by Franz Kafka
The day before the day before yesterday. The one, a Jewish girl with a narrow face – better, that tapers down to a narrow chin, but is loosened by a broad, wavy hair-do. The three small doors that lead from the inside of the building into the salon. The guests as though in a police station on the stage, drinks on the table are scarcely touched.
Several girls here dressed like the marionettes for children’s theatres that are sold in the Christmas market, i.e. with ruching and gold stuck on and loosely sewn so that one can rip them with one pull and they then fall apart in one’s fingers. The landlady with the pale blonde hair drawn tight over doubtless disgusting pads, with the sharply slanting nose the direction of which stands in some sort of geometric relation to the sagging breasts and the stiffly held belly, complains of headaches which are caused by the fact that today, Saturday, there is so great an uproar and there is nothing in it.
More on Kubin: The story about Hamsun is suspect. One could tell such stories as one’s own experiences by the thousand from his works.
More on Goethe: ‘Excited ideas’ are only the ideas which the Rhine Falls excite. One sees this from a letter to Schiller – The isolated momentary observation, ‘Castanet rhythms of the children in wooden shoes,’ made such an impression, is so universally accepted, that it is unthinkable that anyone, even if he had never read this remark, could feel this observation as an original idea.
2 October. Sleepless night. The third in a row. I fall asleep soundly, but after an hour I wake up, as though I had laid my head in the wrong hole. I am completely awake, have the feeling that I have not slept at all or only under a thin skin, have before me anew the labour of falling asleep and feel myself rejected by sleep. And for the rest of the night, until about five, thus it remains, so that indeed I sleep but at the same time vivid dreams keep me awake. I sleep alongside myself, so to speak, while I myself must struggle with dreams. About five the last trace of sleep is exhausted, I just dream, which is more exhausting than wakefulness. In short, I spend the whole night in that state in which a healthy person finds himself for a short time before really falling asleep. When I awaken, all the dreams are gathered about me, but I am careful not to reflect on them. Towards morning I sigh into the pillow, because for this night all hope is gone. I think of those nights at the end of which I was raised out of deep sleep and awoke as though I had been folded in a nut.
The horrible apparition last night of a blind child, apparently the daughter of my aunt in Leitmeritz who, however, has no daughter but only sons, one of whom once broke his leg. On the other hand there were resemblances between this child and Dr M.’s daughter who, as I have recently seen, is in the process of changing from a pretty child into a stout, stiffly dressed little girl. This blind or weak-sighted child had both eyes covered by a pair of glasses, the left, under a lens held at a certain distance from the eye, was milky-grey and bulbous, the other receded and was covered by a lens lying close against it. In order that this eyeglass might be set in place with optical correctness it was necessary, instead of the usual support going behind the ears, to make use of a lever, the head of which could be attached to no place but the cheekbone, so that from this lens a little rod descended to the cheek, there disappeared into the pierced flesh and ended on the bone, while another small wire rod came out and went back over the ear.
I believe this sleeplessness comes only because I write. For no matter how little and how badly I write, I am still made sensitive by these minor shocks, feel, especially towards evening and even more in the morning, the approaching, the imminent possibility of great moments which would tear me open, which could make me capable of anything, and in the general uproar that is within me and which I have no time to command, find no rest. In the end this uproar is only a suppressed, restrained harmony, which, left free, would fill me completely, which could even widen me and yet still fill me. But now such a moment arouses only feeble hopes and does me harm, for my being does not have sufficient strength or the capacity to hold the present mixture, during the day the visible word helps me, during the night it cuts me to pieces unhindered. I always think in this connexion of Paris, where at the time of the siege and later, until the Commune, the population of the northern and eastern suburbs, up to that time strangers to the Parisians, for a period of months moved through the connecting streets into the centre of Paris, dawdling like the hands of a clock.
My consolation is – and with it I now go to bed – that I have not written for so long, that therefore this writing could find no right place within my present circumstances, that nevertheless, with a little fortitude, I’ll succeed, at least temporarily.
