University years. Franz Kafka.

Five-year-old Kafka

Origin and life

Kafka was born on July 3, 1883 in a Jewish family living in the area of \u200b\u200bJosefov, the former Jewish ghetto of Prague (now the Czech Republic, at that time, part of the Austro-Hungarian Empire). His father - Herman (Genim) Kafka (-), took place from the Czech-language Jewish community in South Czech Republic, from 1882 he was a wholesale merchant by haberdashery products. Surname "Kafka" of Czech origin (Kavka means literally "dank"). On the corporate envelopes of Hermann Kafki, which Franz often used for letters, is depicted as this bird emblem. Writer's mother - Yulia Kafka (nee etles Levi) (-), the daughter of a wealthy brewer - preferred German. Kafka himself wrote in German, although Czech knew the same beautifully. He owned well and in French, and among five people whom the writer, "not claiming them to compare with them in force and mind," felt "his blood brothers", were: Gustave Flaubert, Franz Grillparter, Fedor Dostoevsky, Heinrich von Clayst and Nikolay Gogol . Being a Jew, Kafka nevertheless practically did not own Idishev and began to show interest in the traditional culture of Eastern European Jews only at twenty years under the influence of tours in Prague, Jewish theatrical troupe; Interest in the study of Hebrew arose only by the end of life.

Kafka had two younger brothers and three younger sisters. Both brothers, without reaching and two years, died before the French was 6 years old. Sisters called Ellie, Valley and Ottla. In the period from 1889 to 1893, Kafka visited the elementary school (Deutsche Knabenschule), and then the gymnasium, which was completed in 1901 by passing the exam on the certificate of maturity. Having finished the University's Prague Karlov in 1906, he received a doctors' degree (Professor Alfred Weber), and then entered the service official in the insurance office, where he worked until premature - on the disease - retirement in 1922. He was engaged in insuring injuries in production, spoke on these cases in the courts. Working for the writer was a secondary and burdensome: in diaries and letters, he confesses to hatred towards his boss, colleagues and customers. In the first plan there was always literature, "justifying all its existence." Nevertheless, Kafka contributed to improving the working conditions on production throughout the Northern Czech Republic. The bosses appreciated his work very highly, in connection with which five years did not satisfy the petition for retirement after the opening of tuberculosis in August 1917.

In 1923 Kafka, along with nineteen years old Doro Diamant For several months, I moved to Berlin in the hope of moving away from the influence of the family and concentrate on writing; Then he returned to Prague. Health at this time worsened: because of the exacerbid tuberculosis, he was experiencing severe pain and could not eat food. June 3, 1924 in the sanatorium under Vienna Kafka died. The cause of death probably became exhaustion. The body was transported to Prague, where it was buried on June 11, 1924 at the new Jewish cemetery in the Strahnitsa area, in Olshany, in a common family grave.

Creation

During the life of Kafka, he published only a few short stories, who made up a very small share of his works, and his work attracted little attention until his novels were not published. Before his death, he instructed his friend and literary showpric - Max Brod - to burn without exception everything was written (except, perhaps some copies of works that owners could leave themselves, but not republish them). His beloved Dora Diamond really destroyed the manuscripts with which she possessed (although not all), but Max Brother did not obey the will of the deceased and published most of his works, which soon began to attract attention to themselves. All his published creativity, except for several Czech-friendly letters Milena Esensk, was written in German.

Katcha himself published four collections - "Contemplation", "Rural doctor", "Kara" and "HOROD", as well as "Fireman" - the first chapter of the novel "America" ("Missing") And several other short essays. However, its main creations are novels "America" (1911-1916), "Process" (1914-1915) and "Lock" (1921-1922) - remained in varying degrees in progress and saw the light after the death of the author and in spite of his last will.

