The Diaries of Franz Kafka (4 page)

‘Therefore don’t compare yourself in that with me and don’t let me make you doubtful. You are after all a grown man, are besides, as it seems, fairly forsaken here in the city.’

I am indeed close to being so. Already, what protected me seemed to dissolve here in the city. I was beautiful in the early days, for this dissolution takes place as an apotheosis, in which everything that holds us to life flies away, but even in flying away illumines us for the last time with its human light. So I stand before my bachelor and most probably he loves me for it, but without himself really knowing why. Occasionally his words seem to indicate that he knows himself thoroughly, that he knows whom he has before him and that he may therefore allow himself anything. No, it is not so, however. He would rather meet everyone this same way, for he can live only as a hermit or a parasite. He is a hermit only by compulsion, once this compulsion is overcome by forces unknown to him, at once he is a parasite who behaves insolently whenever he possibly can. Of course, nothing in the world can save him any longer and so his conduct can make one think of the corpse of a drowned man which, borne to the surface by some
current, bumps against a tired swimmer, lays its hands upon him and would like to hold on. The corpse does not come alive, indeed is not even saved, but it can pull the man down.

‘You,’ I said, and gave him a little shove with my knee (at this sudden utterance some saliva flew from my mouth as an evil omen), ‘now you’re falling asleep.’

‘I haven’t forgotten you,’ he said, and shook his head while he was still opening his eyes.

‘I wasn’t afraid of it either,’ I said. I ignored his smile and looked down on the pavement. ‘I just wanted to tell you that now, come what may, I am going up. For, as you know, I have been invited up there, it is already late and the company is waiting for me. Perhaps some arrangements have been put off until I come. I don’t insist it is so, but it is always possible. You will now ask me whether I could not perhaps forgo the company altogether.’

‘I won’t, for in the first place you are burning to tell me, and in the second place it doesn’t interest me at all, down here and up there are all the same to me. Whether I lie here in the gutter and stow away the rain water or drink champagne up there with the same lips makes no difference to me, not even in the taste, for which, besides, I easily console myself, for neither the one nor the other is permitted me and therefore it is not right for me to compare myself to you. And you! How long really have you been in the city? How long have you been in the city, I ask?’

‘Five months. But still, I know it well enough already. You, I have given myself no rest. When I look back like this I don’t know at all whether there have been any nights, everything looks to me, can you imagine, like one day without any mornings, afternoons, and evenings, even without any differences in light.’

6 November. Lecture by a Madame Ch. on Musset. Jewish women’s habit of lip-smacking. Understand French through all the preliminaries and complications of the anecdote, until, right before the last word, which should live on in the heart on the ruins of the whole anecdote, the French disappears before our eyes, perhaps we have strained ourselves too much up to that point, the people who understand French leave before the end, they have already heard enough, the others
haven’t yet heard nearly enough, acoustics of the hall which favour the coughing in the boxes more than the words of the lecturer. Supper at Rachel’s, she is reading Racine’s
Phèdre
with Musset, the book lies between them on the table upon which in addition there is everything else imaginable lying.

Consul Claudel,
⁵
brilliance in his eyes, which his broad face picks up and reflects, he keeps wanting to say good-bye, he succeeds in part too, but not entirely, for when he says good-bye to one, another is standing there who is joined again by the one to whom good-bye has already been said. Over the lecture platform is a balcony for the orchestra. All possible sorts of noise disturb. Waiters from the corridor, guests in their rooms, a piano, a distant string orchestra, hammering, finally a squabble that is irritating because of the difficulty of telling where it is taking place. In a box a lady with diamonds in her ear-rings that sparkle almost uninterruptedly. At the box office young, black-clothed people of a French Circle. One of them makes a sharp bow in greeting that causes his eyes to sweep across the floor. At the same time he smiles broadly. But he does this only before girls, immediately after he looks the men straight in the face with his mouth solemnly pursed, by which he at the same time declares the former greeting to be perhaps a ridiculous but in any case unavoidable ceremony.

