Лабораторная работа №1 8 страница

In this edition the chaptering of the novel differs markedly from Brod's. A list of numbered chapter headings in Kafka's hand, together with marks in the manuscript indicating chapter divisions, makes clear what the author intended. (Since Kafka wrote on principle without advance planning—"open-endedly," as he put it—the chaptering of a story could only be determined retrospectively, as the story developed: thus at the time he aban­doned the novel the question of dividing up the last part of the text he wrote had not yet arisen.)

Kafka never prepared his "Castle story" for publication. He merely brought it to the stage at which he could read aloud from it if occasion arose. This informal character of his text is of course preserved in the critical edition, for the sake of authentic-

ity, but Brod was governed by other considerations: when he pro­duced his fuller version of the novel in 1935 the prime need was still to make the existence of Kafka's unpublished works more generally known. He and his co-editor, Heinz Politzer, wished to make the text of the novel as easy of access as possible; they therefore emended, among other things, such local "Prague and Austrian forms" as might "impede the diffusion of Kafka's writ­ings."¹ If Kafka had prepared the work for press, he might in­deed have taken some steps in this direction himself. However, the attempts to correct Kafka's supposed mistakes sometimes proved thoroughly misleading. For example, in the first para­graph of the novel Kafka wrote: "For a long time K. stood on the wooden bridge which leads from the main road to the vil­lage..." This is "corrected" to read: "... which led from the main road to the village..." But the present tense is by no means an error on Kafka's part: on the contrary, it signals the pres­ence of a narrator who is not wholly shackled to his hero's awareness, but who can oversee more and vouch for more than he can.

Finally, a word needs to be said about Kafka's light and some­times unconventional punctuation. When a continuous sequence of the hero's experiences and thoughts is narrated, this is done in a single sentence, divided by commas only, so as not to interrupt the flow:

Actually, they had only moved out the maids, aside from that the room was probably unchanged, there were no sheets on the one bed, just a few pillows and a horse blanket left in the same state as everything else after last night, on the wall there were a few saints' pictures and photographs of soldiers, the room hadn't even been aired, they were evidently hoping the new guest wouldn't stay long and did nothing to keep him.

In the Brod/Politzer edition one clause is detached from this chain to form a separate sentence, so that the impulse of the pas­sage is lost.

Kafka's unorthodox punctuation serves not so much to clarify the grammatical structure of his sentences as to convey the rhythm of the events and thoughts recounted. It is related to the predominantly oral quality of his narrative style. He is known to have judged his own stories above all by the effect which they had when read aloud. "Readers would do well," remarks one critic, "to try and restore to his language the sound pattern which he gave it, and not to remain content with the poor substitute of silent reading."²

