oxford world’s classics THE TRIAL Mike Mitchell taught at the universities of Reading and Stirling before becoming a full-time literary translator. He is the co-author ofHarrap’s German Grammar and the translator of numerous works of German fiction, for which he has been eight times shortlisted for prizes; his translation of Herbert Rosendorfer’s Letters Back to Ancient China won the Schlegel – Tieck Prize in 1998. His translation of Georges Rodenbach’s The Bells of Bruges was published in 2007. Ritchie Robertson is Fellow and Tutor in German at St John’s College, Oxford. He is the author of Kafka: A Very Short Introduction (2004) and editor of The Cambridge Companion to Thomas Mann (2002). For Oxford World’s Classics he has translated Hoffmann’s The Golden Pot and Other Stories and introduced editions of Freud and Schnitzler. oxford world’s classics For over 100 years Oxford World’s Classics have brought readers closer to the world’s great literature. Now with over 700 titles—from the 4,000-year-old myths of Mesopotamia to the twentieth century’s greatest novels—the series makes available lesser-known as well as celebrated writing. The pocket-sized hardbacks of the early years contained introductions by Virginia Woolf, T. S. Eliot, Graham Greene, and other literary figures which enriched the experience of reading. Today the series is recognized for its fine scholarship and reliability in texts that span world literature, drama and poetry, religion, philosophy, and politics. Each edition includes perceptive commentary and essential background information to meet the changing needs of readers. OXFORD WORLD’S CLASSICS FRANZ KAFKA The Trial Translated by MIKE MITCHELL With an Introduction and Notes by RITCHIE ROBERTSON 1 1 Great Clarendon Street, Oxford ox26dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York Translation © Mike Mitchell 2009 Editorial matter © Ritchie Robertson 2009 The moral rights of the authors have been asserted Database right Oxford University Press (maker) First published as an Oxford World’s Classics paperback 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging-in-Publication Data Kafka, Franz, 1883–1924. [Prozess. English] The Trial / Franz Kafka ; translated by Mike Mitchell; with an introduction and notes by Ritchie Robertson. p. cm. — (Oxford world’s classics) Includes bibliographical references. ISBN 978-0-19-923829-3 (pbk. : acid-free paper) I. Mitchell, Michael, 1941- II. Title. PT2621.A26P713 2009 833¢.912—dc22 2009005382 T ypeset by Cepha Imaging Private Ltd., Bangalore, India Printed in Great Britain on acid-free paper by Clays Ltd., St Ives plc ISBN 978–0–19–923829–3 1 3 5 7 9 10 8 6 4 2 CONTENTS Biographical Preface vii Introduction xi Note on the Text xxvi Select Bibliography xxix A Chronology of Franz Kafka xxxiii THE TRIAL 1 Explanatory Notes 187 This page intentionally left blank BIOGRAPHICAL PREFACE Franz Kafka is one of the iconic figures of modern world litera- ture. His biography is still obscured by myth and misinformation, yet the plain facts of his life are very ordinary. He was born on 3 July 1883 in Prague, where his parents, Hermann and Julie Kafka, kept a small shop selling fancy goods, umbrellas, and the like. He was the eldest of six children, including two brothers who died in infancy and three sisters who all outlived him. He studied law at university, and after a year of practice started work, first for his local branch of an insurance firm based in Trieste, then after a year for the state-run Workers’ Accident Insurance Institute, where his job was not only to handle claims for injury at work but to forestall such accidents by visiting factories and examining their equipment and their safety pre- cautions. In his spare time he was writing prose sketches and stories, which were published in magazines and as small books, beginning withMeditation in 1912. In August 1912 Kafka met Felice Bauer, four years his junior, who was visiting from Berlin, where she worked in a firm making office equipment. Their relationship, including two engagements, was carried on largely by letter (they met only on seventeen occasions, far the longest being a ten-day stay in a hotel in July 1916), and finally ended when in August 1917 Kafka had a haemorrhage which proved tubercular; he had to convalesce in the country, uncertain how much longer he could expect to live. Thereafter brief returns to work alter- nated with stays in sanatoria until he took early retirement in 1922. In 1919 he was briefly engaged to Julie Wohryzek, a twenty-eight- year-old clerk, but that relationship dissolved after Kafka met the married Milena Polak (née Jesenská), a spirited journalist, unhappy with her neglectful husband. Milena translated some of Kafka’s work into Czech. As she lived in Vienna, their meetings were few, and the relationship ended early in 1921. Two years later Kafka at last left Prague and settled in Berlin with Dora Diamant, a young woman who had broken away from her ultra-orthodox Jewish family in Poland (and who later became a noted actress and communist activist). However, the winter of 1923 – 4, when hyperinflation was at its height, was a bad time to be in Berlin. Kafka’s health declined so