7 November. Lecture by Wiegler
⁶
on Hebbel. Sits on the stage against a set representing a modern room as if his beloved will bound in through a door to begin the play at last. No, he lectures. Hunger of Hebbel. Complicated relationship with Elisa Lensing. In school he has an old maid for a teacher who smokes, takes snuff, thrashes, and gives the good ones raisins. He travels everywhere (Heidelberg, Munich, Paris) with no real apparent purpose. Is at first a servant of a parish bailiff, sleeps in the same bed with the coachman under the steps.

Julius Schnorr von Carolsfeld – drawing by Friedrich Olivier, he is sketching on a slope, how pretty and earnest he is there (a high hat like a flattened clown’s cap with a stiff, narrow brim extends over his face, curly, long hair, eyes only for his picture, quiet hands, the board on his knees, one foot has slipped down a little on the slope). But no, that is Friedrich Olivier, drawn by Schnorr.

10 o’clock, 15 November. I will not let myself become tired. I’ll jump into my story even though it should cut my face to pieces.

12 o’clock, 16 November. I’m reading
Iphigenie auf Tauris
. Here, aside from some isolated, plainly faulty passages, the dried-up German language in the mouth of a pure boy is really to be regarded with absolute amazement. The verse, at the moment of reading, lifts every word up to the heights where it stands in perhaps a thin but penetrating light.

27 November. Bernard Kellermann read aloud. ‘Some unpublished things from my pen,’ he began. Apparently a kind person, an almost grey brush of hair, painstakingly close-shaven, a sharp nose, the flesh over his cheekbones often ebbs and flows like a wave. He is a mediocre writer with good passages (a man goes out into the corridor, coughs, and looks around to see if anyone is there), also an honest man who wants to read what he promised, but the audience wouldn’t let him; because of the fright caused by the first story about a hospital for mental disorders, because of the boring manner of the reading, the people, despite the story’s cheap suspense, kept leaving one by one with as much zeal as if someone were reading next door. When, after the first third of the story, he drank a little mineral water, a whole crowd of people left. He was frightened, ‘It is almost finished,’ he lied outright. When he was finished everyone stood up, there was some applause that sounded as though there were one person in the midst of all the people standing up who had remained seated and was clapping by himself. But Kellermann still wanted to read on, another story, perhaps even several. But all he could do against the departing tide was to open his mouth. Finally, after he had taken counsel, he said, ‘I should still like very much to read a little tale that will take only fifteen minutes. I will pause for five minutes.’ Several still remained, whereupon he read a tale containing passages that were justification for anyone to run out from the farthest point of the hall right through the middle of and over the whole audience.

15 December. I simply do not believe the conclusions I have drawn from my present condition, which has already lasted almost a year, my
condition is too serious for that. Indeed, I do not even know whether I can say that it is not a new condition. My real opinion, however, is that this condition is new – I have had similar ones, but never one like this. It is as if I were made of stone, as if I were my own tombstone, there is no loophole for doubt or for faith, for love or repugnance, for courage or anxiety, in particular or in general, only a vague hope lives on, but no better than the inscriptions on tombstones. Almost every word I write jars against the next, I hear the consonants rub leadenly against each other and the vowels sing an accompaniment like Negroes in a minstrel show. My doubts stand in a circle around every word, I see them before I see the word, but what then! I do not see the word at all, I invent it. Of course, that wouldn’t be the greatest misfortune, only I ought to be able to invent words capable of blowing the odour of corpses in a direction other than straight into mine and the reader’s face. When I sit down at the desk I feel no better than someone who falls and breaks both legs in the middle of the traffic of the Place de l’Opéra. All the carriages, despite their noise, press silently from all directions in all directions, but that man’s pain keeps better order than the police, it closes his eyes and empties the Place and the streets without the carriages having to turn about. The great commotion hurts him, for he is really an obstruction to traffic, but the emptiness is no less sad, for it unshackles his real pain.

