by Franz Kafka
8 October. Then a man appears, perhaps Dragomirow himself, perhaps only an actor, but actually a detective unknown to us, and explains that he has to search the house since ‘your life isn’t safe in this house’. Seidemann: ‘Children, don’t worry, this is of course an obvious mistake. Everything will be straightened out.’ Edelmann’s body is found, young Edelmann torn from his beloved and arrested. For a whole act Seidemann, with great patience and very well-stressed little asides (Yes, yes, very good. No, that’s wrong. Yes, now that’s better. Of course, of course), instructs the two in caftans how they are to testify in court concerning the alleged enmity that has existed between old and young Edelmann for years. They get going with difficulty, there are many misunderstandings (they come forward at an improvised rehearsal of the court scene and declare that Seidemann had commissioned them to represent the affair in the following way), until finally they immerse themselves in that enmity so thoroughly that even Seidemann can no longer restrain them – they now know how the murder itself took place and the man stabs the woman to death with a French bread. This of course is again more than will be required of them. But Seidemann is satisfied enough with the two and hopes with their help for a favourable outcome to the trial. Here, for the spectator who is religious, without its having been expressed because it is self-evident, God himself reaches into the play in place of the author and strikes the villain blind.
In the last act the presiding judge is again the eternal Dragomirow actor (in this, too, contempt is revealed for the Christian, one Jewish actor can play three Christian roles well, and if he plays them badly, it doesn’t matter either) and beside him, as defence attorney, with great display of hair and moustache, recognized at once, Seidemann’s daughter. Of course, you recognize her easily, but in view of Dragomirow you assume for a long time that she is playing a second part until, towards the middle of the act, you realize that she has disguised herself to save her beloved. The two caftans are each supposed to testify individually, but that is very difficult for them as they have rehearsed it together. Also, they don’t understand the judge’s High German, although it is true that the defence attorney helps him out when he gets too involved, as he has to prompt him in other respects as well. Then comes Seidemann, who had already tried to direct the two in caftans by tugging at their clothes, and by his fluent, decisive speech, by his reasonable bearing, by correctly addressing the presiding judge in contrast to the former witnesses, makes a good impression which is in terrible contrast to what we know of him. His testimony is pretty much without content, unfortunately he knows very little about the whole case. But the last witness, the servant, is, though not entirely aware of it, Seidemann’s real accuser. He had seen Seidemann buy the knife, he knows that at the crucial time Seidemann was at Edelmann’s, he knows, finally, that Seidemann hates the Jews and especially Edelmann and wanted his notes. The two in caftans jump up and are happy to be able to confirm all this. Seidemann defends himself as a somewhat confused man of honour. Then the discussion turns to his daughter. Where is she? At home, naturally, and she’ll bear him out No, that she won’t do, insists the defence attorney, and he will prove it, turns to the wall, takes off the wig, and turns toward the horrified Seidemann in the person of his daughter. The clean whiteness of her upper lip looks threatening when she takes off the moustache. Seidemann has taken poison in order to escape the justice of this world, confesses his misdeeds, but hardly any longer to the people, rather to the Jewish God whom he now professes. Meanwhile the piano player has struck up a tune, the two in caftans feel moved by it and must start dancing. In the background stands the reunited bridal pair, they sing the melody, especially the serious bridegroom, in the customary old way.
First appearance of the two in caftans. They enter Seidemann’s empty room with collection boxes for the temple, look around, feel ill at ease, look at each other. Feel along the doorposts with their hand, don’t find a mezuzah.20 None on the other doors, either. They don’t want to believe it and jump up beside doors as if they were catching flies, jumping up and falling back, slapping the very tops of the doorposts again and again. Unfortunately all in vain. Up to now they haven’t spoken a word.
Remembrance between Mrs K and last year’s Mrs W. Mrs K. has a personality perhaps a trifle weaker and more monotonous, to make up for it she is prettier and more respectable. Mrs W.’s standing joke was to bump her fellow players with her large behind. Besides, she had a worse singer with her and was quite new to us.
‘Male impersonator’ is really a false tide. By virtue of the fact that she is stuck into a caftan, her body is entirely forgotten. She only reminds one of her body by shrugging her shoulder and twisting her back as though she were being bitten by fleas. The sleeves, though short, have to be pulled up a little every minute; this the spectator enjoys and even watches for it to happen, anticipating the great relief it will be for this woman who has so much to sing and to explain in the talmudic manner.
Would like to see a large Yiddish theatre as the production may after all suffer because of the small cast and inadequate rehearsal. Also, would like to know Yiddish literature, which is obviously characterized by an uninterrupted tradition of national struggle that determines every work, A tradition, therefore, that pervades no other literature, not even that of the most oppressed people. It may be that other peoples in times of war make a success out of a pugnacious national literature, and that other works, standing at a greater remove, acquire from the enthusiasm of the audience a national character too, as is the case with The Bartered Bride, but here there appear to be only works of the first type, and indeed always.
