“All you children who love stories, come gather around.” (at the very end of each episode except ep. 13 & 26, Princess Tutu)
the end of ep. 20 in Princess Tutu｜the beginning of ep. 21 in Princess Tutu
Drosselmeyer was a mysterious and chilling Spinner in Princess Tutu. He revenged for the betrayal of people whom he had spun stories for; he was eager for tragedies so much that he made his characters and real people be caught in sufferings. However, his life is full of mystery and there is poor evidence showing what he was really like before he died. Perhaps there is no difference before and after he died; or he might be a good fellow and loved to help people. Whatever the truth is, it’s delighted to discuss and analyze the model of Drosselmeyer. His name, characteristics and the style of his work look familiar in our world.
II. Analysis
A. Character
(A) Based on Christian Elias Droßelmeier in the German Tale Nussknacker und Mausekönig (1816)
Nussknacker und Mausekönig (Nutcracker and Mouse King) is a German tale written by E.T.A. Hoffmann. In the story, the godfather of Marie was named Christian Elias Droßelmeier. He was a Supreme Court Justice, a clockmaker and an inventor. Every mechanical toy given to Marie and her brother Fritz was made by himself, like the Christmas gift, clockwork castle (In ballet The Nutcracker, he invented mechanical dolls). His German last name Droßelmeier can be written as “Drosselmeier” or “Drosselmeyer” in English. And that was also the ghost Spinner’s pen-name and last name (on his tombstone) in Princess Tutu.
The Nutcracker and the Mouse King illustrated byArtuš Scheiner (published in Prague,1924) | Ep. 10 in Princess Tutu
Here’s the comparison between the “Droßelmeier” and the “Drosselmeyer”:
Name | Full name: Christian Elias Droßelmeier (English: Christian Elias Drosselmeier) | Pen-name: Drosselmeyer Name on his tombstone: D. D. Drosselmeyer |
Relationship with Main Characters | 。Marie’s godfather 。The giver of Marie’s Nutcracker 。Nutcracker’s uncle | 。Fakir’s ancestor 。The giver of Duck’s magical pendant 。The creator of the Prince |
Origin | The character of the German fairy tale Nussknacker und Mausekönig | The author of the German tale Prinz und Rabe |
Appearance & Costume | 。Hairstyle: bald, wearing an artistic periwig made of spun glass 。Build: short and scrawny 。Face: full of wrinkles 。Eyes: covered with a big, black patch on his right eye 。Wearing: a hat, yellow coat and yellow jacket | 。Hairstyle: white, long and curl 。Build: tall and thin 。Face: with goat beard and wrinkles 。Eyes: light orange bulging eyes 。Wearing: a huge hat with colorful feathers, a red coat, and a teal jacket |
Characteristic | Weird and mysterious | Mad, weird and mysterious |
Profession | 。Building and repairing clocks 。Inventing mechanical toys | 。Spinning stories and making them come true, especially tragedies 。Stopping time of reality shortly (might be related to his spinning ability and the mechanism hidden in the church) 。Building mechanical dolls, like Edel |
As a Provocateur | Marie found Nutcracker on the Christmas table and was attracted to it. She then involved in the war between Nutcracker and Mouse King by accident. Droßelmeier told Marie “The Tale of the Hard Nut”. After hearing the tragedy of Nutcracker, she decided to help Nutcracker break through the curse from Mouse King’s mother, Madam Mouserinks. | Duck saw the beautiful but the heartless Prince dancing on her pond and was attracted to him. She incidentally saw a crow entrapping the Prince in falling off the window for saving a fledgling. After listening to Drosselmeyer’s suggestion, she was willing to transform into Princess Tutu to help the Prince restore his heart broken by forbidden magic for sealing the Monster Raven. |
History of Nussknacker und Mausekönig:
- In 1816, the German tale Nussknacker und Mausekönig was published, written by E.T.A. Hoffmann
- In 1844, the French tale Histoire d’un casse-noisette (The Tale of the Nutcracker) was published, written by Alexandre Dumas and adapted from Hoffmann’s Nussknacker und Mausekönig.
