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Customer Reviews (2)

Dark Vision: a forerunner of Kafka and Sartre
I was given this book as a gift, and after letting it sit around for a month or so opened it up and was hooked from the first line. Kleist's first lines are some of the best in literature. Some are almost cinematic, a view from outer space, zooming in on a continent, a country, a city, a building, a room, a human drama, all in a single sentence. For example, "The Earthquake in Chile" begins like this:

"In Santiago, the capital of the Kingdom of Chili, at the very moment when the great earth tremors of the year 1647 struck, in the wake of which many thousands found their doom, a young Spaniard by the name of Jeronimo Rugera, accused of a crime, stood beside a pillar in the prison where he'd been incarcerated and intended to hang himself."

Even though these stories and essays were written 200 years ago, they seem quite timely today--not just because of the recent earthquake in Chili, and not just because "Saint Cecilia" is echoed in the apparent transformation of Walton Goggin's character in the first two episodes of the TV series "Justified" as well as in that of the Stasi agent in the 2007 German movie "The Lives of Others"--but also in the general existential starkness of all his stories and essays. Sartre must have read him, and it's a known fact that Kafka did and was extremely moved by him. Writing during the time of Beethoven and like the composer a true believer in the Enlightenment, Kleist read Kant,lost his faith in the power of reason to reveal the meaning and purpose of life, and at the age of 34 shot himself and his terminally ill lover.

Even if we didn't have Kafka's testimony, Kleist's influence on him would be obvious. "Michael Kohlhass," with its tortuous and irrational labyrinth of bureaucratic corruption, misunderstanding and blundering, has got to beKafka's template for The Trial. This is probably the best story in the book-- Thomas Mann said it was "perhaps the strongest of all German stories"-- but unfortunately it is also the most poorly edited. It's like somewhere in the middle the proofreader threw up his hands in despair and quit his job. Apparently they couldn't find a replacement. Admittedly this is dense prose for English readers, outdoing Proust and Saramago for long sentences of nested subordinate clauses and quoted dialog, hitched together by commas or semicolons, unrelieved by paragraph indentations, but for this very reason the editors should have been on the lookout for mistakes. There are unclosed quotes, followed by a new quote; sometimes there are no quotation marks at all when the first-person kicks in in the middle of a third-person paragraph; sometimes double quotes are used inside a quoted passage, other times single quotes are used, etc.

However, I think the translation is great, and Kleist's writing is so well constructed--almost mathematically so (I think he was fascinated by mathematics)--that you have no trouble following the narrative, but it's just annoying that publishing has become so sloppy. Otherwise it's a beautifully designed volume.

The Dark Side of Enlightenment
The Dark Side of Enlightenment
A short life, an anguished soul, a strange and compelling writer.

by Ian Brunskill

The Wall Street Journal, 12/21/2009

A century ago, a distinguished Austrian scholar observed that Heinrich von Kleist (1777-1811) was "the most difficult problem in literary history" and that the more we learned about him, the more of a problem he became. That state of affairs has not changed.

Kleist's short and mostly unhappy life was a muddle of contradictions. His small dramatic oeuvre ranges disconcertingly wide, from comedy of manners to domestic tragedy, from social realism to gothic fantasy. His prose, of which Peter Wortsman has here collected and translated a welcome new selection, is stranger and more unsettling still. Romantics, Expressionists and Existentialists have all claimed him as an inspiration. Kafka called him a "blood-brother." But Kleist belongs to no literary school and remains, as Thomas Mann observed, in a class uniquely his own. Outside the German-speaking lands, he is all too little read.

Kleist was born in the market town of Frankfurt on the Oder into an aristocratic Prussian family that had produced a long line of distinguished military men. Following tradition, he joined a regiment of the royal foot guards when he was not yet 15. He saw action against the French, but he was quite unsuited to the discipline and monotony of military life. "So many officers, so many drill masters, so many soldiers, so many slaves," he wrote.

After a few years of service, he left the army and returned to his home town to study philosophy, physics and mathematics at the university. He acquired a reputation as a serious young man, a bit of a loner. Determined to pursue his intellectual development to the full, and guided by some firm though unspecified plan, in his early 20s Kleist embarked on a decade--his last--of anxious, unsettled life: endless travel; civil service; much reading; much ill health; a flaring of Prussian nationalist zeal; a rash attempt to join the French army; brief imprisonment as a suspected spy.