I was so weak today that I even told my chief the story of the child. I remembered that the glasses in the dream derive from my mother, who in the evening sits next to me and, while playing cards, looks across at me not very pleasantly under her eyeglasses. Her glasses even have, which I do not remember having noticed before, the right lens nearer the eye than the left.
3 October. The same sort of night, but fell asleep with even more difficulty. While falling asleep a vertically moving pain in my head over the bridge of the nose, as though from a wrinkle too sharply pressed into my forehead. To make myself as heavy as possible, which I consider good for falling asleep, I had crossed my arms and laid my hands on my shoulders, so that I lay there like a soldier with his pack. Again it was the power of my dreams, shining forth into wakefulness even before I fall asleep, which did not let me sleep. In the evening and the morning my consciousness of the creative abilities in me is more than I can encompass. I feel shaken to the core of my being and can get out of myself whatever I desire. Calling forth such powers, which are then not permitted to function, reminds me of my relationship with B. Here too there are effusions which are not released but must instead spend themselves in being repulsed, but here – this is the difference – it is a matter of more mysterious powers which are of an ultimate significance to me.
On the Josefsplatz a large touring car with a family sitting crowded together drove by me. In the wake of the car, with the smell of petrol, a breath of Paris blew across my face.
While dictating a rather long report to the district Chief of Police, towards the end, where a climax was intended, I got stuck and could do nothing but look at K., the typist, who, in her usual way, became especially lively, moved her chair about, coughed, tapped on the table and so called the attention of the whole room to my misfortune. The sought-for idea now has the additional value that it will make her be quiet, and the more valuable it becomes the more difficult it becomes to find it. Finally I have the word ‘stigmatize’ and the appropriate sentence, but still hold it all in my mouth with disgust and a sense of shame as though it were raw meat, cut out of me (such effort has it cost me). Finally I say it, but retain the great fear that everything within me is ready for a poetic work and such a work would be a heavenly enlightenment and a real coming-alive for me, while here, in the office, because of so wretched an official document, I must rob a body capable of such happiness of a piece of its flesh.
4 October. I feel restless and vicious. Yesterday, before falling asleep, I had a flickering, cool little flame up in the left side of my head. The tensions over my left eye has already settled down and made itself at home. When I think about it, it seems to me that I couldn’t hold out in the office even if they told me that in one month I’d be free. And most of the time in the office I do what I am supposed to, am quite calm when I can be sure that my boss is satisfied, and do not feel that my condition is dreadful. By the way, last night I purposely made myself dull, went for a walk, read Dickens, then felt a little better and had lost the strength for sorrow. I still regarded the sorrow as justified but it seemed to have withdrawn somewhat, I looked at it from a distance and therefore hoped for better sleep. It was a little deeper too, but not enough, and often interrupted. I told myself, as consolation, that I had indeed once more repressed the great agitation in me but that I did not wish to succumb at once, as I had alwa
ys done in the past after such occasions; rather, I wished to remain entirely conscious of the final flutterings of that agitation, which I had never done before. Perhaps in this way I would find hidden steadfastness in myself.
Towards evening, in the dark of my room on the sofa. Why does one take a rather long time to recognize a colour, but then, after the understanding has reached the decisive turning-point, quickly become all the more convinced of the colour. If the light from the ante-room and the kitchen shines on the glass door simultaneously from the outside, then greenish – or rather, not to detract from the definiteness of the impression – green light pours down almost the length of the panes. If the light in the ante-room is turned off and only the kitchen light remains, then the pane nearer the kitchen becomes deep blue, the other whitish blue, so whitish that all the drawings on the frosted glass (stylized poppies, tendrils, various rectangles, and leaves) dissolve.
The lights and shadows thrown on the walls and the ceiling by the electric lights in the street and the bridge down below are distorted, partly spoiled, overlapping, and hard to follow. When they installed the electric arc-lamps down below and when they furnished this room, there was simply no housewifely consideration given to how my room would look from the sofa at this hour without any lights of its own.