Novels and small prose

• "Description of one struggle" ("Beschreibung Eines Kampfes", 1904-1905);
• "Wedding Cooking in the village" ("HochzeitsVorbereitungen Auf Dem Lande", 1906-1907);
• "Talk with praying" ("Gespräch Mit Dem Beter", 1909);
• "Talking with drunk" ("Gespräch Mit Dem Betrunkenen", 1909);
• "Airplanes in Brescia" ("DIE AEROPLANE IN BRESCIA", 1909), PLETON;
• "Prayer room of women" ("Ein Damenbrevier", 1909);
• "The first long-distance railway trip" ("Die Erste Lange Eisenbahnfahrt", 1911);
• In collaboration with Max Brod: "Richard and Samuel: a little journey through Central Europe" ("Richard Und Samuel - Eine Kleine Reise Durch Mitteleuropäische GEGENDEN");
• "Big noise" ("Großer Lärm", 1912);
• "Before the law" ("Vor Dem Geetz", 1914), subsequently, the parable entered the collection "Rural doctor", and later was included in the Roman Process (Chapter 9, "in the Cathedral");
• "ERINNERUNGEN AN DIE KALDABAHN" (1914, fragment from the diary);
• "School teacher" ("Giant Mole") ("Der Dorfschullehrer" ("Der Riesenmaulwurf"), 1914-1915);
• "Blumfeld, old bachelor" ("Blumfeld, Ein Lälterer Junggeselle", 1915);
• "Watchhel Scoop" ("Der Gruftwächter", 1916-1917), the only punctured play;
• "Hunter Grakhch" (Der Jäger Gracchus, 1917);
• "How the Chinese wall was built" ("Beim Bau der Chinesischen Mauer", 1917);
• "Murder" ("Der Mord", 1918), subsequently, the story was recycled and included in the collection "Rural doctor" called "Fratoebium";
• "Riding on the bucket" ("Der Kübelreiter", 1921);
• "In our synagogue" ("In Unserer Synagoge", 1922);
• "Fireman" ("Der Heizer"), subsequently - the first head of the novel "America" \u200b\u200b("missing");
• "In the attic" ("AUF DEM DACHBODEN");
• "Studies of one dog" (Forschungen Eines Hundes, 1922);
• "Nora" ("Der Bau", 1923-1924);
• "It. Records of 1920 "("Er. Aufzeichnungen Aus Dem Jahre 1920", 1931), fragments;
• "To the series" He "" ("Zu Der Reihe" ER ", 1931);

• "Verdict" ("DAS URTEIL", September 22-23, 1912);
• "Turning" ("Die Verwandlung", November-December 1912);
• "In a correctional colony" ("In Der Strafkolonie", October 1914).

• "Children on the road" ("Kinder AUF DER LANDSTRASSE", 1913), deployed draft records to the novel "Description of one struggle";
• "Exposed undergoing" ("Entlarvung Eines BauernFängers", 1913);
• "Sudden walk" ("Der Plötzliche Spaziergang", 1913), a version of the diary record of January 5, 1912;
• "Solutions" ("ENTSCHLÜSSE", 1913), a version of a diary record of February 5, 1912;
• "Walk to the mountains" ("Der Ausflug Ins Gebirge", 1913);
• "Mount Bachelor" ("Das Unglück des Junggesellen", 1913);
• "Merchant" (Der Kaufmann, 1908);
• "Scattered looking out the window" ("Zerstreutes Hinausschaun", 1908);
• "Way home" (Der Nachhauseweg, 1908);
• "Runing by" ("Die Vorüberlaufenden", 1908);
• "Passenger" ("Der Fahrgast", 1908);
• "Dresses" ("Kleider", 1908), sketch for the novel "Description of one struggle";
• "Renouncement" ("Die Abweisung", 1908);
• "Riders to think" ("ZUM NACHDENKEN FÜR HERRENRIERTER", 1913);
• "Window to the street" ("Das Gassenfenster", 1913);
• "The desire to become an Indian" ("WUNSCH, INDIANER ZU WERDEN", \u200b\u200b1913);
• "Trees" ("Die Bäume", 1908); Sketch for the novel "Description of one struggle";
• "Yearning" ("Unglücklichsein", 1913).

• "New Lawyer" ("Der Neue Advokat", 1917);
• "Rural doctor" ("Ein Landarzt", 1917);
• "On the gallery" ("AUF DER GALERIE", 1917);
• "Vintage" ("EIN ALTES BLATT", 1917);
• "Before the law" ("Vor Dem Gesetz", 1914);
• "Shakaly and Arabs" (Schakale Und Araber, 1917);
• "Mine's visit" ("Ein Besuch Im Bergwerk", 1917);
• "Neighboring Village" ("Das Nächste Dorf", 1917);
• "Imperial Message" ("Eine Kaiserliche Botschaft", 1917), afterwards the story became part of the novel "How the Chinese Wall was built";
• "Care of the head of the family" ("Die Sorge Des Hasvaters", 1917);
• "Eleven Sons" ("Elf Söhne", 1917);
• "Fratricide" ("EIN BRUDERMORD", 1919);
• "Sleep" ("Ein Traum", 1914), parallel with the "Process" novel;
• "Report for the Academy" ("EIN BERICHT FÜR EINE AKADEMIE", 1917).