Notes

1. Heinz Politzer, "Zur Kafka-Philologie," Die Sammlung 2 (1935): 386f.

2. Richard Thieberger, "Sprache," in Kafka-Handbuch, ed. Hart­mut Binder (Stuttgart, 1979), 2: 198.

CHRONOLOGY

	July 3: Franz Kafka is born in Prague, son of Hermann Kafka and Julie, née Löwy.
	Enters a German primary school. Birth of his sister Elli Kafka, his first surviving sibling.
	Birth of his sister Ottla Kafka.
	Enters Old City German Secondary School in Prague.
	June 13: Bar mitzvah—described in family invitation as "Confirmation."
	Anti-Semitic riots in Prague; Hermann Kafka's dry goods store is spared.
1899-1903	Early writings (destroyed).
	Graduates from secondary school. Enters German Uni­versity in Prague. Studies chemistry for two weeks, then law.
	Spring: Attends lectures on German literature and the humanities. Travels to Munich, planning to continue German studies there. Returns to Prague. October: First meeting with Max Brod.
	Begins writing "Description of a Struggle."
	Vacation in Zuckmantel, Silesia. First love affair.
	Clerk in uncle's law office. June: Doctor of Law degree.
1906-1907	Legal practice in the Landesgericht (provincial high court) and Strafgericht (criminal court).
1907-1908	Temporary position in the Prague branch of the private insurance company Assicurazioni Generali.
	March: Kafka's first publication—eight prose pieces ap­pear in the review Hyperion. July 30: Enters the semi-state-owned Workers Accident Insurance Company for the Kingdom of Bohemia in Prague; works initially in the statistical and claims departments. Spends time in coffeehouses and cabarets.
	Begins keeping diaries. April: Kafka's department head lauds his "exceptional faculty for conceptualization." September: Travels with Max and Otto Brod to north­ern Italy, where they see airplanes for the first time. Writes article "The Aeroplanes in Brescia," which sub­sequently appears in the daily paper Bohemia. Frequent trips to inspect factory conditions in the provinces.
	May: Promoted to Concipist (junior legal advisor); sees Yiddish acting troupe. October: Vacation in Paris with Brod brothers.
	Trip with Max Brod to northern Italy and Paris; spends a week in a Swiss natural-health sanatorium. Becomes a silent partner in the asbestos factory owned by his brother-in-law. October 4: Sees Yiddish play Der Meshumed (The Apostate) at Café Savoy. Friendship with the Yiddish actor Yitzhak Löwy. Pursues interest in Judaism.
	February 18: Gives "little introductory lecture" on Yid­dish language. August: Assembles his first book, Medi­tation; meets Felice Bauer. Writes the stories "The Judgment" and "The Transformation" (frequently enti­tled "The Metamorphosis" in English), begins the novel The Man Who Disappeared (first published in 1927 as Amerika, the title chosen by Brod). October: Distressed over having to take charge of the family's asbestos fac­tory, considers suicide. December: Gives first public reading ("The Judgment").
	Extensive correspondence with Felice Bauer, whom he visits three times in Berlin. Promoted to vice-secretary. Takes up gardening. In Vienna attends international conference on accident prevention and observes Elev­enth Zionist Congress; travels by way of Trieste, Ven­ice, and Verona to Riva.
	June: Official engagement to Felice Bauer. July: Engage­ment is broken. Travels through Lübeck to the Danish resort of Marielyst. Diary entry, August 2: "Germany has declared war on Russia—swimming club in the af­ternoon." Works on The Trial; writes "In the Penal Colony."
	January: First meeting with Felice Bauer after breaking engagement. March: At the age of thirty-one moves for the first time into own quarters. November: "The Trans­formation" ("The Metamorphosis") appears; Kafka asks a friend: "What do you say about the terrible things that are happening in our house?"
	July: Ten days with Felice Bauer at Marienbad. Novem­ber: In a small house on Alchemists' Lane in the Castle district of Prague begins to write the stories later col­lected in A Country Doctor.
	Second engagement to Felice Bauer. September: Diagno­sis of tuberculosis. Moves back into parents' apartment. Goes to stay with his favorite sister, Ottla, on a farm in the northern Bohemian town of Zürau. December: Sec­ond engagement to Felice Bauer is broken.
	In Zürau writes numerous aphorisms about "the last things." Reads Kierkegaard. May: Resumes work at in­surance institute.
	Summer: To the chagrin of his father announces engage­ment to Julie Wohryzek, daughter of a synagogue cus­todian. Takes Hebrew lessons from Friedrich Thieberger. November: Wedding to Julie Wohryzek is postponed. Writes "Letter to His Father."
	Promotion to institute secretary. April: Convalescence vacation in Merano, Italy; beginning of correspondence with Milena Jesenska. May: Publication of A Country Doctor, with a dedication to Hermann Kafka. July: Engagement to Julie Wohryzek broken. November: Anti-Semitic riots in Prague; Kafka writes to Milena: "Isn't the obvious course to leave a place where one is so hated?"
	Sanatorium at Matliary in the Tatra mountains (Slova­kia). August: Returns to Prague. Hands all his diaries to Milena Jesenskâ.
	Diary entry, January 16: Writes about nervous break­down. January 27: Travels to Spindlermühle, a resort on the Polish border, where begins to write The Castle. March 15: Reads beginning section of novel to Max
	Brod. November: After another breakdown, informs Brod that he can no longer "pick up the thread."
	Resumes Hebrew studies. Sees Hugo Bergmann, who invites him to Palestine. July: Meets nineteen-year-old Dora Diamant in Müritz on the Baltic Sea. They dream of opening a restaurant in Tel-Aviv, with Dora as cook and Franz as waiter. September: Moves to inflation-ridden Berlin to live with Dora. Writes "The Burrow."
	Health deteriorates. March: Brod takes Kafka back to Prague. Writes "Josephine the Singer." April 19: Ac­companied by Dora Diamant, enters Dr. Hoffman's sanatorium at Kierling, near Vienna. Corrects the gal­leys for the collection of stories A Hunger Artist. June 3: Kafka dies at age forty. June 11: Burial in the Jewish Cemetery in Prague-Strasnice.

BIBLIOGRAPHY

Primary

While all of Kafka's works are interrelated, the following titles have a direct bearing on The Castle:

Kafka, Franz. The Complete Stories. Ed. Nahum N. Glatzer. New York, 1983.

---------. The Diaries, 1910-1923. Ed. Max Brod. New York, 1988.

---------. Letters to Milena. Trans. Philip Boehm. New York, 1990.

Secondary

BIOGRAPHICAL

Brod, Max. Franz Kafka: A Biography. Trans. G. Humphreys Roberts and Richard Winston. New York, 1960.

Citati, Pietro. Kafka. Trans. Raymond Rosenthal. New York, 1990.

Karl, Frederick. Representative Man: Prague, Germans, Jews, and the Cri­sis of Modernism. New York, 1991.

Northey, Anthony. Kafka's Relatives: Their Lives and His Writing. New Haven, Conn., 1991.

Pawel, Ernst. The Nightmare of Reason: A Life of Franz Kafka. New York, 1985.

Wagenbach, Klaus. Franz Kafka: Pictures of a Life. Trans. Arthur S. Wensinger. New York, 1984.