The appearance of the simple stage that awaits the actors as silently as we. Since, with its three walls, the chair, and the table, it will have to suffice for all the scenes, we expect nothing from it, rather with all our energy await the actors and are therefore unresistingly attracted by the singing from behind the blank walls that introduces the performance.
9 October. If I reach my fortieth year, then I’ll probably marry an old maid with protruding upper teeth left a little exposed by the upper lip. The upper front teeth of Miss K., who was in Paris and London, slant towards each other a little like legs which are quickly crossed at the knees. I’ll hardly reach my fortieth birthday, however; the frequent tension over the left half of my skull, for example, speaks against it – it feels like an inner leprosy which, when I only observe it and disregard its unpleasantness, makes the same impression on me as the skull cross-section in textbooks, or as an almost painless dissection of the living body where the knife – a little coolingly, carefully, often stopping and going back, sometimes lying still – splits still thinner the paper-thin integument close to the functioning parts of the brain.
Last night’s dream which in the morning I myself didn’t even consider beautiful except for a small comic scene consisting of two counter-remarks which resulted in that tremendous dream satisfaction but which I have forgotten.
I walked – whether Max was there right at the start I don’t know – through a
long row of houses at the level of the first or second floor, just as one walks through a tunnel from one carriage to another. I walked very quickly, perhaps also because the house was so rickety that for that reason alone one hurried. The doors between the houses I did not notice at all, it was just a gigantic row of rooms, and yet not only the differences between the individual apartments but also between the houses were recognizable. They were perhaps all rooms with beds through which I went. One typical bed has remained in my memory. It stood at the side to the left of me against the dark or dirty wall, which sloped like an attic’s, perhaps had a low pile of bedclothes, and its cover, really only a coarse sheet crumpled by the feet of the person who had slept here, hung down in a point. I felt abashed to walk through people’s rooms at a time when many of them were still lying in their beds, therefore took long strides on tiptoes, by which I somehow or other hoped to show that I was passing through only by compulsion, was as cons
iderate of everything as was at all possible, walked softly, and that my passing through did not, as it were, count at all. Therefore, too, I never turned my head in any one room and saw only either what lay on the right towards the street or on the left towards the back wall.
The row of houses was often interrupted by brothels; and although I was making this journey seemingly because of them, I walked through them especially quickly so that I remember nothing except that they were there. However, the last room of all the houses was again a brothel, and here I remained. The wall across from the door through which I entered, therefore the last wall of the row of houses, was either of glass or merely broken through, and if I had walked on I should have fallen. It is even more probable that it was broken through, for the whores lay towards the edge of the floor. Two I saw clearly on the ground, the head of one hung down a little over the edge into the open air. To the left was a solid wall, on the other hand the wall on the right was not finished, you could see down into the court, even if not to the bottom of it, and a ramshackle grey staircase led down in several flights. To judge by the light in the room the ceiling was like that in the other rooms.
I occupied myself chiefly with the whore whose head was hanging down, Max with the one lying beside her on the left. I fingered her legs and then for a long time pressed the upper parts of her thighs in regular rhythm. My pleasure in this was so great that I wondered that for this entertainment, which was after all really the most beautiful kind, one still had to pay nothing. I was convinced that I (and I alone) deceived the world. Then the whore, without moving her legs, raised the upper part of her body and turned her back to me, which to my horror was covered with large sealing-wax-red circles with paling edges, and red splashes scattered among them. I now noticed that her whole body was full of them, that I was pressing my thumb to her thighs in just such spots, and that there were these little red particles – as though from a crumbled seal – on my fingers too.
I stepped back among a number of men who seemed to be waiting against the wall near the opening of the stairway, on which there was a small amount of traffic. They were waiting in the way men in the country stand together in the market place on Sunday morning. Therefore it was Sunday too. It was here that the comic scene took place, when a man I and Max had reason to be afraid of went away, then came up the stairs, then stepped up to me, and while I and Max anxiously expected some terrible threat from him, put a ridiculously simple-minded question to me. Then I stood there and with apprehension watched Max, who, without fear in this place, was sitting on the ground somewhere to the left eating a thick potato soup out of which the potatoes peeped like large balls, especially one. He pushed them down into the soup with his spoon, perhaps with two spoons, or just turned them.
10 October. Wrote a sophistic article for the Tetschen-Bodenbacher Zeitung for and against my insurance institute.
Yesterday evening on the Graben. Three actresses coming towards me from a rehearsal. It is so difficult quickly to become familiar with the beauty of three women when in addition you also want to look at two actors who are approaching behind them with that too-swinging actors’ walk. The two – of whom the one on the left, with his fat, youthful face and open overcoat wrapped around his strong body, is representative enough of both – overtake the ladies, the one on the left on the pavement, the one on the right down in the roadway. The one on the left grasps his hat high up near the top, seizes it with all five fingers, raises it high and calls (the one on the right recollects himself only now): Good-bye! Good night! But while this overtaking and greeting has separated the gentlemen, the ladies addressed, as though led by the one nearest the roadway who seems to be the weakest and tallest but also the youngest and most beautiful, continue on their way quite undisturbed, with an easy greeting which scarcely interrupts their harmonious conversation. The whole thing seemed to me at the moment to be strong proof that theatrical affairs here are orderly and well conducted.