- On December 18, 1892, the Russian ballet The Nutcracker (French: Casse-Noisette) premiered at the Mariinsky Theatre in St. Petersburg, Russia. The libretto was based on Dumas’s version. The ballet was originally choreographed by Marius Petipa and Lev Ivanov and scored by Pyotr Ilyich Tchaikovsky.
- On August 16, 2002, the Japanese anime Princess Tutu was broadcast in Japan. Its volume 1 of DVD was released on December 25, 2002 (The Nutcracker is a Christmas ballet). Several elements of The Nutcracker were used in Princess Tutu, like the music (“Miniature Overture,” “Waltz of the Flowers,”...), the dances, the characters, etc.
(B) Based on Drosselmeyer in the Two-Act Ballet, The Nutcracker
The ballet The Nutcracker premiering in 1892 is based on Dumas’s version. However, there is no much difference between Hoffmann’s tale and Dumas’s version. We can be sure of one thing: the godfather Drosselmeyer was a mysterious and weird clockwork inventor indeed. Therefore, it’s not hard to find out his costume in every ballet adaptation is to magnify his weirdness. Besides, he made Marie (some ballet versions introduce her as Clara or Masha) involve in the battle between Nutcracker and Mouse King. He watched the battle silently and coldly and never assisted his beloved godchild Marie, Nutcracker and self-made dolls out of danger. Sounds like Drosselmeyer in Princess Tutu, isn’t he?
Drosselmeyer
Left: The Nutcracker, 2007 (Mariinsky Theatre)
Right: The Nutcracker, 2012 (Mariinsky Theatre)
(C) Based on Coppélius in the French ballet Coppélia
The character music of Edel in Princess Tutu is “Musique des automates” (“Music of the Automata”) of the ballet Coppélia. Edel was a heartless doll created and controlled by Drosselmeyer, just like the dancing doll Coppélia built by Coppélius. Coppélius and Drosselmeyer were both inventors (creators) and evil sorcerers. The former desired to transfer a human’s soul to his automaton with dark magic; the latter created the puppet Edel to guide and monitor his characters, especially Duck. Both Coppélius and Drosselmeyer were mysterious, evil and defeated by heroines who danced hard to save people important to them at last.
(By the way, the volume four of the Japanese DVD cover represents the ballet Coppélia. The role that duck plays was Swanhilda who disguised as Coppélia.)
Left: Coppélia, 2018 (Birmingham Royal Ballet)
Right: the cover of Japanese DVD Vol. 4 of Princess Tutu
The French ballet Coppélia premiering in 1870 was also adapted from E.T.A. Hoffmann’s short tale, Der Sandmann (The Sandman) which was published in Die Nachtstücke (The Night Pieces) in 1817. Coppélia was choreographed by Arthur Saint-Léon with libretto by Charles-Louis-Étienne Nuitter, and scored by Léo Delibes. The plots and endings of Coppélia and of The Sandman are much different. Even the evil Coppelius (German spelling) in The Sandman only created eye balls for the mechanical doll which was built by Professor Spallanzani.
Left: Der Sandmann illustrated by Hugo Steiner-Prag (Insel, 1986)
Center: Coppélia, 2016 (The Australian Ballet)
Right: Ep. 10 in Princess Tutu
Yet Coppelius of The Sandman and Drosselmeyer of Princess Tutu were similar to a certain extent. Coppelius’s existence like a ghost haunted the main role Nathanael’s whole life since he wanted to dig out ten-year-old Nathanael’s eyes for his alchemical experiment but stopped by Nathanael’s father; instead, he tortured the boy by twitching his hands and feet as punishment for peeping. Tragically, after Nathanael grew up and went to college, he mistook the lifelike doll Olympia as a gorgeous lady and fell in love with it. He was even unaware of the connection between Olympia and Coppelius, the murderer of his father. As he found out the truth, he was driven mad and died at the end. Hoffmann has never told us why Coppelius kept harassing Nathanael, even though they hadn’t seen each other for nearly ten years. We only know that Coppelius pursued dark magic madly and manipulated other’s life relentlessly. There is no doubt that Drosselmeyer and Coppelius could be best friends if they met each other.
