Goya's Sleep of Reason Produces Monsters is a disturbing image of the dark vision of humanity. A man sleeps seemingly peacefully, even though he is besieged by creatures associated in Spanish folk tradition with mystery and evil. There is a feeling of "uncomfortable" darkness as the brutes seem to close in on the man who is creating a frightening environment in aquatint (a method of engraving that creates a sketch). A mysterious creature sits in the center of the frame, looking not at the sleeping figure, but at us, the viewer. Goya forces the viewer to become an active participant in the painting: the monsters of his dreams even threaten us. This creates a blur between the dream and the real world; a dark border between fantasy and reality. As Freud would say, “we are confronted with the reality of something that until now we considered imaginary.” This negative quality of feeling, filled with terror and horror, revulsion and anxiety, where the supernatural becomes part of common reality, is part of the uncanny. It’s a frightening feeling that harkens back to something forgotten and lost. Similar to The Sleep of Reason, there is a sense of ambivalence in what is real in Hoffman's tale, The Sandman. The strangeness is directly linked to the figure of the sandman, which a boy believed to be true in his childhood. Hoffman exploits disturbances of the self that imply a regression to times when the self had not yet clearly opposed the external world and others. Freud writes that “the uncanny [unheimlich] is something which is secretly familiar [heimlich], which has undergone repression and then returned. » The music of Schubert's Erlkönig dramatizes Goethe's haunting poem in strangeness...... middle of paper ....... It contained works (from the 1800s and 1900s) dominated by themes of the strange, the inexplicable and the incomprehensible of the 1800s and 1900s. A spokesperson for the exhibition said: "Things that are mysterious or inexplicable will always arouse curiosity and interest." The strangeness. New York: Penguin, 2003. Print. Hoffmann, ETA and Christopher Moncrieff. The Sandman, Surrey. Np: np, sd Print.Kerman, Joseph and Vivian Kerman. Listen. New York, NY: Worth, 1980. Print.Gibbs, Christopher H. ""Komm, Geh' Mit Mir": Schubert's Strange "Erlkönig"" Music of the 19th Century 19.2 (1995): 115-35. Print. Stein, Deborah. “Schubert’s “Erlkönig”: “Motivational parallelism and motivational transformation”. Nineteenth Century Music 13.2 (1989): 145-58. Print.