When she plays and sings it is with the unpleasant soulless regularity of a machine, and she dances in the same way. She walks with a curiously measured gait every movement seems as if controlled by clockwork. Siegmund remarks that he has appeared to us in a strange way rigid and soulless … She might be called beautiful if her eyes were not so completely lifeless. They find her behaviour oddly disturbing, it is true but it is far from clear that they are not likewise duped. His fellow students are not sure what to make of Olympia.

Nathaniel is disabused quite by accident when he overhears a quarrel between Spalanzani, who made Olympia’s clockwork, and the sinister Coppelius, who contributed the eyes (real eyes, it seems). deception on the part of the doll’s designer, Professor Spalanzani. The mistake is the result of an elaborate but obscure. We are meant to suppose that Nathaniel mistakes an automaton for a human being (and so a person).

In a well-known tale, The Sandman, Hoffmann has a student, Nathaniel, fall in love with a beautiful doll, Olympia, whom he has spied upon as she sits at a window across the street from his lodgings. As the cultural prestige accorded the romantic and solitary author waned, Matthews came to embody a phenomenon that assigned cultural prestige to the practice of authorship as an activity most suited for men who could “mix.” Through his collaborative fiction, critical essays, indefatigable socializing, and most importantly, his exchanges with other writers and literary figures, Brander Matthews drew together conflicting theories about the practice of writing in order to bolster the vision of romantic authorship for what he saw as the new and resolutely unromantic twentieth-century literary marketplace. For Matthews, the ability to socialize was part of his identity as a specific kind of cultural figure, that of a professional man of letters. Although Matthews counted among his friends many prominent critics, writers, and politicians (especially notable was his intimate friendship with Theodore Roosevelt), his congeniality and relentless socializing was not part of a program of professional networking.

University, observed that Matthews “knew everybody and everybody knew him” and Mark Twain even jokingly inscribed one of his books, “To B. Nicholas Murray Butler, President of Columbia. Clayton Hamilton wrote in 1929 that Matthews had a “genius in the gentle art of friendship,” while his ex-student, the formidable cultural critic, Randolph Bourne, complained that Matthews “seems to have known everybody, and to have felt nothing” (Hamilton 86 Bourne 235).

Both the friends and enemies of Brander Matthews attested to his sociability.

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