"The professor was holding a female figure fast by the shoulders, the Italian Coppola grasped it by the feet, and there they were tugging and pulling, this way and that, contending for the possession of it with the utmost fury. Nathaniel started back with horror when in the figure he recognized Olympia.
Boiling with the wildest indignation, he was about to rescue his beloved from these infuriated men. But at that moment Coppola, whirling round with the strength of a giant, wrenched the figure from the professor's hand, and then dealt him a tremendous blow with the object itself, which sent him reeling and tumbling backwards over the table, upon which stood vials, retorts, bottles and glass cylinders. All these were dashed to a thousand shivers. Now Coppola flung the figure across his shoulders, and with a frightful burst of shrill laughter dashed down the stairs, so fast that the feet of the figure, which dangled in the most hideous manner, rattled with a wooden sound on every step. Nathaniel stood paralyzed; he had seen but too plainly that Olympia's waxen, deathly-pale countenance had no eyes, but black holes instead - she was, indeed, a lifeless doll. Spalanzani was writhing on the floor; the pieces of glass had cut his head, his breast and his arms, and the blood was spurting up as from so many fountains. But he soon collected all his strength. 'After him - after him - what are you waiting for ? Coppelius, Coppelius - has robbed me of my best automaton - a work of twenty years - body and soul risked upon it - the clockwork - the speech - the walk, mine; the eyes stolen from you. The infernal rascal - after him; fetch Olympia - there you see the eyes!' And now Nathaniel saw that a pair of eyes lay upon the ground, staring at him; these Spalanzani caught up, with his unwounded hand, and flung into his bosom. Then madness seized Nathaniel in its burning claws, and clutched his very soul, destroying his every sense and thought."
(from The Sandmann, ETA Hoffmann, in Nachtstuecke, 1817)