He also founded a short-lived literary journal and a daily paper. He got to know, and managed to alienate, the grand old men of German letters, Johann Wolfgang von Goethe and Christoph Martin Wieland. The literary Romantics--including Achim von Arnim, Clemens Brentano and the brothers Grimm--liked him, even revered him. An awkward, anguished soul, he might have stepped from the pages of one of their works.

Through it all Kleist wrote, though to no very wide acclaim: essays, anecdotes, shorts stories, plays. Then, on Nov. 21, 1811, at around four in the afternoon, on a small hill by the shore of the Wannsee lake just outside Berlin, having first shot dead a woman called Henrietta Vogel, who was the wife of an acquaintance and who in the subsequent autopsy would be found to have been suffering from incurable cancer, he placed a pistol in his mouth and killed himself. He was 34.

Kleist in his youth had espoused with enthusiasm all the optimism of the Enlightenment. Reason would conquer all; happiness would come with experience and understanding. In March 1801, however, by his own account, he seems to have encountered the thought of Immanuel Kant (it is not clear what precisely he read), and his world fell apart. By testing the nature and limits of human knowledge, Kant had sought primarily to establish the possibility of a meaningful metaphysics. To Kleist, however, it was much grimmer than that: Kant had shown, he believed, that empirical knowledge was unreliable, reason illusory, truth unattainable and life quite meaningless. "My sole and highest goal has vanished," he wrote. "Now I have none."

It was an extreme overreaction, not to mention a misreading of Kant's philosophy, but Kleist was like that. The universe inhabited by the characters in his works is bleak and bizarre--as "Selected Prose of Heinrich von Kleist" reminds us. In his essay "On the Theater of Marionettes," an ironic, fictionalized dialogue, Kleist consider's Man's fall from Eden and asks whether human self-consciousness is less a blessing than a curse. The characters in his works, particularly in his extraordinary short stories, try to make sense of a senseless world, to behave rationally in the face of madness, to act with purpose while at the mercy of cruel chance.

In "Michael Kohlhaas," the eponymous protagonist is a wronged horse dealer who pursues justice to the point of death. In "The Marquise of O," a virtuous widow who finds herself inexplicably pregnant seeks the truth quite heedless of her own disgrace. (In the mid-1970s, Eric Rohmer made this story into a compelling film.) Fate, for the lovers in "The Earthquake in Chile," is utterly malign. Religious faith, for the iconoclasts in "Saint Cecilia or the Power of Music," amounts to murderous bigotry. Political principle, amid the racial strife of the Haitian revolution in "The Betrothal in Santo Domingo," is a cloak for primal violence. Recounting these horrors, Kleist does not moralize or philosophize. He does not even try to explain.

What makes these dark narratives not just bearable but readable--compelling sometimes, at the unlikeliest moments even funny--is Kleist's extraordinary prose. Exploiting to the full the rigors of German syntax, he uses language to impose order and meaning on a profoundly disordered world. Clause follows clause in a stately, dispassionate procession of appalling events, commas marking time, paragraphs and even single sentences stretching on inexorably for line after line. Catastrophes unfold in a subclause. Idiosyncrasies of word order defer full, terrible understanding to the last possible moment.

English does not lend itself readily to Kleist's syntactical effects. Mr. Wortsman rises to the challenge with relish. He achieves readability while preserving something of the structure and even the rhythm of Kleist's dense yet lucid sentences: no easy task. This curious author's contemporaries must have found his prose almost as odd and involving as it seems to us. Even in his own day, no one wrote quite like Kleist.