sharply that, viii Biographical Preface after moving through several clinics and sanatoria around Vienna, he died on 3 June 1924. The emotional hinterland of these events finds expression in Kafka’s letters and diaries, and also — though less directly than is sometimes thought — in his literary work. His difficult relationship with his domineering father has a bearing especially on his early fiction, as well as on the Letter to his Father, which should be seen as a literary docu- ment rather than a factual record. He suffered also from his mother’s emotional remoteness and from the excessive hopes which his par- ents invested in their only surviving son. His innumerable letters to the highly intelligent, well-read, and capable Felice Bauer bespeak emotional neediness, and a wish to prove himself by marrying, rather than any strong attraction to her as an individual, and he was acutely aware of the conflict between the demands of marriage and the soli- tude which he required for writing. He records also much self-doubt, feelings of guilt, morbid fantasies of punishment, and concern about his own health. But it is clear from his friends’ testimony that he was a charming and witty companion, a sportsman keen on hiking and rowing, and a thoroughly competent and valued colleague at work. He also had a keen social conscience and advanced social views: during the First World War he worked to help refugees and shell-shocked soldiers, and he advocated progressive educational methods which would save children from the stifling influence of their parents. Kafka’s family were Jews with little more than a conventional attach- ment to Jewish belief and practice. A turning-point in Kafka’s life was his encounter with Yiddish-speaking actors from Galicia, from whom he learned about the traditional Jewish culture of Eastern Europe. Gradually he drew closer to the Zionist movement: not to its politics, however, but to its vision of a new social and cultural life for Jews in Palestine. He learnt Hebrew and acquired practical skills such as gardening and carpentry which might be useful if, as they planned, he and Dora Diamant should emigrate to Palestine. A concern with religious questions runs through Kafka’s life and work, but his thought does not correspond closely to any estab- lished faith. He had an extensive knowledge of both Judaism and Christianity, and knew also the philosophies of Nietzsche and Schopenhauer. Late in life, especially after the diagnosis of his illness, he read eclectically and often critically in religious classics: the Old and New Testaments, Kierkegaard, St Augustine, Pascal, the late Biographical Preface ix diaries of the convert Tolstoy, works by Martin Buber, and also extracts from the Talmud. His religious thought, which finds expres- sion in concise and profound aphorisms, is highly individual, and the religious allusions which haunt his fiction tend to make it more rather than less enigmatic. During his lifetime Kafka published seven small books, but he left three unfinished novels and a huge mass of notebooks and diaries, which we only possess because his friend Max Brod ignored Kafka’s instructions to burn them. They are all written in German, his native language; his Czech was fluent but not flawless. It used to be claimed that Kafka wrote in a version of German called ‘Prague German’, but in fact, although he uses some expressions characteristic of the South German language area, his style is modelled on that of such classic German writers as Goethe, Kleist, and Stifter. Though limpid, Kafka’s style is also puzzling. He was sharply conscious of the problems of perception, and of the new forms of attention made possible by media such as the photograph and cin- ema. When he engages in fantasy, his descriptions are often designed to perplex the reader: thus it is difficult to make out what the insect in The Metamorphosis actually looks like. He was also fascinated by ambiguity, and often includes in his fiction long arguments in which various interpretations of some puzzling phenomenon are canvassed, or in which the speaker, by faulty logic, contrives to stand an argu- ment on its head. In such passages he favours elaborate sentences, often in indirect speech. Yet Kafka’s German, though often complex, is never clumsy. In his fiction, his letters, and his diaries he writes with unfailing grace and economy. In his lifetime Kafka was not yet a famous author, but neither was he obscure. His books received many complimentary reviews. Prominent writers, such as Robert Musil and Rainer Maria Rilke, admired his work and sought him out. He was also part of a group of Prague writers, including Max Brod, an extremely prolific novelist and essayist, and Franz Werfel, who first attained fame as avant-garde poet and later became an international celebrity through his best-selling novels. During the Third Reich his work was known mainly in the English-speaking world through translations, and, as little was then known about his life or social context, he was seen as the author of universal parables. Kafka’s novels about individuals confronting a powerful but opaque organization — the court or the castle — seemed in the West to be fables