ers Kreisler mit dem Baron
Wallborn_, that is Hoffmann himself and Baron von Fouque. With the
latter Hoffmann spent a happy fortnight in 1815 at his seat of
Nennhausen near Rathenow; Hitzig was also of the party. In August of
the following year the opera _Undine_ was put upon the stage. Though
Fouque's libretto did not pass without some adverse criticism, all
voices were unanimous in praise of the music. Von Weber the musician
especially expressed himself warmly in admiration of it, affirming that
it was "one of the most talented productions of recent times;" and he
especially singled out for attention its truth, its smooth-flowing
melodies, and its instrumentation; it was "in truth _one_ gush" of
music. The opera was repeated more than a score of times, when
unfortunately the theatre was burnt down, and Hoffmann, who lived
immediately adjoining it, was almost burnt out of house and home at
the same time.

Through the success of this opera as well as through that of his
_Fantasiestuecke_, Hoffmann found himself celebrated. He was invited as
the hero of the evening to the fashionable tea circles of Berlin, where
ignorant or half-educated _dilettanti_ affected an interest in art
matters, that was over-strained and wanting in sincerity when it was
not ridiculous. For what was there the man could not do? He wrote books
about which all Germany was talking, he could improvise on the
pianoforte, compose operas, sketch caricatures, and streams of wit
gushed from him so soon as he opened his mouth. The homage showered
upon him at these gatherings flattered Hoffmann's vanity for a time,
but he soon saw the motives for which he was asked to be present--to
amuse the guests with his wit, to accompany the daughter or lady of the
house on the piano, to discuss art matters in a becoming way now with
an old grandmother, now with a grave professor, to tell diverting
anecdotes, to tickle the lazy minds of those who listened with some
spicy satire upon their enemies--in fact to be made a useful show of.
Quickly fathoming these motives, Hoffmann proved himself readily equal
to the occasion: as soon as he began to get bored, which very
frequently was the case, he made the most hideous grimaces, and when he
saw the company were preparing to draw something from him by way of
criticism which they could carry further and perhaps repeat again as
springing from their own acute judgment, he began to talk the most
arrant nonsense he could think of,