(D) Based on the evil sorcerer Von Rothbart in the Russian ballet Swan Lake
The Prince in Princess Tutu and the one in the ballet Swan Lake were both called Siegfried; the image of Rue was not only the black swan Kraehe but the white swan Rue (and she danced both roles as the prima donna in Swan Lake!); the Monster Raven performed the role Von Rothbart undoubtedly. But whom could Drosselmeyer play as, if the anime is adapted from Swan Lake?
The Nutcracker and the Mouse King illustrated byArtuš Scheiner (published in Prague,1924)
In Nutcracker and Mouse King, the owl on the top of the clock in the living room shrieked suddenly when Marie was about to go to bed. She saw the owl transformed into her godfather Droßelmeier, laughing like a trickster; and then, Mouse King showed up. If you have seen the design on the limited edition of the Japanese DVD box case, you could tell that the design was based on the ballet The Nutcracker. Yes, Drosselmeyer was standing on a grandfather clock and smirked. We’ve already known that Christian Elias Droßelmeier is one of the models of Drosselmeyer. The image of Drosselmeyer in anime might be an owl.
The Japanese limited-edition DVD-Box of Princess Tutu
Coincidentally, Rothbart in Swan Lake was in owl form in most acts. He and Drosselmeyer were manipulators and rarely showed up in public. They took advantage of the heroines’ feelings, cheated everyone, and forced the white swan obeying their orders. Nontheless, Rothbart and Drosselmeyer failed at the end. The love between the Prince and Odette broke the curse cast by Rothbart despite his monstrous manipulation; Drosselmeyer was conquered by the hope rising in the heart of his all characters.
B. Author
(A) Based on the Danish writer Hans Christian Andersen (1805-1875)
The creator of Princess Tutu Ikuko Itoh wrote that Drosselmeyer was a Scandinavian in chapter one and chapter eight of her journal published on the old official website.[1][2] Besides, the design of Drosselmeyer’s grave is based on Hans Christian Andersen’s grave in Assistens Cemetery in Nørrebro, Denmark.[3] There were more information released that the models of buildings or places like Duck’s pond, a small bridge in episode 6, and a broken outdoor theater in episode 11 & 19 were in Odense, Denmark, the hometown of H. C. Andersen.[2]
from the old official website: "夢徒然〜とろいめらい〜" chapter 1
from the old official website: "夢徒然〜とろいめらい〜" chapter 8
from the old official website: "夢徒然〜とろいめらい〜" chapter 13
Left: shot byThue (2006) | Right: Ep. 23 in Princess Tutu
As we have known, Andersen is best remembered for his fairy tales, which have been translated into more than 125 languages. He was also a prolific writer, a productive poet, a passionate dramatist and a keen traveler. When he was a child, he was enthusiastic about dramas and dreamt of being an actor and a dancer. In 1819, he left his hometown Odense and started a new life in Copenhagen. Nevertheless, he didn’t become a dancer at last:
Andersen is best known for his children’s stories, but he also knew and understood ballet... Lanky and unkempt, Hans left for Copenhagen hoping to enter the theater or ballet, which seemed to offer “a magical picture of happiness and existence.” He maneuvered his way into the Royal Theatre as a dance pupil and even presented himself at the home of Antonie Bournonville, who found him ungainly and gently suggested he concentrate on drama instead. Undeterred, Andersen took ballet classes... He was an ardent student and performer known to mime and dance his way through whole productions for anyone willing to watch, playing every part with equal vigor. Andersen did not become a dancer, of course, but he never lost interest in the art.[4]
Apollo's Angels: A History of Ballet (Random House Trade Paperbacks, 2011)
Andersen was a gifted writer and sponsored to be educated in 1822. He completed his education in 1828. Nonetheless, his road to a great writer was full of crises, challenges and sufferings. He said he often received harsh criticism from critics, from the public and even from his best friends in his autobiography Mit Livs Eventyr (The Fairy Tale of My Life, 1855). They lectured him for being so productive and asked him to learn more instead of writing. He was deeply depressed but never gave up. Until 1835, his first novel Improvisatoren (The Improvisatore) was published. His work became widely known, translated and published in foreign countries. The life experience of Andersen may influence his fairy tales. His characters often suffered from spiritual torments before they reached honorable goals:
Cruelty and violence have often been seen as the trademark of Germany fairy tales, but P. L. Travers, the author of the Mary Poppins books, found Hans Christian Andersen to be master in the art of torture. “How much rather would I see wicked stepmothers boiled in oil...,” she declared, “than bear the protracted agony of the Little Mermaid or the girl who wore the Red Shoes.” For Andersen suffering is the badge of spiritual superiority, and his downtrodden protagonists emerge triumphant by enduring seemingly endless humiliations.[5]
The English version of the autobiography written by Andersen himself (Cooper Square Press, 2000)
Also, Andersen had a theory on the readers of fairy tales:
I had written my narrative down upon paper, exactly in the language, and with the expressions in which I had myself related them, by word of mouth, to the little ones, and I had arrived at the conviction that people of different ages were equally amused with them. The children made themselves merry for the most part over what might be called the actors; older people, on the contrary, were interested in the deeper meaning. The stories furnished reading for children and grown people...[6]
It indicates that Andersen knew who would be his readers very well. Surely people are still fond of his fairy tales nowadays.
Now let’s focus on the features that D. D. Drosselmeyer and H. C. Andersen share in common: (1) they are tall and slim Scandinavian writers; (2) their common language is German and they could write German work (Andersen wrote his first autobiography in German named Das Märchen meines Lebens ohne Dichtung (The True Story of My Life) and Drosselmeyer wrote Prinz und Rabe); (3) they both know ballet very well; (4) the heroes and heroines in their tales usually endured humiliations and went through hell; (5) they love telling stories to children.
The German version of the autobiography (Forgotten Books, 2018) | Prinz und Rabe (from Ep. 3)
The official of Princess Tutu didn’t tell us whether Drosselmeyer was malicious before he died. His manipulative and disgusting characteristics shown on the screen is quite different from Andersen’s. Contrary to the happy ending of Andersen’s protagonists, Drosselmeyer would rather see his characters fall into tragedy. Yet no matter how different between Andersen and Drosselmeyer are in personailty, we could still find similarities between their work:
Andersen’s Heroes and Heroines | Characters of Princess Tutu |
| Tale: The Little Mermaid Heroine: the little mermaid Situation: The little mermaid exchanged her beautiful voice for transforming into human. She couldn’t tell the Prince the truth and confess her love to him. Once the Prince got married with another girl, she would dissolve into sea foam. | Heroine: Princess Tutu Situation: Princess tutu couldn’t confess her love to the Prince through words. Once she did it, she would disappear as a flash of red light immediately. |
| Tale: The Little Mermaid Heroine: the little mermaid Situation: The little mermaid saved the Prince in a heavy storm in the ocean. She transformed into a human girl and stayed by the side of the Prince but couldn’t tell the truth and confess her love due to losing her voice. She didn’t win his love at last. | Heroine: Duck Situation: Duck who transformed into Princess Tutu looked for the heart shards of the Prince and turned them back to him. She didn’t have any chances to tell the Prince her true identity. After returning the last piece “hope,” she turned back to a duck and the Prince only showed his appreciation with words and a bow. |
