Abstract
Even after having achieved international fame with his fantastic stories, the Romantic writer E.T.A. Hoffmann considered himself more as a musician and composer than as a writer. In his theoretical writings about music, he extolled the value of dissonances, though he produced them rather more in his poetic works than in his musical compositions. These dissonances can be distinctly perceived in the proper names found in his fairy tale The King’s Bride which, with the exception of the river Main and the personal name Anna/ Ännchen, are all invented by Hoffmann.
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