Professional Documents
Culture Documents
Laura Levine
11/19/2006
The essay “On The Marionette Theatre” by Heinrich von Kleist, through the character of his
dancer friend, holds that puppets are the ultimate of grace because thought diminishes grace, until
thought becomes all-encompassing and grace returns. The tale of “The Nutcracker and The King of
Mice” by E. T. A. Hoffman is also concerned with the grace and inherent properties of toys. “The
Nutcracker and The King Of Mice” does not, however, completely subscribe to the straightforward
principle in “On The Marionette Theatre.” On the one hand, the beauty and simplicity of the inanimate
characters is examined at great length by Hoffman, but on the other hand, the life which enters the toys
is described with equal grace and beauty. The questions this raises are: Does the text support toys and
puppets as being the most graceful due to their absence of thought, or does life, and the thought that
Kleist's marionettes are graceful precisely because they lack human thought or emotion, and are
only bound by the laws of gravity. At the beginning of The Nutcracker, the toys are described before
life enters them, with a sense of wonder and joy. When the toys are first revealed, in their lifeless form,
Hoffman very specifically describes the children's reaction to them. “The two children stood speechless
with their eyes fixed on all the beautiful things... Marie, with a sigh, cried 'Oh, how lovely! How
lovely!' and Fritz gave several jumps of delight” (Hoffman 132). The array of toys are before them, and
they are struck with the wonder and beauty of the toys. Clearly, they do not need to have lives of their
own to seem beautiful to Fritz and Marie. The text describes again. “Oh, how many beautiful things
there were! Who, oh who, could describe them all?” (Hoffman 132). Marie certainly believes that there
is grace in her toys. She says to Godpapa Drosselmeier that “if [he] were to be dressed the same as
[her] darling Nutcracker, and had on the same shining boots—who knows whether [he] mightn't look
Nutcracker appears to her in real life as the young Drosselmeier, she still sees beauty in him. He is
described as “a very small but very handsome young gentleman” (Hoffman 181). Marie “grew red as a
rose at the sight of this charming young gentleman” (Hoffman 181). During the Nutcracker's life as a
living toy, as well, there are emotional moments of grace as well. For instance, when he is offered the
token by the doll of Clara, the Nutcracker declines in a very poetic manner. “'Oh lady! Do not bestow
this mark of your favor upon me; for--' He hesitated, gave a deep sigh, took the ribbon with which
Marie had bound him...pressed it to his lips, [and] put it on as a token” (Hoffman 143). The narrator
passes judgment over these actions, saying, “This good, true-hearted Nutcracker preferred Marie's
much commoner and less pretentious token.” By holding this moment up as a moment of beauty for the
Nutcracker, the text is pointing to some sort of beauty outside of the sheer aesthetic beauty of being
completely moved by gravity. He is behaving as a little gentleman; the idea of a 'gentleman' is not a law
of gravity but rather a law of society, and his ability to act accordingly is just as graceful as his leap to
The contradiction between grace in the inanimate and grace stemming from life and thought
seems to resolve in favor of thought. There is an extremely poignant passage of the text where Godpapa
Drosselmeier gifts Fritz with a small castle filled with toy ladies and gentlemen. Fritz gives several
orders as to what should happen differently, and Godpapa Drosselmeier replies, “'Nonsense, nothing of
that sort can be done... the machinery must work as it's doing now; it can't be altered, you know'”
(Hoffman 134). Fritz replies, “'If your little creatures in the castle there can only always do the same
thing, they're not much worth'” (Hoffman 134). Fritz does not like the fact that he is denied the right to
choose what his toys will do, and that the toys have no spontaneity. Marie seems to agree, as “she was
tired of the promenading and dancing of the puppets in the castle” (Hoffman 134). Despite whatever
aesthetic grace the mechanical dance of the puppets may hold, her interest is not held simply by the
mechanical perfection of it. She is in search of something more: she finds that in the Nutcracker. At
first, it may seem as though her fascination with the Nutcracker supports a lifeless grace, but later the
text relates, “Nutcracker, even before he really came to life, had felt and understood all Marie's
goodness and regard” (Hoffman 143). By using the words “really came to life,” the passage betrays the
intention that the Nutcracker has truly had some life the entire time, even if he is inanimate. The
differences in the descriptions of the Nutcracker's face before he comes to life betrays that the toy is
'feeling' and 'reacting' to Marie's emotions even before he comes to life in the cupboard. It is precisely
because Marie can sense this life that she is fascinated with the toy.
Still, the question remains as to whether grace is connected to life at all, or whether their
appearances are coincidental. Her love of the Nutcracker is present whether or not he is animate; Fritz
loves his toys even though he does not believe in their life. The text speaks more distinctly to the idea
that grace comes neither from mechanical action devoid of thought nor from the beauty of thought and
life, but rather from the perception of the beholder. Marie asks whether her Godpapa could look as
handsome as the Nutcracker, but Godpapa Drosselmeier refers to the Nutcracker in his inanimate state
as “an ugly little fellow.” Fritz is incredibly dismissive of the Nutcracker as well; while he does not
actively dislike the Nutcracker, he does not seem very interested in it at all. The parents certainly don't
find the Nutcracker to be a very fascinating toy; they are much more interested in the Castle, as is
Godpapa Drosselmeier. On the other hand, Fritz and Marie reject the Castle as being mechanical and
uninteresting. Clearly, each character has a different conception of grace and what attains grace; things
are not as universal as the essay “On The Marionette Theatre” seems to believe.