| Tale: The Red Shoes Heroine: Karen Situation: Karen desired to catch everyone’s attention and wore the beautiful red shoes to church. A mysterious old soldier saw them and made her dance in the red shoes forever. The red shoes never gave her a rest and even took her away from attending her adoptive mother’s funeral. Karen met an executioner and asked him to chop off her feet. Nevertheless, her amputated feet in red shoes would bar her way to church to remind her sin of vanity. | Heroine: Rue Situation: To win back the attention and the heart of the Prince, Rue determined to wear the black shoes, transforming to Princess Kraehe. The Monster Raven poisoned her mind and controlled her totally. Even though the Prince’s heart polluted by the Monster Raven’s blood, he didn’t love her at all. He wanted to contribute his heart to the Monster Raven at last. She gave up being Princess Kraehe and expressed her true love toward the Raven-like Prince, then breaking the curse on the Prince. She was swallowed by the Monster Raven as a hostage for threatening the Prince. |
| Tale: The Ugly Duckling Hero: the duckling Situation: The duckling’s childhood was miserable. He suffered abuse from other birds and animals unfairly owing to his ugly and abnormal appearance. | Heroine: Duck Situation: Duck was often teased about her poor dancing skills and clumsiness. She couldn’t do anything but returned the heart shards back to the Prince when she was Princess Tutu. After returning the last piece of the heart shard, she was merely a little duck without magical power, her original self. |
Let’s look at Andersen’s tombstone. It’s inscribed with the last four lines of his poem “Oldingen” (“The Old Man,” 1874). Here’s the English translation:
Is incorruptible, can not be lost.
Our life on earth is the seed of eternity,
Our body dies, but the soul can not die![7]
The inscribed lines of the poem are great for memorizing Andersen. But it’s CREEPY AND SCARY when you recall what Drosselmeyer has done in Princess Tutu. We don’t know whether the staff have noticed these four lines when they used Andersen’s grave as the model of Drosselmeyer’s. If they did understand the meanings of the lines, they were success in molding the ghost writer Drosselmeyer into a nightmarish villain.
(B) Related to the German writer E. T. A. Hoffmann (1776-1822)
E. T. A. Hoffmann is the author of Nutcracker and Mouse King and The Sandman which are mentioned above. Both Droßelmeier and Coppelius are the models of Drosselmeyer of Princess Tutu. The staff of Princess Tutu have never mentioned whether Hoffmann is one of the models of Drosselmeyer or even visited his hometown. However, there are two interesting facts we should know:
1. Christian Elias Droßelmeier of Nutcracker and Mouse King is based on Hoffmann
As Jack Zipes, the specialist in children’s literature, introduced Hoffmann:
Hoffmann was an energetic, small, wiry man with a twinkle in his eyes that often blitzed like lightning. He was not particularly handsome, but when he began speaking and played music, he could be captivating. There was magic about Hoffmann that drew all kinds of people to him, and there is no doubt that the figure of Drosselmeier in “Nutcracker and Mouse King” bears some of his characteristics, just as the children are related to a certain degree to Marie and Fritz Hitzig.[8]
Not only Hoffmann’s appearance but some of his characteristics were used to create Droßelmeier. He liked his friend’s children Marie and Fritz so much that he sent them gifts and told them stories. He even borrowed their names as the children of Nutcracker and Mouse King.
Nutcracker and Mouse King and the Tale of the Nutcracker (Penguin,2007)
2. Hoffmann’s work has certain influence on Hans Christian Andersen
Hoffmann was an energetic, small, wiry man with a twinkle in his eyes that often blitzed like lightning. He was not particularly handsome, but when he began speaking and played music, he could be captivating. There was magic about Hoffmann that drew all kinds of people to him, and there is no doubt that the figure of Drosselmeier in “Nutcracker and Mouse King” bears some of his characteristics, just as the children are related to a certain degree to Marie and Fritz Hitzig.[8]
Not only Hoffmann’s appearance but some of his characteristics were used to create Droßelmeier. He liked his friend’s children Marie and Fritz so much that he sent them gifts and told them stories. He even borrowed their names as the children of Nutcracker and Mouse King.