• "First Mountain" (Ersters Leid, 1921);
• "Small woman" ("Eine Kleine Frau", 1923);
• "HOROD" ("EIN HUNGERKÜNSTLER", 1922);
• "Singer Josephine, or Mouse People" ("Josephine, Die Sängerin, Oder Das Volk Der Mäuse", 1923-1924);

• "Bridge" ("Die Brücke", 1916-1917)
• "Knock on the gate" (Der Schlag Ans Hoftor, 1917);
• "Neighbour" ("Der Nachbar", 1917);
• "Hybrid" ("Eine Kreuzung", 1917);
• "Appeal" ("Der Aufruf", 1917);
• "New lamps"("Neue Lampen", 1917);
• "Rail passengers" ("Im Tunnel", 1917);
• "Ordinary History" ("Eine Alltägliche Verwirrung", 1917);
• "True about Sancho Panse" ("Die Wahrheit Über Sancho Pansa", 1917);
• "Silence silence" ("Das Schweigen der Sirenen", 1917);
• "Commonwealth of Claidov" ("Eine Gemeinschaft Von Schurken", 1917);
• "Prometheus" ("PROMETHEUS", 1918);
• "Homecoming" (HEIMKEHR, 1920);
• "City coat of arms" ("Das Stadtwappen", 1920);
• "Poseidon" ("Poseidon", 1920);
• "Commonwealth" ("Gemeinschaft", 1920);
• "At night" ("Nachts", 1920);
• "Refined petition" ("Die Abweisung", 1920);
• "To the question of laws" ("Zur Frage Der Gesetze", 1920);
• "Recruit" ("Die Truppenaushebung", 1920);
• "Exam" ("Die Prüfung", 1920);
• "KORSHUN" ("DER GEIER", 1920);
• "Ruleie" ("Der Steuermann", 1920);
• "Wolf" ("Der Kreisel", 1920);
• "Basenka" ("Kleine Fabel", 1920);
• "Departure" ("Der Aufbruch", 1922);
• "Defenders" ("Fürsprecher", 1922);
• "Sophisticated Chet" ("Das Ehepaar", 1922);
• "Comment (not nading!)" ("Kommentar - GIBS AUF!", 1922);
• "About the parables" ("Von Den Gleichnissen", 1922).

Novels

• "America" \u200b\u200b("missing") ("Amerika" ("Der Verschollene"), 1911-1916), including the story "Kochghar" as the first chapter;
• "Process" ("Der Prozeß", 1914-1915), including the parable "before the law";
• "Lock " ("Das Schloß", 1922).

Letters

• Letters to Felice Bauer (Briefe An Felice, 1912-1916);
• Letters to Grech Bloch (1913-1914);
• Letters to Milena Esensk (Briefe An Milena);
• Letters to Max Brod (Briefe An Max Brod);
• Letter Father (November 1919);
• Letters with Ottll and other family members (Briefe An Ottla und Die Familie);
• Letters to parents from 1922 to 1924. (Briefe An Die Eltern Aus Den Jahren 1922-1924);
• Other letters (including Robert Klopšku, Oscar Pollac et al.);

Diaries (Tagebücher)

• 1910. July - December;
• 1911. January - December;
• 1911-1912. Travel diaries written during a trip in Switzerland, France and Germany;
• 1912. January - September;
• 1913. February - December;
• 1914. January - December;
• 1915. January - May, September - December;
• 1916. April - October;
• 1917. July - October;
• 1919. June - December;
• 1920. January;
• 1921. October - December;
• 1922. January - December;
• 1923. June.

Notebook In-Octo

Eight workbooks of Franz Kafki (1917-1919), containing draft sketches, stories and variants of stories, reflections and observations.

Aphorisms

• "Reflections on sin, suffering, hope and true path" ("Betrachtungen Über Sünde, Leid, Hoffnung Und Den Wahren Weg", 1931).

The list is more than a hundred spelling kafki selected by them by the materials of the 3rd and 4th notebooks in-octavo.

Edition

In Russian

Kafka F. Roman. Novels. Proverbs // Progress. - 1965. - 616 p.

