The Golden Pot was written between the summer of 1813 and February 15, 1814, and was first published in 1814 as the third volume of the anthology ''
Fantasy Pieces in Callot's Manner [Fantasiestücke in Callots Manier'']. The title of the anthology references
Jacques Callot (1592-1635), who executed brilliantly detailed etchings and drawings in the
baroque style.
Life influences Letters, diary entries, and essays that Hoffmann wrote as he was working on
The Golden Pot indicate that it was written during one of the most unsettled periods of his life. During his stay in Dresden, where he was working as a music director, he witnessed the death, hunger, and disease that were the result of the bloody battles fought between the troops of
Napoleon and those of the Allies (Prussia, Austria, and Russia). ''. Painting by
Bernardo Bellotto, called Canaletto, 1747 , 1895 In a letter that reports on the terrible conditions in Dresden and his own impaired health, Hoffmann admits that it is the menacing external conditions that have allowed him access to the marvelous world of
The Golden Pot: "Never before this dark and fateful time, in which one lives a day-to-day existence and is happy to have it, has writing so attracted me. It is as though a wondrous kingdom has opened itself to me, a kingdom that originates within me and, as it takes shape, removes me from the stress of external events." In this letter of 1813 Hoffmann also sketches out his concept for
The Golden Pot in some detail: "I have been exceedingly busy with the continuation of [the
Fantasy Pieces], primarily a fairy tale that will take up most of an entire volume. Do not think for a moment, good Sir, of
Scheherazade and one thousand and one nights--
turbans and
Turkish trousers have been banned completely. I intend the entire fairy tale to step into everyday life and there to assume its shapes in a manner that is fairylike and wondrous but at the same time bold. For example, . . . the youth . . . falls eternally and madly in love with one of the green snakes. He . . . marries her and receives as a dowry a golden
chamber pot that is studded with jewels. The first time he pisses in it he is transformed into a
meerkat, etc." Hoffmann's letter indicates that he originally planned a shallow, joking story. He later revised this concept to make his tale deeper and more serious. Passages from other letters written in 1813 suggest that this change was brought about by a process that Hoffmann describes as a continuing opening of his internal self. He concerns himself more and more with his own past, with the aim of coming to grips with wrongs he feels he has suffered; that is, he is going through what has been called a process of mourning. The author increasingly writes himself into his story, and the finished work contains a number of autobiographical allusions and references to contemporary events and places in Dresden. The subtitle of the novella (
A Modern Fairy Tale) likely is a reflection of this. With
The Golden Pot, Hoffmann has consciously invented a new literary genre. In contrast to the traditional
fairy tale, the “modern fairy tale” takes place in a contemporary setting that would be recognizable to any citizen of Dresden in the nineteenth century. Although the final story was more serious than the one originally planned,
The Golden Pot still contains a great deal of humor.
Influences of published works The "deepening" of
The Golden Pot probably also was influenced by published works that Hoffmann is known to have read shortly before and during the period of his work on the novella. Important appears to be
Gotthilf Heinrich von Schubert's
Views on the Night Side of the Natural Sciences [
Ansichten von der Nachtseite der Naturwissenschaften]. The theories of the romantic mythologist and linguist
Johann Arnold Kannes, and
Friedrich Wilhelm Joseph Schelling's
Ideas for a Philosophy of Nature as Introduction to the Study of this Science [
Ideen zu einer Philosophie der Natur als Einleitung in das Studium dieser Wissehschaft] also appear to have had an influence on
The Golden Pot. Hoffmann also read Montfaucon de Villar's
Count of Gabalis or Conversations on the Hidden Sciences [
Le Comte de Gabalis ou Entretiens des Sciences Secrètes], from which he clearly derived material for his depiction of the elemental spirits.
Operatic influences The plot of Hoffmann's fairy tale may have been influenced by his experience in the theater, which began in 1808.
Wolfgang Amadeus Mozart's opera
The Magic Flute was one of the many operas that Hoffmann conducted during the period in which he wrote
The Golden Pot. In the opera, Tamino must survive tests imposed by Sarastro, a wise magician, if he is to win her. The wise old Sarastro resembles Archivist Lindhorst in this regard, and Sarastro also has a female foe, the Queen of the Night, who is Pamina's mother, comparing to the applemonger, who was Veronika's wardress. Like the applemonger, the Queen is associated with both the night and the lowly realm of the earth. Tamino, like Anselmus, must learn the differences between a wise, majestic mentor and a female personification of evil. Hoffmann's work on one of his own operas,
Undine, which he composed in Dresden between 1812 and 1814, may also have influenced
The Golden Pot. Based on a story by
Friedrich de la Motte Fouqué, the opera is the story of a water nymph who gains an immortal soul by winning the love of a human being.
Influencing other works The transformation of Lindhorst's bronze knocker into the face of the Applewoman is echoed in
Charles Dickens'
A Christmas Carol when Ebenezer Scrooge sees Jacob Marley's face in his own door knocker. It has been speculated that
The Golden Pot was an influence for
Joseph Smith when authoring the origin story for how he created
The Book of Mormon. This was first suggested in the 2002 book
An Insider’s View of Mormon Origins, written by
Grant H. Palmer. However, this theory was dependent on the authenticity of the
Salamander Letter, which proved to be a forgery. Nonetheless, Palmer has never repudiated his theory. ==Analysis==