragraph as well as
formatting every paragraph to align with my thesis, I
demonstrate the BU Department of Englishs desired
outcome #3 of graduates (producing graduates who are
effective writers).

that any chance of having a realistic relationship with the woman is distorted by his
imagination. His claim that she is perfect indicates his failure to see her as a flawed human,
instead, placing her on a higher level in comparison to all other people. Not only does he put
such a great worth upon her, but he also cannot explain why he finds perfection in her.
Werthers inability to rationalize his feelings directly correlates to being solely guided by a
blind imagination. In his blinded state, he creates unrealistic emotions for her, which she can
never full-heartedly return to him. He knows she is to be married but insists upon attempting to
seek further solace in pursuing her affections. Continuing to visit Charlotte and even going as
far as to move closer to her, Werther falls deeper into the shadows of his imagination,
succumbing to the ploys and illusions common sense cannot overthrow.
Werthers destructive lack of control over his imagination is amplified when one
contrasts him with Charlottes sensible fianc, Albert. Goethe presents Albert as a realistic,
business oriented man. Werther says it best when stating, I cannot help esteeming Albert. The
coolness of his temper contrasts strongly with the impetuosity of mine, which I cannot conceal.
He has a great deal of feeling, and is fully sensible of the treasure he possesses in Charlotte
(27). Here, he wholly admits to being reckless and impractical, both attributes of ungrounded
imagination and a complete lack of a grasp on reality. The difference in control between Albert
and Werther also becomes apparent when one examines their views on suicide. Foolishly and
radically, Werther debates in favor of suicide, claiming,
I have been more than once intoxicated, my passions have always bordered on
extravagance: I am not ashamed to confess it; for I have learned, by my own
experience, that all extraordinary men, who have accomplished great and astonishing
actions, have ever been decried by the world as drunken or insane. (30)

Commented [RCM3]: If someone were to just be

casually reading the story that I reference here, they might
miss the drastic differences between Werther and Albert.
However, because I understand that sometimes some
characters are meant to serve as direct contrasts to other
characters, I pick up on this minute detail and utilize it in
favor of my thesis. My attention to detail here shows that I
have achieved outcome #2 of the BU English Department.
(Producing graduates who know elements of literature and
can interpret complex works with attention to detail and
context.)

He once again declares himself insensible and rather, boasts of possessing a passionate
inventiveness, which he claims all great men have in common. Failing to see the foolishness in
such reasoning, Werther foreshadows future damaging actions caused by something for which
he is so proud. Contrarily, Albert debates against Werthers ridiculous, maddening statements.
He claims that taking ones life is criminal and an inconceivable action (30). Alberts
conclusion is much less of a series of fabricated excuses and is more of a real-world rationale.
The differences between these two men play a significant role in the happiness or
dissatisfaction of each man. Since Albert is the down-to-earth man, he does not complicate
life; he upholds a simple existence, focusing on business and the duties expected of a man of
that era. He is a good, content man, and that is what wins over the goodhearted Charlotte. On
the complete opposite end of the spectrum, one finds Werther, a restless soul, led by an
uncontrolled, imaginative spirit. He does not have any real focus in life and finds himself
imagining an existence with someone he will never have. His reckless, fanciful creations
ultimately lead to the dramatic, sloppy taking of his life and leave his friends, especially
Charlotte, forever scarred by his memory. In some of the last few words of Goethes story, the
reader is told, Charlottes life was despaired of (88). This blunt ending validates that
Werthers blind actions will forever have repercussions. While he imagines his suicide to be
the best escape, it in fact, destroys the happiness of those for which he claimed to care so
deeply.
E.T.A. Hoffmans The Sandman suggests a similar statement about the improper
handling and employment of imagination. The storys protagonist, Nathaniel succumbs to the
same horrendous fate as Werther, the only difference is the manner in which his imagination
distorts reality. As a child, Nathaniels inability to contain his curiosity about the Sandman