• Kafka F.. Castle // Foreign Literature. - 1988. - № 1-3. (Per. With him. R. Ya. Wright-Kovaleva)
• Kafka F.. Castle // Neva. - 1988. - № 1-4. (Per. With him. Notkin)
• Kafka F.. Favorites: Collection: Per. with it. / Sost E. Katseva; Preport. D. Zatonsky. - M.: Raduga, 1989. - 576 p. Circulation 100000 copies. (Masters of modern prose) ISBN 5-05-002394-7
• Kafka F.. Castle: Roman; Novels and parables; Letter Father; Letters Milen. - M.: Polizdat, 1991. - 576 p. Circulation 150,000 copies.
• Kafka F.. Castle / lane. with it. R. Ya. Wright-Kovaleva; The publication was prepared by A. V. Gulga and R. Ya. Wright-Kovaleva. - M.: Science, 1990. - 222 p. Circulation 25000 copies. (Literary monuments) ISBN 5-02-012742-6
• Kafka F. Process / Fig. A. Bisti. - St. Petersburg. : Vita Nova, 2003. - 408 p. - ISBN 5-93898-017-8.
• Kafka F. Punishment: Stories / Per. with it.; Sost., Preported., Comment. M. Rudnitsky. - M.: Text, 2006. - 336 p. (Series "Bilingua") ISBN 5-7516-0500-4
• Kafka F. Transformation/ Lane with it. A. Tulanina - Bitalyce, 2008. - 120 s. ISBN 978-80-7253-289-6
• Kafka F.. Diaries. Letters to Felicia. M .:, Eksmo, 2009, - 832 p., 4000 copies, ISBN 978-5-699-3311-0
• Kafka F.Castle: Roman / Per. with it. M. Rudnitsky. - SPb.: Publishing Group "ABC-Classic", 2009. - 480 p. ISBN 978-5-395-00464-2

Criticism

Many critics tried to explain the meaning of the texts of the Kafka, based on the provisions of certain literary schools - modernism, "magical realism" and other hopelessness and absurdity, permeating his work, are characteristic of existentialism. Some tried to find the influence of Marxism on his scoring bureaucracy to satire in such works as "in a correctional colony", "process" and "castle".

Others consider his works through the prism of Judaism (since he was a Jew and showed some interest in Jewish culture, which, however, developed only in the late years of the writer's life) - several insightful comments on this occasion did Jorge Luis Bruges. There were attempts to understand and through the Freudian psychoanalysis (in connection with the author's tense family life), and through the allegory of the metaphysical search of God (Thomas Mann was a champion of such an approach), but the question remains open and so on.

About kafka

• Jorge Luis Borheses. Kafka and its predecessors
• Theodore Adorno. Notes about Kafka.
• Georges Batay. Kafka (Inaccessible link from 14-05-2013 - history)
• Valery Belonozko. Unable notes about the "Process" novel, three sagas about the unfinished novels of Franz Kafki
• Walter Benjamin. Franz Kafka.
• Maurice Blancheo.. From kafka to kafka (two articles from the collection: reading kafki and kafka and literature)
• Max Brod. Franz Kafka. Biography
• Max Brod. Afterword and notes to the novel "Castle"
• Max Brod. Franz Kafka. Prison of Absolut
• Max Brod. Personality Kafki.
• Katie Diamant. Last love Kafka: Mystery Dari Diamant / Per. from English L. Volodar, K. Lukyanenko. - M. Text, 2008. - 576 p. ISBN 978-5-7516-0763-0
• Albert Kama. Hope and absurdity in the works of Franz Kafki
• Elias Coveni. Another process: Franz Kafka in letters to Felice / Per. with it. M. Rudnitsky. - M.: Text, 2014. - 176 p. ISBN 978-5-7516-1182-8
• Michael Kompafmüller. Splendor of life: Roman / lane. with it. M. Rudnitsky. - M.: Text, 2014. - 256 p. ISBN 978-5-7516-1222-1 (about the relationship of kafki and dari diamond)
• Yury Mann.. Meeting in Maze (Franz Kafka and Nikolay Gogol)
• David Zayn Mairovitsa and Robert Kambam. Kafka for beginners
• Vladimir Nabokov. "Turning" Franz Kafka
• Cynthia Crying. The inability to be kafka
• Jacqueline Raul-Duval. Kafka, eternal groom / lane. With Fr. E. Clokova. - M.: Text, 2015. - 256 p. ISBN 978-5-7516-1113-2
• Anatoly Ryasov. Man with too big shadow
• Natalie Sarrot.. From Dostoevsky to Kafka
• Eduard Goldshtüker. Na Téma Franz Kafka - ČLánky A Studie, 1964.
• Mark Bent. "I am the whole - literature": Life and books of Franz Kafka // Bent M. I. "I am all - literature": articles on the history and theory of literature. - SPb.: Publisher Sergey Khodov; Criga, 2013. - P. 436-458
• Garald Salfelner. Franz Kafka and Prague. Literary guide. Vitaly, Prague 2014. 120 s. ISBN 978-80-7253-307-7

