Uniquely, Hoffmann’s “The Sandman” story is just as notable as Sigmund Freud’s (1856-1939) psychological analysis of it. Freud used the story in his theorization of das unheimlich, or what is now commonly called “The Uncanny.” Das Unheimliche is a term that is difficult to translate, given its polysemy: the word can mean hideous, ominous, or sinister. Freud’s essay, published in 1919, highlights some of the central motifs of “The Sandman,” particularly as a way to explore the ambivalent feelings that accompany experiences with “the Double” or Doppelgänger. There are several doubles within the story: Coppelius/The Sandman, Coppelius/Coppola, and Olimpia the woman/Olimpia the automaton. Freud’s analysis of the story—and subsequently his theorization of the uncanny—focused on the role of the eye in the text. The references to blinding, along with the fact that “coppa” in Italian means “eye socket,” led Freud to conclude that the story was ultimately about the fear of castration. In psychoanalytic thought, vision and sight are related to one’s agency and potency, which are related to one’s sense of genital wholeness.

“The Sandman” is narratively structured by doubles. Through the protagonist’s unbridled imagination, it is suggested that

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