Mr. Brunskill is a senior editor at the London Times. ... Read more

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A reprint of the J M Dent edition of 1997. Heinrich von Kleist was born and grew up in the Enlightenment and died in a suicide pact in 1811, aged only thirty-four. He left behind him literary works which are among the most disturbing and amusing of any produced in that revolutionary and romantic period. He is a modern writer: in the characters and situations he created we recognise our own aspirations and anxieties. Selected Writings includes a translation, with notes, of Kleist's best known plays, stories, and essays. ... Read more

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Von Kleist
I got the book fairly quickly and was happy that it was in perfect condition. Overall I am very happy with my purchase. ... Read more

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In The Marquise of O-, a virtuous widow finds herself unaccountably pregnant. And although the baffled Marquise has no idea when this happened, she must prove her innocence to her doubting family and discover whether the perpetrator is an assailant or lover. Michael Kohlhaas depicts an honourable man who feels compelled to violate the law in his search for justice, while other tales explore the singular realm of the uncanny, such as The Beggarwoman of Locarno, in which an old woman's ghost drives a heartless nobleman to madness, and St Cecilia, which portrays four brothers possessed by an uncontrollable religious mania. The stories collected in this volume reflect the preoccupations of Heinrich von Kleist (1777-1811) with the deceptiveness of human nature and the unpredictability of the physical world. ... Read more

Customer Reviews (9)

Doctorow stole from von Kleist and good for him!
Von Kleist's Michael Kohlhaas is the basis for Doctorow's Ragtime. Read the original von Kleist; it's far better.

Marquis of O- and Other Short Stories
I read 2 stories out of this book so far, and they were quite interesting. I am glad my professor chose this book as one of the many to use this semester!

Addendum to H. Schneider's Review
The excellent recent review of this German classic by H. Schneider, a classic German though living in Shanghai, has been struck by the cyber-bullies of the Amazon with a barrage of negative votes, something that the company should prevent in the name of its own business welfare.

Herr Schneider gave a fine concise overview of the place of Heinrich von Kleist in German literature, as well as a tantalizing intro to most of the stories in this translated edition. The one story he slighted was the first in the volume, "An Earthquake in Chile," which is first for the excellent reason that it's quite an exciting tale. The description of the great earthquake is as vivid as any account of a disaster I've ever read; I could feel the earth tremble when I read the English, and I nearly rushed to stand under the door frame when i read the Deutsch. It is typical Kleist in ending with consternation; Kleist would not have sympathized with any reader imploring him to end his tale less tragically.

Reluctant officer and suicidal gentleman
As a playwright, German classic Kleist sits on top of the Olymp, right up there with Goethe and Schiller. He also left a relatively small prose oeuvre behind when he died at 34 (in a suicide pact). An unpublished 2 volume novel is said to have disappeared. What we have is this bunch of stories and some journalism, and letters. He is a classic, but he was no classicist (hence no boredom like eg Goethe's Elective Affinities), and also no romantic. He belonged to no school but his own.

His stories take us into worlds of madness. Passions and restrictive social norms collide and cause endless havoc. A frequent motive is what we would call 'honor killings' nowadays: people, usually women, subjected to the extreme punishment for inappropriate relations.
The title story itself (set in Napoleonic times in Italy) is not quite as extreme in this regard: the Marquise 'only' gets expelled from her parents' home and ostracized, because she does not know how she got pregnant. Hard to believe, admittedly. Hardship steels her character and she attacks: she publishes an ad asking for the father to step up, she would forgive him and marry him. When he turns up it is a man whom she had had a crush on, a Russian count and officer who had saved her from rapists during the war, and had found her fainted. Well, well. Since he had been her angel, now he becomes her devil. But all in all, this is a comparatively sane story, as far as the protagonists go.

There is Kohlhaas, the horse trader who becomes a rebel and outlaw in protest against some junkers mistreating his horses and his servant. In a very German solution, he finds justice for the horses, but also for his crimes. Blind justice with her scale works both ways.

Two cases of honor killings:
A young convent woman in Chile in the 17th century gets sentenced to death for being pregnant, gets saved on the way to the scaffold by a huge earthquake, survives, meets the father of her child, believes to be safe, and goes back to Santiago. A mistake.
A noble woman in the 14th century in Germany is subjected to a Gottesurteil (God's verdict?) by duel when an accused murderer, a knight, claims her as his alibi; her admirer challenges the bad guy. A duel is set up which is supposed to decide over truth. If her friend loses, her denial is considered a lie and she will be burned.(Hard to believe, isn't it? But as Kleist wrote somewhere, probability is not always on the side of truth.)