leads him to seek further answers and explanations about this mystical being. His imagination
does not allow him to accept his mothers rational explanation, that the Sandman is merely a
term for sleepiness (2). He responds by stating, This answer of my mothers did not satisfy
me- nay, the thought soon ripened in my childish mind that she only denied the Sandma ns
existence to prevent our being terrified of him (2). His fanciful ideas have no limits, as
expected of most children, and he acquires the assistance of his sisters caretaker to help him
define this mysterious creature. In response, the caretaker negatively engages her imagination,
creating a horrid, terrifying picture of the Sandman, claiming he feeds the eyes of naughty
children to his own children (2). She does not think logically about the impact a falsehood such
as the one she told could have on the mind of a young, innocent boy.
It is one thing to possess an unrealistic mind as a child; however, it is irresponsible and
dangerous to continue these thought processes as an adult. Nathaniel is guilty of this careless
crime. Though he realizes the Sandman is not exactly as the nurse describes, he still maintains
an irrational fear of him. That fear allows him to cast the image of the Sandman onto his
fathers associate, Coppelius, who Nathaniel does not like. Nathaniel writes, When I saw this
Coppelius, the frightful and terrific thought took possession of my soul, that indeed no one but
he could be the Sandman (4). He allows a simple thought to manipulate reality and loses sight
of any sensible explanations. He also blames Coppelius for his fathers death, which leaves an
even deeper fearful, detesting imprint on his mind. This stamp of a wild imagination never
becomes outgrown by Nathaniel, who wants to avenge his fathers death and insists Coppola,
the barometer salesman, is Coppelius, the man whom he wants to confront (6). Clara attempts
to reason with Nathaniel and acts as the sane part of him. She pleads with him,

I must honestly confess that, in my opinion, all the terrible things of which you speak
occurred merely in your own mind, and had little to do with the actual external world.
Old Coppelius may have been repulsive enough, but his hatred of children was what
really caused the abhorrence you children felt towards him. (7)
Her argument is sound and any normal person would accept it and move on, but one who does
not balance imagination with actualities will certainly shrug off the explanation, as Nathaniel
does.
The encounter between Nathaniel and Coppola continues to play on the protagonists
imagination, causing distress for him and Clara. He is so obsessed with Coppelius that he
writes a poem depicting the monster taking Claras eyes right before they are to be wed. To
compose such artistry in the calm manner in which he did, never questioning the sanity of each
verse, requires the skills of an ill-used cognition. When he shows his creation to Clara, she
becomes upset and has a normal response. Claras rational thoughts and responses and his
irrational ideas and actions clash, causing them arguments and grief.
Nathaniels unleashed imagination also misguides him into falling for Olympia, an
automaton, instead of Clara, a real human being. The only realistic quality about Olympia is
her beauty; however, Nathaniel feels she is the most genuine and insightful person he has ever
encountered. He believes everyone who questions her existence is stupid, which prevents them
from recognizing her deep, noble mind (19). Even when Sigismund attempts to wake up
Nathaniels mind to her flaws by stating,
She might pass for beautiful if her glance were not so utterly without a ray of lifewithout the power of vision. Her pace is strangely regular, every movement seems to

depend on some wound-up clockwork. Her playing and her singing keep the same
unpleasantly correct and spiritless time as a musical box, and the same may be said of
her dancing. We find your Olympia quite uncanny, and prefer to have nothing to do
with her. She seems to act like a living being, and yet has some strange peculiarity of
her own. (20)
Even with the direction of Sigismunds truthful words, Nathaniels lack of mental control
continues to dominate over any hope of him eating an apple off the tree of logicality and
knowledge. In fact, these words anger him, and he claims his friend is the one who is cold and
uncanny; he declares that his friend is the true automaton. Nathaniels clear confusion of what
is existent and what is nonexistent marks one of his final moments before his fatal surrender to
a wild illusion.
Ultimately, both Werther and Nathaniel only have themselves to blame for their failing
ability to balance reality with imagination, resulting in numerous tragedies in their lives.
Though some readers may argue that these characters struggles and deaths are due to poor
decisions, one must realize where these decisions originate. Their denial of facts in favor of
how they want to perceive occurrences shows just how far uncontrolled fanciful ideas can
delude ones mind Therefore, it is vital for one to remember that though the imagination can
lead to many fantastic, creative ideas and inventions, it also can be deadly and destructive. If
one does not remember this key, he or she is likely to fall into the same boat as these two
gentlemen. By depicting such reckless misuse of cognition, Goethe and Hoffmann are offering
a life preserver to anyone who might be adrift in the sea of life, wandering away from the
tangible shores and farther into open, undefined, imaginative waters.

Works Cited

Goethe, Johann Wolfgang von. The Sorrows of Young Werther. Trans. Thomas Carlyle and R.
D. Boylan. Mineola NY: Dover, 2002. Print.
Hoffmann, E. T. A. The Sandman. Trans. John Oxenford. Web. 5 Feb. 2012.