Kafka in the cinema

Notes

1. Koelb, Clayton. Kafka: A Guide for the perplexed. - Chippenham, Wiltshire: Continuum International Publishing Group, 2010. - ISBN 978-0-8264-9579-2.
2. identifier BNF: open data platform - 2011.
3. What did Kafka believed? . Private correspondent. Checked April 8, 2018.
4. Spindler, William. Magic Realism: A TYPOLOGY (English) // Forum for Modern Language Studies. - 1993-01-01. - Vol. XXIX, ISS. one . - ISSN 0015-8518. - DOI: 10.1093 / FMLS / XXIX.1.75.
5. Franz Kafka | BIOGRAPHY & Works (English), Encyclopedia Britannica.. Checked on November 26, 2017.

Franz Kafka. Study of one death

June 3, 1924 German writer, Austrian official, Jewish sufferer and Czechoslovaki citizen Franz Kafka finally achieved that he was purposefully sought all his life. He died. Shortly before the death of Kafka uttered the words that could give birth, probably only his mouth: \\ "Doctor, give me death, otherwise you are a killer \\".

So joked into the Soviet era of intellectuals, paraphrasing the beginning of a well-known song about aviators. Kafka entered our life as a writer who created a stunning image of a bureaucratic machine managing society in his depth.

The son of Thomas Manna - Claus - Sounded by Kafkyan clothes on Hitler Germany. For some time, we believed that this "ammunition" is particularly good for the countries of the victorious socialism. But as this system is converted to the market, it becomes clear that the Kafkian world is comprehensive that it traces the relationships, largely determining the parameters of the entire twentieth century.

The image of this world is the history of the construction of the Chinese wall, and the memories of some Russian about the road on Caldy, built by the kafka on the materials of the two oriental despoty. But first of all, it is a novel "Castle", which Kafka wrote, but abandoned a couple of years before death. Roses, naturally, not from Soviet reality, but from the bureaucratic world of the Austro-Hungarian empire, which until 1918 included Czech lands.

"Castle" dry, stretched, difficult to digest how dry, stretched and difficult to digest bureaucratic relations themselves. In one, the earlier novel "Process" is built - dynamic, disturbing, alive. "Process" is a person in the new world, "Castle" is the world itself in which a person is only the sand.

Kafka saw a completely unexpected nature of the relationship between people, a completely unexpected mechanism for the motivation of their activities for the beginning of the century. And it was precisely seeing its special vision, because even from a bureaucratic experience, who personally had it, it was impossible to make such deep conclusions: the world simply did not provide enough material for this.

Just when the "Process" was written, Walter Ratenau began to build a military-industrial complex in Germany with its new link system. Just when "Castle" was written, Ratenau was killed. The new world was only built, but Kafka had already seen him.

Ratenau was from a rare breed of pragmatists, while the "advanced thinkers", arguing then about the struggle of classes or races, almost did not find in their intellectual buildings for bureaucracy. Kafka showed it as the form of the whole life of society, penetrated with new relations the entire vertical of power and submission: from the castle to the village.

To explain the reasons for the discovery made by the kafka, it is possible by the fact that he was a genius. Nobody argues with this. But, it seems, there is still little such explanation.

More precisely, it would be said that Kafka made a feat. In the literal sense of the word, without any exaggerations. It was meditation on the contrary, the ascent is not for eternal bliss, but by eternal flour. Physically feeling the horror of the world, he was able to understand him.

"Just furiously writing at night - that's what I want. And die from this or go crazy ... "(from the letter Felice).

For years, he brought himself to such a fortune in which the world was closed for him visible to an ordinary person, and something completely different was opened. He killed himself, but before his death saw such that, perhaps, justified the victim.

"I am a completely unfortunate bird. I am Kavka, Galka (in Czech - D.T.) ... My wings died out. And now for me there is no height, nor Deli. Rememberly I jump among people ... I am Serous as ashes. Galka, passionately wishing to hide among the stones. " So characterized himself kafka in a conversation with one young writer.

However, it was, rather, a joke. But not because in reality he saw the world in bright colors. On the contrary, everything was much worse. Bird, even if with dead wings, did not feel the kafka. Rather, the rodent shaking from fear of rodent or even unclean for every Jew.

Here from the early diary - soft, almost gentle: "At times heard yourself from the side, as if the kitten screames." Here from the later letters - the nervous, desperate: "I, the beast of the forest, lay somewhere in a dirty burgrel."

And here is a completely different image. Having made one day in the diary a terrible sketch of the page, Kafka immediately recorded: "Continue, pigs, your dance. What do I think about it? " And below: "But it is truly true than everything I wrote in the last year."