The glare thrown on the ceiling by the tram passing down below moves whitely, wraithlike and with mechanical pauses along the one wall and ceiling, broken in the corner. The globe stands on the linen chest in the first, fresh, full reflection of the street lights, a greenishly clean light on top, has a highlight on its roundness and gives the impression that the glare is really too strong, for it, although the light passes over its smoothness and goes off leaving it rather brownish like a leather apple. The light from the ante-room throws a large patch of glare on the wall over the bed. This patch is bounded by a curved line beginning at the head of the bed, gives the illusion that the bed is pressed down, widens the dark bedposts, raises the ceiling over the bed.
5 October. Restlessness again for the first time in several days, even now that I am writing. Rage at my sister who comes into the room and sits down at the table with a book. Waiting for the next trifling occasion to let this rage explode. Finally she takes a visiting card from the tray and fiddles around with it between her teeth. With departing rage, of which only a stinging vapour remains behind in my head, and dawning relief and confidence, I begin to work.
Last night Café Savoy. Yiddish troupe.17 Mrs K., ‘male impersonator’. In a caftan, short black trousers, white stockings, from the black shirt a thin white woollen waistcoat emerges that is held in front at the throat by a knot and then flares into a wide, loose, long, spreading collar. On her head, confining her woman’s hair but necessary anyhow and worn by her husband as well, a dark, brimless skullcap, over it a large, soft black hat with a turned-up brim.
I really don’t know what sort of person it is that she and her husband represent. If I wanted to explain them to someone to whom I didn’t want to confess my ignorance, I should find that I consider them sextons, employees of the temple, notorious lazybones with whom the community has come to terms, privileged shnorrers for some religious reason, people who, precisely as a result of their being set apart, are very close to the centre of the community’s life, know many songs as a result of their useless wandering about and spying, see clearly to the core the relationship of all the members of the community, but as a result of their lack of relatedness to the workaday world don’t know what to do with this knowledge, people who are Jews in an especially pure form because they live only in the religion, but live in it without effort, understanding, or distress. They seem to make a fool of everyone, laugh immediately after the murder of a noble Jew, sell themselves to an apostate, dance with their hands on their earlocks in delight when the unmasked murderer poisons himself and calls upon God, and yet all this only because they are as light as a feather, sink to the ground under the slightest pressure, are sensitive, cry easily with dry faces (they cry themselves out in grimaces), but as soon as the pressure is removed haven’t the slightest specific gravity but must bounce right back up in the air.
They must have caused a lot of difficulty in a serious play, such as Der Meshumed18 by Lateiner is, for they are forever – large as life and often on tiptoe or with both feet in the air – at the front of the stage and do not unravel but rather cut apart the suspense of the play. The seriousness of the play spins itself out, however, in words so compact, carefully considered even where possibly improvised, so full of the tension of a unified emotion, that even when the plot is going along only at the rear of the stage, it always keeps its meaning. Rather, the two in caftans are suppressed now and then which befits their nature, and despite their extended arms and snapping fingers one sees behind them only the murderer, who, the poison in him, his hand at his really too large collar, is staggering to the door.
The melodies are long, one’s body is glad to confide itself to them. As a result of their long-drawn-out forward movement, the melodies are best expressed by a swaying of the hips, by raising and lowering extended arms in a calm rhythm, by bringing the palms close to the temples and taking care not to touch them. Suggests the šlapák.19
Some songs, the expression ‘yiddische kinderlach’, some of this woman’s acting (who, on the stage, because she is a Jew, draws us listeners to her because we are Jews, without any longing for or curiosity about Christians) made my cheeks tremble. The representative of the government, with the exception of a waiter and two maids standing to the left of the stage, perhaps the only Christian in the hall, is a wretched person, afflicted with a facial tic that – especially on the left side of his face, but spreading also far on to the right – contracts and passes from his face with the almost merciful quickness, I mean the haste but also the regularity, of a second hand. When it reaches the left eye it almost obliterates it. For this contraction new, small, fresh muscles have developed in the otherwise quite wasted face.
The talmudic melody of minute questions, adjurations, or explanations. The air moves into a pipe and takes the pipe along, and a great screw, proud in its entirety, humble in its turns, twists from small, distant beginnings in the direction of the one who is questioned.