Day before yesterday among the Jews in Café Savoy. Die Sedernacht by Feimann. At times (at the moment the consciousness of this pierced me) we did not interfere in the plot only because we were too moved, not because we were mere spectators.
12 October. Yesterday at Max’s wrote in the Paris diary.21 In the half-darkness of Rittergasse, in her autumn outfit, fat, warm R. whom we have known only in her summer blouse and thin, blue summer jacket, in which a girl with a not entirely faultless appearance is, after all, worse than naked. Then you really were able to see the large nose in her bloodless face and the cheeks to which you could have pressed your hands for a long time before any redness appeared, the heavy blonde down which heaped itself up on the cheek and upper lip, the railway dust which had strayed between the nose and cheek, and the sickly whiteness where her blouse was cut away. Today, however, we ran after her respectfully, and when I had to make my farewells at the entrance to a house that went through to Ferdinandstrasse (I was unshaven and otherwise shabby in appearance), I afterward felt a few slight impulses of affection for her. And when I considered why, I had to keep telling myself: because she was so warmly dressed.
13 October. Inaesthetic transition from the taut skin of my boss’s bald spot to the delicate wrinkles of his forehead. An obvious, very easily imitated fault of nature, bank notes should not be made so.
I didn’t consider the description of R. good, but nevertheless it must have been better than I thought, or my impression of R. the day before yesterday must have been so incomplete that the description was adequate to it or even surpassed it. For when I went home last night the description came to my mind for a moment, imperceptibly replaced the original impression and I felt that I had seen R. only yesterday, and indeed without Max, so that I prepared myself to tell him about her just as I have described her here for myself.
Yesterday evening on Schützen Island, did not find my colleagues and left immediately. I made some stir in my short jacket with my crushed soft hat in my hand, because it was cold out, but too hot inside from the breath of the beer drinkers, smokers, and the wind-instrument players of the military band. This band was not very high up, could not be, either, because the hall is pretty low, and filled the one end of the hall to the side-walls. The mass of musicians was crowded into this end of the room as though cut to size. This crowded impression was then lost a little in the hall, as the places near the band were pretty empty and the hall filled up only towards the middle.
Talkativeness of Dr K. Walked around with him for two hours behind the Franz-Josef railway station, begged him from time to time to let me leave, had clasped my hands in impatience and listened as little as possible. It seemed to me that a person who is good at his job, when he has got himself involved in talking shop, must become irresponsible; he becomes conscious of his proficiency, there are associations with every story, and indeed several, he surveys them all because he has experienced them, must in haste and out of consideration for me suppress many, some I also destroy by asking questions but remind him by these of others, show him thereby that he is also in control deep into my own thinking, he himself plays in most of the stories a handsome role which he just touches upon, because of which the suppressed seems even more significant to him, now he is however so certain of my admiration that he can also complain, for even in his misfortune, his trouble, his doubt, he is admirable, his opponents are also capable people and worth talking about; in an attorney’s office which had four clerks and two chiefs there was a controversy in which he alone opposed this office, for weeks the daily subject of discussion of the six lawyers. Their best speaker, a sharp lawyer, opposed him – to this is attached the Supreme Court whose decisions are allegedly bad, contradictory; in a tone of farewell I say a word of defence for this court, now he produces proofs that the court cannot be defended, and once more we must walk up and down the street, I am immediately surprised at the badness of this court, whereupon he explains to me why it must be so, the court is overburdened, why and how, well, I must leave, but now the Court of Appeals is bet
ter and the Court of Administration much better still, and why and how, finally I can’t be detained any longer, whereupon he brings in my own affairs (setting up the factory), which is what I come to him about and which we had already fully discussed, he unconsciously hopes in this way to trap me and to be able to tempt me back to his stories again. I say something, but while speaking I hold out my hand in farewell and so escape.
He is a very good storyteller, by the way, in his stories the detailed expansiveness of the brief is mixed with the vivacious speech that one often finds in such fat, black Jews, healthy for the present, of medium height, excited by continuous smoking of cigarettes. Legal expressions give the speech steadiness, paragraphs are numbered to a high count that seems to banish them into a distance. Each story is developed from its very beginning, speech and counter-speech are produced and, as it were, shuffled up by personal asides, matters that are beside the point, that no one would think of, are first mentioned, then called beside the point and set aside (‘A man, his name is beside the point’), the listener is personally drawn in, questioned, while alongside the plot of the story thickens, sometimes, preliminary to a story which cannot interest him at all, the. listener is even questioned, uselessly of course, in order to establish some sort of provisional connexion, the listener’s interjected remarks are not immediately introduced, which would be annoying (Kubin), but are shortly put in the right place as the story goes on, so that the listener is flattered and drawn into the story and given a special right to be a listener.