His narrations were simply taking place on the face of animals. And if in the "study of one dog" a lot of external, rational (although it's not to compare it with a diary record: "I would be able to score in the dog Konur, getting out only when you bring to a frustral"), then in the story about the mouse singer Josephine the world Real and fictional begin to cross in an incredible way. The dying kafka loses his voice under the influence of tuberculous laryngitis and begins to squeeze in mouse itself.

But truly terribly becomes when in the most famous story "the transformation" of Kafka takes a very similar to the author of the hero, which turned one "beautiful" in the disgusting insect.

Knowing that the Writer did not compose the best images, but just took from that world, in which only his vision penetrated, it is not difficult to imagine the feelings of the kafka, describing its own solid-shell spin, its own brown, convex, separated by arcuate scales of belly, its own Own numerous bawed thin paws, on the pads of which there was some kind of adhesive.

The "transformation" hero is dying, stamped with his loved ones. The end is spectacular, but too clutch, too far away with disassembly with its own family. In the story of "Nora", written in the end of life, everything is easier and natural.

His hero is whether a person, or the beast - all his life fell into the ground, removing from the surrounding world, which is so terrible and cruel. Hide, disappear, stretch the layer of soil as a protective safe - here is the goal of his life from birth. But there is no salvation in the hole. He hears the hum of a kind of monster, breaking through to him through the thickness of the earth, it feels like his own skin felt, making it a pathetic and defenseless.

"Nora" is horror without end, horror generated exclusively by its own worldview, and not by external circumstances. Only death can save him: "Doctor, give me death, otherwise ..."

Franz Kafka and Josef K.

For many years Kafka purposefully leaving the world of people. An animal world, born his pen, is only an external, the most simplified idea of \u200b\u200bwhat he felt. Where he dwells in fact at the time when she struggled with insomnia in his Prague apartment or squatted his pants in the office, no one would probably understand.

To some extent, the Personal World of Kafka appears from the diaries, which he began to lead from 27 years. This world is a continuous nightmare. The author of the diaries is in a solid hostile environment and, we must pay tribute to him, responds to the world.

All misfortunes began with bad upbringing. Father and mother, relatives, teachers, a kitchen, who drove a little Franz to school, dozens of other people, close and not close, distorted the identity of the child, spoiled his good part. Becoming an adult, Kafka was unhappy.

He was unhappy because of the posting work. At the end of the University of Prague, becoming a lawyer, Kafka was forced to make a living, turn into an insurance official. The service distracted from creativity, taking the best daytime hours - those watches in which might appear to the light of the masterpiece.

He was unhappy due to fragile health. With a height of 1.82, it weighed 55 kg. The body took the food poorly, the stomach was constantly sick. He gradually intensified insomnia, loosening the already weak nervous system.

A beautiful verbal portrait of the kafka gave one friend, who saw from the bridge through Vltava, as Franz undushed from rowing lies at the bottom of the boat: "As before a terrible court, the coffins have already been rejected, but the dead have not yet rebelled."

He was unhappy in his personal life. He fell in love several times, but never once could be connected with any of his chosen. Having lived a bachelor all my life, Kafka saw dreams with a terrible public woman whose body was covered with large marvelous red circles with black edges and scattered between them with red splashes sticking to the fingers of her male.

He hated and was afraid even his own body. "As I alien, for example, the muscles of the hand," the kafka recorded in the diary. Since childhood, he stunned and pushed his whole long awkward body because of uncomfortable clothing. The food was afraid due to unhealthy stomach, and when he calmed down, this insane eater was ready to rush to another extreme, representing how he pushes into his mouth, not biting, long rib cartilage, and then pulls them from below, breaking the stomach and intestine.

He was lonely and cut off from society, because he could not talk about anything other than literature ("I don't have the inclination to literature, I'm just about the literature"), and this topic was deeply indifferent to both family and colleagues.

Finally, it is necessary to add anti-Semitism to the entire complex of the causes of the Kafka, who made the life of the Jewish family dangerous and unpredictable.

It is not surprising that the theme of suicide is constantly awested in the diary: "To run up to the window and through the broken frames and glass, weakening from the voltage of the forces, cross through the window Parapet." Before that, the truth did not come, but with the prediction of his own death - "Do not live to 40 years old" - Kafka was almost not mistaken.

So, a truly scary face appears from the pages of the diary. But was this really kafka? I would venture to assume that we have, rather, the portrait of the inner world of some Josef K. - the literary twin of the writer who pops up in the "process", then in the "Castle".