6 October. The two old men up front at the long table near the stage. One leans both his arms on the table and has only his face (whose false, bloated redness with an irregular, square, matted beard beneath it sadly conceals his old age) turned up to the right towards the stage, while the other, directly opposite the stage, holds his face, which old age has made quite dry, back away from the table on which he leans only with his left arm, holding his right arm bent in the air in order better to enjoy the melody that his fingertips follow and to which the short pipe in his right hand weakly yields. ‘Tateleben, come on and sing,’ cries the woman now to one, now to the other, at the same time stooping a little and stretching her arms forward encouragingly.
The melodies are made to catch hold of every person who jumps up and they can, without breaking down, encompass all his excitement even if one won’t believe they have inspired it. The two in caftans are particularly in a hurry to meet the singing, as though it were stretching their body according to its most essential needs, and the clapping of the hands during the singing is an obvious sign of the good health of the man in the actor. The children of the landlord, in a corner of the stage, remain children in their relationship to Mrs K. and sing along, their mouths, between their pursed lips, full of the melody.
The play: Twenty years ago Seidemann, a rich Jew, obviously having marshalled all his criminal instincts towards that end, had himself baptized, poisoning his wife at the same time, since she would not let herself be forced into baptism. Since then he has made every effort to forget the jargon that unintentionally echoes in his speech, especially at first so that the audience can notice it and because the approaching events still leave time for it, and continually expresses great disgust for everything Jewish. He has promised his daug
hter to the officer, Dragomirow, while she, who is in love with her cousin, young Edelmann, in a big scene, drawing herself up in an unusual stony position, broken only at the waist, declares to her father that she holds fast to Judaism and ends a whole act with contemptuous laughter for the violence done her. (The Christians in the play are: an honest Polish servant of Seidemann’s who later contributes to his unmasking, honest chiefly because Seidemann must be ranged round with contrasts; the officer with whom the play – aside from portraying his guilt – concerns itself little, because as a distinguished Christian he interests no one, just the same as a presiding judge who appears later; and finally a court attendant whose malice does not exceed the requirements of his position and the mirth of the two in caftans, although Max calls him a pogromist) Dragomirow, however, for some reason or other can marry only if his notes, which old Edelmann holds, are taken up, but which the latter, although he is about to leave for Palestine and although Seidemann wants to pay them in cash, will not hand over. The daughter acts haughtily towards the enamoured officer and boasts of her Judaism although she has been baptized, the officer does not know what to do, and, his arms slack, his hands loosely clasped at the ends of them, looks beseechingly at the father. The daughter runs away to Edelmann, she wants to be married to her beloved, even if for the time being in secret, since according to civil law a Jew cannot marry a Christian woman and she obviously cannot convert to Judaism without the consent of her father. The father arrives, sees that without some stratagem all is lost, and outwardly gives his blessing to this marriage. They all forgive him, yes, begin to love him as though they had been in the wrong, even old Edelmann, and especially he, although he knows that Seidemann had poisoned his sister. (These inconsistencies arose perhaps through cutting, but perhaps also because the play is passed on orally most of the time, from one troupe of actors to another.) Through his reconciliation Seidemann gets hold, first of all, of Dragomirow’s notes – ‘You know,’ he says, ‘I don’t want this Dragomirow to speak badly of the Jews’ – and Edelmann gives them to him for nothing, then Seidemann calls him to the portière in the background, ostensibly to show him something, and from behind gives him a fatal thrust with a knife through his dressing-gown into his back. (Between the reconciliation and the murder Seidemann was removed from the stage for a time to think out the plan and buy the knife.) In this way he intends to bring young Edelmann to the gallows, for it is he whom suspicion must fall upon, and his daughter will become free for Dragomirow. He runs away, Edelmann lies behind the portière. The daughter, wearing her bridal veil, enters on the arm of young Edelmann, who has put on his prayer shawl. The father, they see, unfortunately is not yet there. Seidemann enters and seems happy at the sight of the bridal couple.