More violence and madness: A mulatta teenage girl in Haiti during the slave rebellion after the French revolution falls in love with a French officer from Switzerland, who is a captive in the black household where she lives. She tries to save him, which would be her end by her own people. The couple makes romantic promises, but he misunderstands her tactics for liberating him (Swiss have a reputation for being slow sometimes), and kills her.

Kleist was his own world in literary matters, did not belong to anybody's school; he was also not in any political camp, definitely not in his 'own' camp, the Prussian military aristocracy that he ran away from. But also not among the freedom singers. His take on the slave rebellion is entirely unsympathetic.

What a pity the novel got lost.

P.S. what came over Penguin to use this entirely unsuitable painting of a smiling and happy young woman on the cover? there are very few happy people in this book; any scene of violence would have been justified...

Fascinating Read
Whether this book is read for pleasure or education it is amazing.There are so many dymaics played out in the relationships between the characters in each story.There is a lot of exploration into just and unjust violence.As well as an exploration into how language frames our actions towards ourselves and others.All of the stories are worth reading more than once.I especially liked "The earthquake in Chile" and "The Betrothal."I highly recommend putting this book on your must read list.Life will be different after reading Von Kleist.Many of the stories deal with something which is oddly familiar, yet mysterious at the same time (uncanny). ... Read more

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"Michael Kohlhaas" is a novella written by famed writer Heinrich von Kleist (1777-1811). The story is based upon the historical figure of Hans Kohlhase, a 16th century merchant who turned violent after being attacked and victimized by the authorities. As a result, he gathered around him a band of criminals and spread terror throughout the whole of Saxony. --- "The novella is a good example of Kleist's excellent narrative art: The action can be summed up in a few words, such as the formula for this story, given expressly on its first page: 'His sense of justice made him a robber and a murderer.' There is no leisurely exposition of time, place, or situation; all the necessary elements are given concisely in the first sentences. The action develops logically, with effective use of retardation and climax, but without disturbing episodes; and the reader is never permitted to forget the central theme. The descriptive element is realistic, with only pertinent details swiftly presented, often in parentheses, while the action moves on. The characterization is skilfully indirect, through unconscious action and speech. The author does not shun the trivial or even the repulsive in detail, nor does he fear the most tragic catastrophes ... The whole work in all its parts is firmly and finely forged by a master workman. --- Kleist has remained a solitary figure in German literature. Owing little to the dominant literary influences of his day, he has also found few imitators. Two generations passed before he began to come into his heritage of legitimate fame. Now ... his place is well assured among the greatest dramatic and narrative authors of Germany." (John S. Nollen) ... Read more

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What to Make of the Righteous Terrorist?
Certainly Heinrich von Kleist makes no explicit effort to tell us what to think of Michael Kohlhaas, the horse-trader who attempts to redress injustice by violence and who, like Thomas Jefferson, announces the right of the individual to rebel against an unjust society. Shall we place Kohlhaas in the pantheon of heroes alongside Morelos, Garibaldi, and Jefferson himself? Or in the company of martyrs for righteousness like John Brown, Nat Turner, and Robert Emmett? Or does he belong with Ted Kazcinski the Unabomber, or the leaders of the Baader-Meinhof Gang or the Symbionese Liberation Army? And just how easy is it, really, to distinguish the the Sons of Liberty from the Shining Path, except by degree of success?

Heinrich von Kleist (1777-1811) is one of the great classic writers of Germany, as familiar to Germans as Defoe or Swift to Britons, or Hawthorne and Melville to Americans. This historical novella is also available in the Penguin Classics edition of Kleist's stories, under the title of "The Marquise of O--". Almost unbearable moral ambiguity is the core of Kleist's prose, with "Michael Kohlhaas" as a 'typical' production from a writer whose stories are utterly untypical in every other way.

Students of the German language in colleges often get a dose of Kleist, who is far from easy in syntax or vocabulary, and many never recover. If you are one of those, don't hesitate to swallow your pride and read these potent, provocative stories in translation. Better an English Kleist than no Kleist at all!