Nutcracker and Mouse King and the Tale of the Nutcracker (Penguin,2007)
2. Hoffmann’s work has certain influence on Hans Christian Andersen
Hoffmann was a highly influential German Romantic author of fantasy and Gothic horror. As the professor of Cultural Anthropology Anton Blok notes:
The influence of E.T.A. Hoffmann (1776-1822) reaches far into the twentieth century. His tales about doubles, split personalities, and the supernatural not only provided a source for Andersen, Poe, Gogol, Nathaniel Hawthorne, Carroll, Robert Louis Stevenson, and Kafka, but also influenced the work of Freud on the unconscious and his essay "The Uncanny" ("Das Unheimliche," 1919), in which he extensively cites from Hoffmann's Die Elixiere des Teufels (The Devil's Exlixir).[9]
Radical Innovators: The Blessings of Adversity in Science and Art, 1500-2000
(Polity Press，2016)
Although Hoffmann showed his talent as a writer and published his first tale “Ritter Gluck” (“The Knight Gluck”) in 1809 when he was 33 years old but died after eleven years, he made a great contribution to literature. Moreover, as Jack Zipes said:
...his tale was a radical fairy tales intended ... to give a new form to fairy tales written for children, and indeed, Hoffman was preparing the way for many writers of modern fairy tales like Hans Christian Andersen, who owed Hoffmann a great debt.[8]
III. Conclusion
Drosselmeyer, as a weird and mysterious creator and inventor like Droßelmeier, he encouraged Duck to be Princess Tutu and put her life in danger. He is as manipulative and ruthless as Coppelius and Von Rothbart, coldly observing people and trapping them into tragedy. Nonetheless, his horrific fairy tales is undoubtedly successful if it hadn’t involved the reality and innocent people in stories and chaos.
References:
[1] Ikuko Itho. (2004-?). 夢徒然〜とろいめらい〜 第一回 旅の始まり～城壁の町へ. from http://www.imagica.com/shop/tutu/background/no_1/main01.html (closed).
[2] Ikuko Itho. (2004-?). 夢徒然〜とろいめらい〜 第八回 アンデルセンを探しに‧デンマーク. from http://www.imagica.com/shop/tutu/background/no_1/no_2/no_3/no_4/no_5/no_6/no_7/no_8/main08.html (closed).
[3] Ikuko Itho. (2004-?). 夢徒然〜とろいめらい〜 第十三回 虹‧旅の終わりに. from http://www.imagica.com/shop/tutu/background/no_1/no_2/no_3/no_4/no_5/no_6/no_7/no_8/no_9/no_10/no_11/no_12/no_13/main13.html (closed).
[4] Jennifer Homans. (2011). Apollo’s Angels: A History of Ballet. New York, NY: Random House Trade Paperbacks. p. 185.
[5] Maria Tatar. (2002). The Annotated Classic Fairy Tales (1st Ed.). New York, NY: W. W. Norton & Company. p. 302.
[6] Hans Christian Andersen. (1871). The Story of My Life (Author’s Ed.). New York, NY: Hurd and Houghton. p. 204.
[7] Anne Klara Bom & Anya Aarenstrup. The Timetable Year By Year. Retrieved May 10, 2016, from http://andersen.sdu.dk/liv/tidstavle/vis_e.html?date=1875-00-00&kvartal=3.
[8] Jack Zipes. (2007). Introduction. In Nutcracker and Mouse King and the Tale of the Nutcracker(Joachim Neugroschel, Trans.). New York, NY: Penguin Group. p. XX.
[9] Anton Blok. (2016). Radical Innovators: The Blessings of Adversity in Science and Art, 1500-2000 (1st Ed., English Ed.). Cambridge: Polity Press.
Relating articles:
The Connection Between Odin’s Discovery of the Runes and the Testimony of the Oak
Princess Tutu Is Greatly Inspired by The Nutcracker, and Nutcracker and Mouse King
※"The Models of Drosselmeyer" is submitted to Schwanengesang- Princess Tutu 15th Anniversary Anthology and is permitted to post on the Internet.
