3. Der Text oben ist nur ein Auszug. Nur Abonnenten haben Zugang zu dem ganzen Textinhalt. In verschiedenen Aspekten entspricht Clara Olimpia, sodass es für Nathanael einfacher wird, sich in sie zu verlieben: Olimpia kann nur „Ach“ sagen. He resolves to marry Clara and move to a pleasant estate near his home town. Read in German by Karlsson Der Student Nathanael glaubt in einem Wetterglashändler namens Coppola einen Mann wieder zu erkennen, der in seiner Kindheit als Advokat Coppelius regelmäßig abends seinen Vater besuchte und mit diesem offenbar alchimistische Experimente machte, bei denen der Vater schließlich bei einer Explosion starb. A letter from Nathanael to Lothar, in which Nathanael declares that Coppola is not, after all, Coppelius: Coppola is clearly Italian, while Coppelius was German, and Coppola is also vouched for by the new physics professor, Spallanzani, who is also Italian and has known Coppola for years. Nathanael dances with her repeatedly, awed by her perfect rhythm, and eventually tells her of his passion for her, to which Olimpia replies only "Ah, ah!". Coppelius disappears into the crowd. Coppelius begins taking "shining masses" out of the fire and hammering them into face-like shapes without eyes. and leaps over the railing to his death. Nathanaels romantische Geisteshaltung und seine Liebe zu Olimpia werden hauptsächlich durch die Abgrenzung von Clara und der aufgeklärten vernünftigen Umwelt deutlich. With Clara in place of Olimpia as the subject of the spyglass's gaze, madness strikes Nathanael again, and he tries to hurl Clara from the steeple. Clara und Olimpia werden beide sowohl durch ähnliche Eigenschaften als auch als Gegenpole in der Erzählung charakterisiert.
During the following days, he visits Olimpia repeatedly, reading her the poems and mysticism that had so bored Clara, and Olimpia listens to it all and replies only "Ah, ah! She was touched at the account of Nathanael's childhood trauma, and discussed it with Lothar, but she is convinced that the terrors are of Nathanael's own imagining and urges him to put Coppelius/Coppola out of his mind. A letter from Clara to Nathanael, explaining that Nathanael had addressed the previous letter to her instead of to Lothar. He recounts that one night, he hid in his father's room to see the Sandman. It is Coppelius, an obnoxious lawyer come to carry out alchemical experiments. Her stiffness of movement and coldness of touch appear strange to many of the company. Nevertheless, the encounter with Coppola has had a profound effect on Nathanael, driving him toward a gloomy mysticism which bores Clara and leads to their gradual Nathanael returns to complete the final year of his studies, after which he intends to return to his hometown forever. 'Eh, Natty', said she, 'don't you know that yet?
He is pulled away by other people drawn by the noise of the struggle, and in a state of insanity, is taken to an asylum. Furthermore, the psychological conflict of the Of central importance is the "eyes" theme (interpreted by The Coppelius/Coppola character can be considered not as a real physical character, but as a metaphor, like Nathanael does when he returns home. Der Sandmann: Date de parution 1817: Version française; Nombre de pages 38, 41 ou 51 (en version intégrale) . Coppola calls to sell his wares, and offers "pretty eyes, pretty eyes!" Shortly after this third letter, Nathanael returns to his home town from his studies to see Clara and Lothar, and in the joy of their reunion Coppelius/Coppola is at first forgotten. Note that the fight between Spallanzani and one or both of them for the "wooden doll" where we hear Coppelius's voice but see Coppola. The narrator adds that the story of the automaton had a widespread effect on society, with many lovers taking steps to ensure they were not enamoured of puppets but of real flesh and blood. Eventually Nathanael determines to propose to Olimpia, but when he arrives at her rooms he finds an argument in progress between Spallanzani and Coppola, who are fighting over the body of Olimpia and arguing over who made the eyes and who made the clockwork.