Stubborn and inflexible. The most American German novella
A prototypical German, Michael Kohlhaas, in the version of untypical Prussian Kleist, one of the masters of German classical drama and novella. Who was he, this Kohlhaas? The historical original was a horse trader in Luther's time, (with Luther playing a pivotal part in the story, a historical one,) who fell foul with the rules and regulations of an ununified country, got subjected to the arbitrary power of an aristocrat, felt treated unjustly and fought against injustice, come what may, raising a small private army and fighting against the Junkers. To be right at all cost, the Rechthaberei, is one of our national traits, no doubt about it.

But then, step back a moment. My most recent encounters with the Kohlhaas theme were in American products. The great novel Ragtime by Doctorov has one of his main characters taken straight out of Kleist and transported to New York a few centuries later: the black man whose car gets damaged and who rages against the slight, who fights injustice like a German horse trader of the 16th century.

Another adaptation (or adoption?) is the not so famous, but recommendable movie Jack Bull, of 1999, with the 2 Johns Cusack and Goodman. Cusack is a small rancher who gets mistreated by bigger ranchers and who turns criminal, runs a gang of outlaws, exactly like Kohlhaas, and gets executed like Kohlhaas, because he is fighting the just fight with unlawful means. In both stories the legal proceedings are essential parts of the plot.

If you never heard of Kleist, make sure to repair the damage. If you were staying away from him, stop that and go for him! (Admittedly I can't judge the translation...) Kleist was a madman who actually thought that writing prose narratives was beneath him. His proper tool and ambience was the drama. He thought that, but he was wrong! He is one of the foremost story tellers in the German language!

His style was a very personal, 'Kleistian' one. His prose was very compact, very serious, very condensed. No time for dialogues, they are all summarized in indirect speech. No time for humor, for this man the world was too serious for that. No internal monologues, no pretentions by the narrator to be inside the mind of his protagonists. Very long sentences, without ever becoming nebulous in meaning. No philosophizing. No interpretation. Very Kleistian. ... Read more

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A biography on the writer and playwright Heinrich von Kleist ... Read more

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An ingenious “whodunit” and one of the greatest works of German literature, The Marquise of O— subverts the 18th–century notion of the infallibility of man and reveals the true ambiguity and caprice of humanity. Foreword by Andrew Miller.

Held captive by a band of unspeakable ruffians, the Marquise of O— is rescued before they can subject her to a fate worse than death. So, how, some months later, can it be that she finds herself pregnant? Believing herself fully innocent, although failing to convince her prudish family of her honor, she places an advertisement asking the perpetrator to identify himself. Heinrich von Kleist (1777–1811) is the first of the great dramatists of 19th–century German literature. ... Read more

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One of 60 low-priced classic texts published to celebrate Penguin's 60th anniversary. All the titles are extracts from "Penguin Classics" titles. ... Read more

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Bernd Heinrich Wilhelm von Kleist (1777-1811) war ein deutscher Dramatiker, Erzähler, Lyriker, Publizist und Patriot. Kleist begann 1799 in Frankfurt neben Mathematik als Hauptfach Physik, Kulturgeschichte, Latein und Kameralwissenschaften zu studieren. Für ihn waren die Naturwissenschaften im Sinne der Aufklärung ein objektives Mittel, sich selbst, die Gesellschaft und die Welt zu erkennen und zu verbessern. Kleist war ein Meister in der Kunst der Erzählung. Michael Kohlhaas (1808) gilt als eine der wichtigsten deutschsprachigen Erzählungen ihrer Zeit. Kleist wurde gleichermaßen als verkannter Vorbote der literarischen Moderne wie auch als bedeutender Streiter im Sinne der nationalistischen und chauvinistischen Strömungen des Deutschen Kaiserreichs gedeutet. Bekannt ist er vor allem für das "historische Ritterschauspiel" Das Käthchen von Heilbronn (1808), seine Lustspiele Der Zerbrochne Krug (Uraufführung 1808), Amphitryon (1807) und das Trauerspiel Penthesilea (1808). Weitere Werke des Autors sind: Katechismus der Deutschen (1809), Das Bettelweib von Locarno (1810) und Prinz Friedrich von Homburg (Uraufführung 1821). ... Read more