The influence of E.T.A. Hoffmann (1776-1822) reaches far into the twentieth century. His tales about doubles, split personalities, and the supernatural not only provided a source for Andersen, Poe, Gogol, Nathaniel Hawthorne, Carroll, Robert Louis Stevenson, and Kafka, but also influenced the work of Freud on the unconscious and his essay "The Uncanny" ("Das Unheimliche," 1919), in which he extensively cites from Hoffmann's Die Elixiere des Teufels (The Devil's Exlixir).[9]
Radical Innovators: The Blessings of Adversity in Science and Art, 1500-2000
(Polity Press，2016)
Although Hoffmann showed his talent as a writer and published his first tale “Ritter Gluck” (“The Knight Gluck”) in 1809 when he was 33 years old but died after eleven years, he made a great contribution to literature. Moreover, as Jack Zipes said:
...his tale was a radical fairy tales intended ... to give a new form to fairy tales written for children, and indeed, Hoffman was preparing the way for many writers of modern fairy tales like Hans Christian Andersen, who owed Hoffmann a great debt.[8]
III. Conclusion
Drosselmeyer, as a weird and mysterious creator and inventor like Droßelmeier, he encouraged Duck to be Princess Tutu and put her life in danger. He is as manipulative and ruthless as Coppelius and Von Rothbart, coldly observing people and trapping them into tragedy. Nonetheless, his horrific fairy tales is undoubtedly successful if it hadn’t involved the reality and innocent people in stories and chaos.
References:
[1] Ikuko Itho. (2004-?). 夢徒然〜とろいめらい〜 第一回 旅の始まり～城壁の町へ. from http://www.imagica.com/shop/tutu/background/no_1/main01.html (closed).
[2] Ikuko Itho. (2004-?). 夢徒然〜とろいめらい〜 第八回 アンデルセンを探しに‧デンマーク. from http://www.imagica.com/shop/tutu/background/no_1/no_2/no_3/no_4/no_5/no_6/no_7/no_8/main08.html (closed).
[3] Ikuko Itho. (2004-?). 夢徒然〜とろいめらい〜 第十三回 虹‧旅の終わりに. from http://www.imagica.com/shop/tutu/background/no_1/no_2/no_3/no_4/no_5/no_6/no_7/no_8/no_9/no_10/no_11/no_12/no_13/main13.html (closed).
[4] Jennifer Homans. (2011). Apollo’s Angels: A History of Ballet. New York, NY: Random House Trade Paperbacks. p. 185.
[5] Maria Tatar. (2002). The Annotated Classic Fairy Tales (1st Ed.). New York, NY: W. W. Norton & Company. p. 302.
[6] Hans Christian Andersen. (1871). The Story of My Life (Author’s Ed.). New York, NY: Hurd and Houghton. p. 204.
[7] Anne Klara Bom & Anya Aarenstrup. The Timetable Year By Year. Retrieved May 10, 2016, from http://andersen.sdu.dk/liv/tidstavle/vis_e.html?date=1875-00-00&kvartal=3.
[8] Jack Zipes. (2007). Introduction. In Nutcracker and Mouse King and the Tale of the Nutcracker(Joachim Neugroschel, Trans.). New York, NY: Penguin Group. p. XX.
[9] Anton Blok. (2016). Radical Innovators: The Blessings of Adversity in Science and Art, 1500-2000 (1st Ed., English Ed.). Cambridge: Polity Press.
Relating articles:
The Connection Between Odin’s Discovery of the Runes and the Testimony of the Oak
Princess Tutu Is Greatly Inspired by The Nutcracker, and Nutcracker and Mouse King
※"The Models of Drosselmeyer" is submitted to Schwanengesang- Princess Tutu 15th Anniversary Anthology and is permitted to post on the Internet.
Chinese translation: 【彩夢芭蕾｜分析】幽靈作家多洛西麻亞的原型人物
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