16 December. I won’t give up the diary again. I must hold on here, it is the only place I can.

I would gladly explain the feeling of happiness which, like now, I have within me from time to time. It is really something effervescent that fills me completely with a light, pleasant quiver and that persuades me of the existence of abilities of whose non-existence I can convince myself with complete certainty at any moment, even now.

Hebbel praises Justinus Kerner’s
Reiseschatten
. ‘And a book like this hardly exists, no one knows it.’

Die Strasse der Verlassenheit
by W. Fred. How do such books get written? A man who on a small scale produces something fairly good here blows up his talent to the size of a novel in so pitiful a manner
that one becomes ill even if one does not forget to admire the energy with which he misuses his own talent.

This pursuit of the secondary characters I read about in novels, plays, etc. This sense of belonging together which I then have! In the
Jungfern vom Bischofsberg
(is that the title?), there is mention made of two seamstresses who sew the linen for the play’s one bride. What happens to these two girls? Where do they live? What have they done that they may not be part of the play but stand, as it were, outside in front of Noah’s ark, drowning in the downpour of rain, and may only press their faces one last time against a cabin window, so that the audience in the stalls sees something dark there for a moment?

17 December. Zeno, pressed as to whether anything is at rest, replied: Yes, the flying arrow rests.

If the French were German in their essence, then how the Germans would admire them!

That I have put aside and crossed out so much, indeed almost everything I wrote this year, that hinders me a great deal in writing. It is indeed a mountain, it is five times as much as I have in general ever written, and by its mass alone it draws everything that I write away from under my pen to itself.

18 December. If it were not absolutely certain that the reason why I permit letters (even those that may be foreseen to have insignificant contents, like this present one) to lie unopened for a time is only weakness and cowardice, which hesitate as much to open a letter as they would hesitate to open the door of a room in which someone, already impatient, perhaps, is waiting for me, then one could explain this allowing of letters to lie even better as thoroughness. That is to say, assuming that I am a thorough person, then I must attempt to protract everything pertaining to the letter to the greatest possible extent. I must open it slowly, read it, slowly and often, consider it for a long time, prepare a clean copy after many drafts, and finally delay even the posting. All this lies within my power, only the sudden receipt of the
letter cannot be avoided. Well, I slow even that down in an artificial manner, I do not open it for a long time, it lies on the table before me, it continuously offers itself to me, continuously I receive it but do not accept it.

11.30 p.m. That I, so long as I am not freed of my office, am simply lost, that is clearer to me than anything else, it is just a matter, as long as it is possible, of holding my head so high that I do not drown. How difficult that will be, what strength it will necessarily drain me of, can be seen already in the fact that today I did not adhere to my new time schedule, to be at my desk from 8 to 11 p.m., that at present I even consider this as not so very great a disaster, that I have only hastily written down these few lines in order to get into bed.

19 December. Started to work in the office. Afternoon at Max’s.

Read a little in Goethe’s diaries. Distance already holds this life firm in tranquillity, these diaries set fire to it. The clarity of all the events makes it mysterious, just as a park fence rests the eye when looking at broad tracts of turf, and yet inspires inadequate respect in us.

Just now my married sister
⁷
is coming to visit us for the first time.

20 December. How do I excuse yesterday’s remark about Goethe (which is almost as untrue as the feeling it describes, for the true feeling was driven away by my sister)? In no way. How do I excuse my not yet having written anything today? In no way. Especially as my disposition is not so bad. I have continually an invocation in my ear: ‘Were you to come, invisible judgement!’

In order that these false passages which refuse to leave the story at any price may at last give me peace, I write down two here:

‘His breathing was loud like sighs in a dream, where unhappiness is more easily borne than in our world so that simple breathing can serve as sighs.’

‘Now I look him over as aloofly as one looks over a small puzzle about which one says to oneself: What does it matter if I cannot get the pellets into their holes, it all belongs to me, after all, the glass, the case,
the pellets, and whatever else there is; I can simply stick the whole affair into my pocket.’