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Publisher: Charlottenburg : Schiller-BuchhandlungSubjects: Authors, German -- 18th centuryNotes: This is an OCR reprint. There may be numerous typos or missing text. There are no illustrations or indexes.When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free. You can also preview the book there. ... Read more

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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Unexpected but still a delight
As a Banville fan, I purchased this curiosity because I wanted to own as much of his work as is available.It isn't anything like the novels that I have so very much enjoyed but it is still a delight and very much a worthy addition to my Banville collection. Recommended for the Banville fan and the collector of odd plays. ... Read more

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The classic story of a sixteenth-century man who suffers injustice and takes the law into his own hands. After horse trader Kohlhaas protests an unfair tax, things escalate until he becomes the heroic leader of a rebellion against the king.

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Justice deferred
In 16th-century Brandenburg a horse dealer, Michael Kohlhaas, sets out for business in neighboring Saxony, where he maintains a second home. At the border, a crooked knight seizes two of his horses. It later turns out that the horses were worked almost to death and that one of Kohlhaas's servants was harassed and abused by the knight's men.

The rest of the story is about Kohlhaas's quest for justice from the Elector of Saxony. Justice is repeatedly denied, though, since the crooked knight has friends and kin in high places. A driven Kohlhaas then rebels against the state by forming his own army, which attacks several Saxon towns.

One interesting idea in the story concerns the role of the state. The state exists to provide justice to its inhabitants, from which it follows (according to one of the Elector's counselors) that by denying justice to Kohlhaas they have expelled him from the state, so that he is no longer subject to its laws; as a result, he's not so much a criminal as a foreign power making war against their state.

The tale at times comes across as a revenge story with Kohlhaas refusing to forgive his enemies (as his wife and Martin Luther urged him to do). At other times, though, the story seems to present a clash between two laws: the human law that derives from the ruler and a higher, natural law that rulers ignore only at their peril. This is the law that Kohlhaas, expelled into the state of nature, aims to uphold.

In the end, it is Kohlhaas' willingness to die for this law that gives him more power than the Saxon potentate who fears for his own fate.

Kleist thoroughly vilifies the Saxons, who in his own day were allied with Napoleon against Kleist's beloved Prussia. ... Read more

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This volume is produced from digital images created through the University of Michigan University Library's large-scale digitization efforts. The Library seeks to preserve the intellectual content of items in a manner that facilitates and promotes a variety of uses. The digital reformatting process results in an electronic version of the original text that can be both accessed online and used to create new print copies. The Library also understands and values the usefulness of print and makes reprints available to the public whenever possible. This book and hundreds of thousands of others can be found in the HathiTrust, an archive of the digitized collections of many great research libraries. For access to the University of Michigan Library's digital collections, please see http://www.lib.umich.edu and for information about the HathiTrust, please visit http://www.hathitrust.org ... Read more

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Bernd Heinrich Wilhelm von Kleist (1777-1811) war ein deutscher Dramatiker, Erzähler, Lyriker, Publizist und Patriot. Kleist begann 1799 in Frankfurt neben Mathematik als Hauptfach Physik, Kulturgeschichte, Latein und Kameralwissenschaften zu studieren. Für ihn waren die Naturwissenschaften im Sinne der Aufklärung ein objektives Mittel, sich selbst, die Gesellschaft und die Welt zu erkennen und zu verbessern. Kleist war ein Meister in der Kunst der Erzählung. Michael Kohlhaas (1808) gilt als eine der wichtigsten deutschsprachigen Erzählungen ihrer Zeit. Kleist wurde gleichermaßen als verkannter Vorbote der literarischen Moderne wie auch als bedeutender Streiter im Sinne der nationalistischen und chauvinistischen Strömungen des Deutschen Kaiserreichs gedeutet. Bekannt ist er vor allem für das “historische Ritterschauspiel” Das Käthchen von Heilbronn (1808), seine Lustspiele Der Zerbrochne Krug (Uraufführung 1808), Amphitryon (1807) und das Trauerspiel Penthesilea (1808). Weitere Werke des Autors sind: Katechismus der Deutschen (1809), Das Bettelweib von Locarno (1810) und Prinz Friedrich von Homburg (Uraufführung 1821). ... Read more