As for the F. Kafki living in Prague, he was born in a decent and not bad secured Jewish family. No traces of particularly severe childhood, no traces of deprivation or manifests from parents of repression cafés cannot be found. In any case, for the era in which the child was still, in fact, was not recognized for a person (see M. Montessori for more details - "case", October 14, 2002), Franz's childhood can be considered safe.

By the way, he had no congenital dangerous diseases. Sometimes he even was engaged in sports. His first sexual experience of Kafka received at 20 years old - not so late at that time. The saleswoman from the shop of the finished dress was quite a pretty, and "whining flesh found peace." Yes, and in the future, a timid, but a charming young man was not expelled in a female society.

And with friends he just lucky. In Prague, there was a small literary circle, in which young people could find each other than grateful listeners. Among them was Max Brod - a man who heard kafka, considered him a genius, constantly stimulated in the work and helped to publish. About such a friend, any writer can only dream.

Work on the Polish Polkah was unwind, took the minimum of time and strength. The intelligent chief of the soul in it did not care and for many months paid him a sick leave even when Kafka himself was ready to go to an early retirement.

To all this this can be added that it is difficult to seriously talk about anti-Semitism in Prague against the background of what was going on in Russia, in Romania, in Vienna, with a burgomistra, and even in France during the times of Dreifus. The Jews had difficulties with the device to work, but communication and money easily allowed them to overcome.

So, there is a completely different world. And the most interesting thing is that in his records anyway, Kafka recognizes the natural kindness of the Father (by the way, already becoming an adult, Franz voluntarily lived in the parental family), and the friendliness of the chef, and the value of relationship with Max. But it's all - a glimpse. Suffering, on the contrary, are pronounced.

So really a diary - the most intimate document for any person - was the wrong? To some extent, Kafka himself in the records of recent years gives reason to think about the youth, he thickened paints. And yet I will risk assumed: there were two kafs, both of the truths.

One is a real Prazhanin (this image is reflected in the first biography of Kafki written by Brodom). The other is the same real inhabitant of the world of monsters generated by his consciousness and reflected by his work (even Bard saw this world only on reading the diaries, which happened already after the publication of the biography). These two worlds fought among themselves, with the decisive circumstance that determined the life, creativity and early death of Kafki was that he gave the full will of the Monsters to the world, gradually by the entire owner.

Critics and ideologues have repeatedly tried backwards to kafka an active life position. In Brod, the unfortunate sufferers, absorbed from the centuries-old culture of his people, perhaps, only a sense of incredit pain, appears by a humanist, a driving and deeply believer Jew. Another author of a random episode from the life of Kafki interprets as anarchism passion. Finally, in the USSR, in order to publish the writer alien to the socialism, critics did focus on his sympathy for the workers, which he insured against injury and disability.

All these estimates are stretched. Except that Judaism can be speculated, especially since it is impossible to ignore the opinion of the brow.

Kafka did not like decadents and, unlike Nietzsche, did not consider God dead. And yet his view on God was no less paradoxical, no less pessimistic: "We are only one of his bad moods. He had an unsuccessful day. " Where is it here to put a Jewish idea of \u200b\u200bGod's partnership?

Kafka lived in the Jewish environment, was interested in the culture and history of the Jews, the problem of emigration to Palestine. And yet, his soul, so badly held in the body, was not torn to the top of Zion, but into the world of Germanic, Scandinavian and Russian intellectualism. The real surroundings were not neighboring Jews and not a trip, shocked by the discovery of the kafki diaries, shouting the corner of the soul, remained closed for contemporaries. This environment was the literature of thought and suffering - Goethe, T. Mann, Hesse, Gogol, Dostoevsky, Tolstoy, Kierkegore, Strindberg, Gamsun.

For a long time Kafka was convinced (most likely, rightly), that he can write, only kneading himself into the corner and killing all the human. Therefore, he really trembled and killed, erecting instead of a living person, as he himself put it, "a tombstone monument to himself."

Freud he read, but did not appreciate. By a member of the comment T. Adorno, "Instead of healing neuroses, he is looking for the healing force in them - the power of knowledge."

However, how fair it is to say that Kafka took a conscious decision on the care? In the diary there is an amazing record, at first glance, nothing: "Why do Chukchi leave their terrible edge? .. They cannot; All that may occur; Perhaps only what is happening. "

Kafka lived as he could, and not in his power was to make a choice. To be accurate, he tried to escape from the world of horror. But the wall, separating him from the world of people, was insurmountable.

