Strange and soft terror,

My reflection, my soul, my life

To you, always to you!

Giulietta.

If your presence I lose,

I would keep of you

Your reflection, your soul, your life;

Dear one, give them me.

Giulietta (suddenly).

Schlemil!

(Schlemil enters followed by Nicklausse, Dapertutto, Pittichinaccio and others.)

Schlemil.

I was sure of it! Together!

Come, gentlemen, come,

’Tis for Hoffman, it seems to me

That we are abandoned.

(Ironic laughter.)

Hoffman.

Monsieur!

Giulietta (to Hoffman).

Silence!

(Aside) I love you, he has my key.

Pitichinaccio (to Schlemil).

Let us kill him.

Schlemil.

Patience!

Dapertutto (to Hoffman).

How pale you are!

Hoffman.

Me!

Dapertutto (showing him a mirror).

See rather.

Hoffman (amazed).

Heavens!

Giulietta.

Listen, gentlemen,

Here come the gondolas,

The hour of barcaroles

And of farewells!

(Schlemil conducts the guests out. Giulietta goes away throwing a look at Hoffman. Dapertutto remains. Nicklausse goes toward Hoffman.)

Nicklausse.

Are you coming?

Hoffman.

Not yet.

Nicklausse.

Why? Very well. I understand, Good-by.

(Aside). But I’ll watch over him.

(He goes out.)

Schlemil.

What do you wait for?

Hoffman.

That you give me a certain key I’ve sworn to have.

Schlemil.

You shall have this key, sir, only with my life.

Hoffman.

Then I shall have one and the other.

Schlemil.

That remains to be seen. On guard!

Dapertutto.

You have no sword (presenting his own). Take mine!

Hoffman.

Thank you.

Chorus (in the wings).

Sweet night, oh night of love,

Smile on our bliss serene

When the stars that shine above

Greet the heaven’ly Queen.

(Hoffman and Schlemil fight. Schlemil falls mortally wounded. Hoffman bends and takes the key from around his neck. He rushes to Giulietta’s room. Giulietta appears in a gondola.)

Hoffman (coming back).

No one.

Giulietta (laughing).

Ha, ha, ha!

(Hoffmann is in a stupor looking at Giulietta.)

Dapertutto (to Giulietta).

What will you do with him now?

Giulietta.

I’ll turn him over to you.

Pitichinaccio (entering the gondola)

Dear angel.

(Giulietta takes him in her arms.)

Hoffman (comprehending the infamy of Giulietta).

Vile wretch!

Nicklausse.

Hoffman! Hoffman—the police!

(Nicklausse drags Hoffmann away. Giulietta and Pitichinaccia laugh.)

Act IV.

(At Munich at Crespel’s. A room furnished in a bizarre fashion.)

Antonia (alone. She is seated at the clavichord).

She has fled, the dove

She has fled far from thee!

(She stops and rises.)

Ah memory too sweet, image too cruel!

Alas at my knees I hear, I see him!

She has fled, the dove.

She has fled far from thee;

She is faithful ever,

And she keeps her troth.

Beloved, my voice calls thee,

All my heart is thine.

(She approaches the clavichord again.)

Dear flower but now open,

In pity answer me,

Thou that knowest if still he loves me,

If he keeps his troth.

Beloved my voice implores thee.

May thy heart come to me.

(She falls in a chair.)

Crespel (entering suddenly).

Unhappy child, beloved daughter,

You promised to no longer sing.

My mother in me lived again;

My heart while singing thought it heard her.

There is my torment. Thy loved mother

Left thee her voice. Vain regrets!

Through thee I hear her. No, no, I beg...

Antonia (sadly).

Your Antonia will sing no more!

(She goes out slowly.)

Crespel (alone).

Despair! A little while again

I saw those spots of fire

Mark her face. God!

Must I lose her I adore?

Ah, that Hoffman... ’tis he

Who put in her heart this craze. I fled

Far as Munich...

(Enter Frantz.)

You, Frantz, open to nobody.

Frantz (false exit).

You think so...

Where are you going?

I’m going to see if anybody rang.

I said, Open to nobody.

(Shouting) To nobody! This time do you hear?

Good Heavens! we’re not all of us deaf?

All right! The devil take you!

Yes, sir, the key is in the door.

Its agreed then.

(He exits quickly.)

Frantz (alone).

Well! What! angry always!

Strange, peevish, exacting!

One would think that one pleased him

For his money...

Day and night I’m on all fours,

At the least sign I’m silent;

It is just as if I sang!

But no, if I sang,

His contempt he’d have to modify.

I sing alone sometimes,

But singing isn’t easy!

Tra la, la, tra, la la!

Still it isn’t voice that I lack, I think,

Tra la la, tra la la,

No, ’tis the method.

Of course one can’t have everything.

I sing pretty badly,

But dance agreeably,

And I do not flatter myself;

Dancing shows off my advantages.

’Tis my one great attraction,

But dancing isn’t easy.

Tra la la, tra la la.

(He dances and stops.)

With women the shape of my leg

Would do me no harm,

Tra la la, tra la la!

No, ’tis the method.

(Hoffman enters followed by Nicklausse.)

Frantz! This is it. (touches Frantz on shoulder.)

Hey, who’s there? (rises, surprised.)

Monsieur Hoffman!

Myself. Well, Antonia?

He’s gone out, sir.

Hoffman (laughing).

Ha, ha, deafer yet

Than last year...

Monsieur honors me,

I am very well, thanks to heaven.

Antonia! I must see her.

Very well! what a joy

For monsieur Crespel! (He goes out.)

Hoffman (sitting before the clavichord).

