payment page
The divide between imagination and reality is not as clear as it may seem.
Throughout the story, Hoffmann intentionally blurs the distinction between the Stahlbaums' world, or reality, and the Puppet Kingdom, or imagination. He invites the reader to believe in the Nutcracker just as Maria does and ultimately suggests that belief can render the most extraordinary things possible. The primary way in which he builds this argument is through his characterization of Godfather Drosselmeier, emphasizing the active role he plays in both worlds. Drosselmeier’s interactions with the Stahlbaum family early in the story confirm to the reader that he is a real man, but his choices to include a figure of himself in the mechanical castle and name a character after himself in the tale of Princess Pirlipat suggests that there may be more to him than meets the eye. As a result of Drosselmeier’s appearances in these fantastical contexts, he functions as a bridge between the Stahlbaums’ reality and the Puppet Kingdom. His ability to manipulate Maria’s perceptions of the Nutcracker makes it possible for her to cross the line between imagination and reality as well, eventually empowering her to break Lady Mouserings’ curse. Young Drosselmeier’s arrival at the Stahlbaum house, as well as his request to make Maria queen of the Puppet Kingdom, further suggests that imagination and reality can coexist. Notably, Hoffmann stops short of explicitly confirming that the Puppet Kingdom is real by using ambiguous language in the story’s final paragraphs. Phrases such as “as I have heard” and “it is said” leave Maria’s fate rather open ended, forcing the reader to decide for themselves whether or not to believe in her fantastical worldview. Putting this choice in the reader’s hands emphasizes the idea that the divide between imagination and reality is a matter of perspective.
Physical appearances are not an inherent reflection of character.
One of the most notable aspects about the Nutcracker, at least according to Drosselmeier, is his ugly appearance. With his large head, stout body, and tiny legs, the Nutcracker’s figure is hardly natural, and many characters in the story perceive this difference as a negative trait. Drosselmeier even goes so far as to mock Maria for hugging “such an ugly little fellow” and insists on telling the tale of how the Nutcracker became so deformed. Despite all of the criticism that the Nutcracker faces due to his appearance, Maria grows fond of him because she recognizes that he has a good temper and pure heart. Her refusal to believe in traditional standards of beauty emphasizes both the depth of her own character and the complexities of her world. The Nutcracker, of course, proves Maria right when he nobly fights against the Mouse King, graciously thanks her for saving him, and warmly welcomes her to the Puppet Kingdom. These qualities, rather than his appearance, are what earn the Nutcracker Marie’s love and allow him to transform back into Drosselmeier’s nephew. The Nutcracker’s evolution ultimately contributes to the story’s broader assertion that things are not always what they appear to be. He is not the only character, however, whose personality does not align with their physical appearance. Princess Pirlipat also defies expectations as she possesses a rather nasty attitude despite her widely celebrated beauty. She harshly dismisses the Nutcracker despite the fact that he freed her from Lady Mouserings’ curse and took it on himself, an unbecoming response which reflects her judgmental nature.
Adhering to social expectations leads to a shallow, stifling life.
While Maria manages to achieve a bright, rich view of the world through her experiences with the Nutcracker, many of the other characters in the story remain stuck in a lifeless reality. The social structures and conventions that they prescribe to inevitably leave them underdeveloped as individuals, and this trend allows Hoffmann to critique the values of his era. Doctor and Mrs. Stahlbaum are prime examples of characters who, as a result of their commitment to maintaining a bourgeois lifestyle, come across as particularly shallow. Their primary goal throughout the story seems to be preventing Maria from indulging her fantasies, emphasizing the importance of thinking rationally above all else. Beyond this perspective, they have very few defining characteristics. The fact that the surname “Stahlbaum” translates to “steel tree” is particularly fitting for the rigid environment in which Doctor and Mrs. Stahlbaum aim to raise their children. They are not the only characters, however, who embody a particular identity, attitude, or behavior. Many from Drosselmeier’s tale about Princess Pirlipat also come across as one-dimensional because of their commitment to the social norms associated with their respective positions. The King, for example, takes advantage of his authority and is extremely selfish and demanding. Aside from his bizarre obsession with sausages, he functions like a stock character who is nothing more than a harsh, egotistical ruler. Princess Pirlipat has a similar effect within the story as her beauty makes up almost her entire identity. Not even her experiences under Lady Mouserings’ curse are enough to separate her sense of self-worth from her physical appearance, and this lack of development reinforces her role as a one-dimensional character. By including these shallow figures throughout the story, Hoffmann is able to further distinguish Maria as someone unique and call attention to just how impactful her experiences truly are.