Kafka tried to pull himself over his hair out of the swamps, as the once Baron Munhgausen did. The first time an attempt was made on the threshold of thirty years, when the inner crisis, fixed in the diary, was already in full swing.

Visiting Ford, he found a guest from Berlin Felitsa Bauer, a Jew 25 years old with a bony empty face, as Kafka himself recorded a week later. Naute characteristic for future lover?

However, in a month he ties a long-premissive novel in letters. The beginning of this novel is marked with a creative burst. For one night, he writes the story "Verdict", laid out completely, to pain in the heart, and penetrating such a rare sense of satisfaction achieved so rare.

Then the creative energy is completely translated into the epistolary genre. Sometimes Kafka writes Felice to several letters per day. But at the same time it makes no attempt to see, although the distance from Prague to Berlin in general is ridiculous. Even her visit to the sister in Dresden (this is very close) he does not use.

Finally, after more than six months after the start of the novel in the letters of Kafka, the collapses to apply voluntarily forced and very brief visit to the "beloved". After three more months, the "young lover", so really and not looking at the empty bony face of his passion, makes her an offer.

In that verbal stream, which was previously wounded on Felitsa, attract attention to self-sensitive characteristics of the kafki, clearly showing the girl those monsters, which was growing in his soul. It would seem that everything was done in order to get a refusal. But, no matter how paradoxically, Felitsa agrees, consider, apparently, is already at that age when it is not necessary to arrive. For the kafka is a complete disaster.

Two weeks later, the moment of truth comes. With the Pedanticity of the Kafka official discharges seven items of analysis in the diary: for both marriage. Now everything is clear. He passionately wants to escape from his loneliness, but at the same time hesitates that he cannot entrust the monsters carefully in the soul. Only a sheet of paper. After all, the monsters monsters in fiction is, essentially, the meaning of his life.

He used the girl, the Tesha itself illuso the possibility of entering the world of people, but at the same time not wanting it. He tormented her, but at the same time suffered himself. He worked the novel, pre-committed for failure. If there is a story sad in the world than a story about Romeo and Juliet, then this is undoubtedly, Roman Franz and Felitsa.

Again from the diary: "The prince can marry a sleeping beauty and even worse, but sleeping beauty cannot be a prince." Kafka can not but sleep, because then he will not see his nightmarish dreams.

But there are no way back. He flies in the abyss and must certainly grasp someone without taking upon himself, however, no obligations. As soon as the correspondence with Felitsa fades, a new stage of episristolar creativity begins. The verbal flow of the kafki is now hitting the girlfriend of the failed bride - Greto Bloch, subsequently, who believed that her son was from the kafka.

But Kafka is not an adventure crawler, easily capable of switching his attention to a new object. He deeply suffers and ... shares with Felice. However, hopelessness of the development of these relations is obvious. Soon the engagement is terminated. And after three years, they suddenly turn out to be engaged. You can remember Marx: "The story is repeated twice, once like a tragedy, another time as farce."

However, a month after the second engagement took place, the farce turns into a tragedy again. Kafa occurs pulmonary bleeding. Doctors may have called it psychosomatics. Kafka drove himself into the angle, and stress was reborn in a completely physically tangible disease.

Tuberculosis has become an excuse to break the second engagement. Now Felitsa left forever. In a seriously sick kafki, another attempted to connect his fate with a woman - Yulia Vethrytsk, but as soon as future spouses found out that they could not count on the apartment-looking apartment, they immediately went to the opponent.

However, it was not the end. The last years of the kafki illuminated "live fire, which I have never seen before" (from the letter to Brod). The name of Milena Esensk was called. Czech, 23 years old, married, mentally unbalanced, cocaine, Motka ... Journalist and writer, translator Kafka on Czech, man of mad energy, future communist, future resistance fighter, future victim Ravensbrück ...

Perhaps someday the name of Milena will stand in one row with the names of Laura, Beatrice, Dulcinei. In her love with Franz, reality interfered with the myth, but the literature needs such myths. Slowly dying kafka finally received a source from which he could draw energy.

It was impossible to connect with Mylena (her husband had already arranged), and no need. She lived in Vienna, he is in Prague. Correspondence gave the illusion of life. But illusions can not last eternity. When Milena sent his "live fire" to heating other objects, Kafka did not have anything else, except to die. But before death they were still built by the "Castle".

He died on the hands of a young girl Dari Dimant - the Polish Jewish, whom he also managed to offer his hand and heart. Franz has already behaved like a child, the Dora is the child, as a mother, causing a sick son. But nothing could be changed.

And Kafka was born in Prague in 1883, then everything was just beginning, everything was possible. The death remained 41 years old.