’Tis a song of love

That flies away,

It takes its turn...

Antonia (entering suddenly).

Hoffman (receiving her in his arms).

Nicklausse (aside).

I am one too many, good night.

Ah, I well knew that you loved me still.

My heart told me that I was regretted,

But why were we separated?

I have happiness in my heart;

To-morrow you’ll be my wife

The future shall be ours!

To love let’s be faithful,

That her eternal chains,

Keep our hearts

Conquerors even against time!

I have joy in my heart!

To-morrow I’ll be your wife,

The future is ours!

Each day new songs,

Your genius opens its wings,

My conquering song

Is the echo of your heart.

Hoffman (smiling).

Still, oh my affianced,

Shall I speak my thought?

That, spite of myself, troubles me,

Music inspires a little jealousy,

You love it too much!

Antonia (smiling).

See the strange fantasy!

Did I love you for it, or it for you?

For you are not going to forbid me

To sing, as did my father.

Yes, my father at present imposes the virtue

Hoffman (aside).

’Tis strange... can it be?...

Antonia (drawing him to the clavichord).

Come here as before;

Listen, and you’ll see if I’ve lost my voice.

How your eye lights up, your hand trembles.

Antonia (making him sit down).

Here, the soft song of love we sang together.

’Tis a song of love

’Tis a song of love,

Smiles on the Spring.

Ah! how long will it be

’Tis a song of love

That flies off, etc., etc.

Matches thy beauty.

Will you see the summer?

Flower of the soul.

’Tis a song of love, etc., etc.

(Antonia puts her hand to her heart.)

Why, what is the matter?

Antonia (doing same again).

Hoffman (listening).

Heavens, my father! Come, come...

(She goes out.)

No! I must know the last word of this mystery.

(He hides. Crespel appears.)

Crespel (looking about him).

No, nothing. I thought Hoffman was here.

May he go to the devil!

Hoffman (aside).

Frantz (entering).

Doctor Miracle.

Infamous scoundrel,

Quickly close the door.

Yes, sir, the doctor...

He, doctor? No, on my soul,

A grave digger, an assassin!

Who would kill my daughter after my wife.

I hear the jingle of his golden vials,

From me let him be chased.

(Miracle suddenly appears. Frantz runs away.)

Ha, ha, ha, ha!

Well, here I am! ’tis me.

This good monsieur Crespel, I like him,

But where is he?

Crespel (stopping him).

Ha, ha, ha, ha!

I sought for your Antonia.

Well, this trouble she inherited

From her mother? Still progressing, dear girl.

We’ll cure her. Take me to her.

To assassinate her... If you make one step

I’ll throw you out of the window.

There now softly, I do not wish to

(He advances a chair.)

What do you, traitor?

To minimize the danger,

One must know it.

Let me question her.

Crespel and Hoffman.

Terror penetrates me.

(Miracle, his hand extended toward Antonia’s room.)

To my conquering power,

Give way with good grace.

Near me without terror

Come take your place.

Crespel and Hoffman.

With fright and with horror

All my being is cold;

A strange terror

Chains me to this place.

Crespel (seating himself).

Come, speak and be brief.

(Miracle continues his magnetic passes. The door of Antonia’s room opens slowly. Miracle indicates that he takes Antonia’s hand and leads her to a chair.)

Please sit there.

Miracle (paying no attention).

How old are you, please?

I am speaking to your child.

Hoffman (aside).

What age (he listens). Twenty!

The Spring of life.

(He appears to feel the pulse.)

Let me see your hand!...

Miracle (pulling out his watch).

Chut! let me count.

Hoffman (aside).

God! am I the plaything of a dream? Is it a ghost?

The pulse is unequal and fast, bad symptom. Sing.

Crespel (rising).

No, no, don’t speak... don’t have her sing.

(The voice of Antonia is heard.)

See her face brightens, her eyes are on fire;

She carries her hand to her beating heart.

(He follows Antonia with his gestures. The door of her room closes quickly.)

What is he saying?

Miracle (rising).

It would be a pity truly

To leave to death so fine a prey!

If you will accept my help,

If you would save her days,

I have there certain vials I keep in reserve.

(He takes vials from pocket which he makes sound like castanets.)

Of which you should.

Shut up! Heaven preserve me

From listening to your advice, miserable assassin.

Of which you should, each morning...

Why, yes, I hear you.

A while ago, an instant

These vials, poor father,

You will be then, I hope,

Be off, be off, be off!

Out of this house, Satan,

Beware of the anger

And the sorrow of a father.

Hoffman (aside).

From the death that awaits thee

I shall know, poor child,

How tear thee away, I hope!

Laugh in vain at a father,

Miracle (continuing with same coolness).

Of which you should...

Each morning...

(He pushes Miracle out and closes the door.)

Ah, he’s outside and my door is closed!

We are at last alone,

My beloved girl!

Miracle (walking through the wall).

Of which you should each morning...

Come, come, may the waves engulf thee!

We’ll see if the devil

Will get thee out.

Be off, be off, be off!

Hoffman (aside).

From the death that awaits thee,

Of which you should...

Each morning...

(They disappear together.)

Hoffman (coming down).

To sing no more! How obtain from her

Such a sacrifice?

Antonia (appearing).

Well? What did my father say?

Ask me nothing;

Later you’ll know all; a new road

Opens for us, my Antonia!...

To follow my steps dismiss from your memory

These dreams of future success and glory

That your heart to mine confided.

Love calls to both of us,

All that is not you is nothing in my life.

Very well! Here is my hand!

Ah dear Antonia, shall I appreciate

What you do for me? (He kisses her hands.)

Your father will perhaps return.

I leave you... until to-morrow.