THE CASTLE

Bloom, Harold, ed. Franz Kafka's "The Castle." New York, 1988,

Cohn, Ruby. "Watt in the Light of The Castle." Comparative Literature 13 (1961): 154-66. (On the literary relationship between Kafka and Beck­ett.)

Dowden, Stephen D. Kafka's "Castle" and the Critical Imagination. Co­lumbia, S.C., 1995.

Gray, Ronald. The Castle. Cambridge, 1956.

Harman, Mark. "'Digging the Pit of Babel': Retranslating Franz Kafka's

Castle." New Literary History 27 (1996): 291-311. ---------. "Approaching K.'s Castle." Sewanee Review 105, no. 4 (Winter,

1997):513-23. Neumeyer, Peter F., ed. Twentieth Century Interpretations of "The Castle. ";

Englewood Cliffs, N.J., 1969. Robert, Marthe. The Old and the New: From Don Quixote to Kafka.

Trans. Carol Cosman. Berkeley, 1977. Sebald, W. G. "The Law of Ignominy: Authority, Messianism, and Exile in

The Castle. "In On Kafka: Semi-Centenary Perspectives, ed. Franz

Kuna. New York, 1976. Sheppard, Richard. On Kafka's "Castle." London and New York, 1973.

GENERAL

Adorno, Theodor. "Franz Kafka." In Prisms, trans. Samuel and Shierry

Weber. London, 1967. Alter, Robert. Necessary Angels: Kafka, Benjamin, Scholem. Cambridge,

Mass., 1990. Anderson, Mark, ed. Reading Kafka. New York, 1989. ---------. Kafka's Clothes: Ornament and Aestheticism in the Habsburg "Tin

de Siècle." Oxford, 1992. Arendt, Hannah. "Franz Kafka: A Revaluation." Partisan Review 11

(1944): 412-22. Reprinted in Essays in Understanding, 1930-1945, ed.

Jerome Kohn. New York, 1994. Beck, Evelyn Torton. Kafka and the Yiddish Theater: Its Impact on His

Work. Madison, Wis., 1971. Benjamin, Walter. "Franz Kafka on the Tenth Anniversary of His Death."

In Illuminations, ed. Hannah Arendt. New York, 1969. Bernheimer, Charles. Flaubert and Kafka: Studies in Psychopoetic Struc­ture. New Haven, Conn., 1996. Boa, Elizabeth. Kafka: Gender, Class and Race in the Letters and Fictions.

Oxford, 1996. Canetti, Elias. Kafka's Other Trial. Trans. Christopher Middleton. New

York, 1974. Corngold, Stanley. Franz Kafka: The Necessity of Form. Ithaca, N.Y.,

1988. Crick, Joyce. "Kafka and the Muirs." In The World of Franz Kafka, ed.

J. P. Stern. New York, 1980. Deleuze, Giles, and Felix Guattari. Kafka: Toward a Minor Literature.

Trans. Dana Polan. Minneapolis, 1986.

Gilman, Sander. Franz Kafka, the Jewish Patient. New York, 1995. Grözinger, Karl Erich. Kafka and Kabbalah. Trans. Susan H. Ray. New

York, 1994. Harman, Mark. "Irony, Ambivalence, and Belief in Kleist and Kafka."

Journal of the Kafka Society 111 (1984): 3-13. ---------. "Biography and Autobiography: Necessary Antagonists?" Journal

of the Kafka Society 111 (1986): 56-62. ---------. "Life into Art: Kafka's Self-Stylization in the Diaries." In Franz

Kafka (1883-1983): His Craft and Thought, ed. Roman Struc and J. C.

Yardley, 101-16. Calgary, Alberta, 1986.

---------. "Joyce and Kafka." Sewanee Review 101, no. 1 (1993): 66-84.

Kundera, Milan. Testaments Betrayed: An Essay in Nine Parts. Trans.

Linda Asher. New York, 1995. Politzer, Heinz. Franz Kafka: Parable and Paradox. Ithaca, N.Y., 1966. Robert, Marthe. As Lonely as Franz Kafka. Trans. Ralph Manheim. New

York, 1982. Robertson, Ritchie. Kafka: Judaism, Politics, and Literature. Oxford,

1985. Rolleston, James. Kafka's Narrative Theater. University Park, Pa., 1974. Sokel, Walter H. Franz Kafka: Tragik und Ironie. Munich and Vienna,

1964. ---------. Franz Kafka. New York, 1966.

ILLUSTRATION

Mairowitz, David Zane, and Robert Crumb. Introducing Kafka. Cam­bridge, 1993.

THEATER

The Castle. Adapted by Max Brod. Trans. James Clark. London, 1963.

FILM

Nears, Colin. The Castle. London (BBC), 1974. Noelte, Rudolf. Das Schloß. Germany, 1968.

OPERA

Reimann, Aribert. Das Schloß. Berlin, 1992.

Лабораторная работа №1