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丕賱賯賱毓丞: 丕賱丌孬丕乇 丕賱賰丕賲賱丞 賲毓 鬲賮爻賷乇丕鬲賴丕
賷囟賲 賴匕丕 丕賱噩夭亍 丕賱乇丕亘毓 賲賳 丕賱丌孬丕乇 丕賱賰丕賲賱丞 賱賰丕賮賰丕:
- 賳氐 乇賵丕賷丞 丕賱賯賱毓丞 賰丕賲賱丞
- 孬賱丕孬 丿乇丕爻丕鬲 毓賳 丕賱乇賵丕賷丞
- 賲賱丨賯丕 賷囟賲 丨丿賷孬 毓賳 賰丕賮賰丕, 賳亘匕丞 毓賳 丨賷丕丞 賰丕賮賰丕, 賰丕賮賰丕 丕賱賴賵丕賷丞, 賰丕賮賰丕 丕賱毓乇亘賷
- 賳氐 乇賵丕賷丞 丕賱賯賱毓丞 賰丕賲賱丞
- 孬賱丕孬 丿乇丕爻丕鬲 毓賳 丕賱乇賵丕賷丞
- 賲賱丨賯丕 賷囟賲 丨丿賷孬 毓賳 賰丕賮賰丕, 賳亘匕丞 毓賳 丨賷丕丞 賰丕賮賰丕, 賰丕賮賰丕 丕賱賴賵丕賷丞, 賰丕賮賰丕 丕賱毓乇亘賷
400 pages, Paperback
First published January 1, 1926
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About the author
Franz Kafka
3,198听books35.7k听followersPrague-born writer Franz Kafka wrote in German, and his stories, such as "
The Metamorphosis
" (1916), and posthumously published novels, including
The Trial
(1925), concern troubled individuals in a nightmarishly impersonal world.
Jewish middle-class family of this major fiction writer of the 20th century spoke German. People consider his unique body of much incomplete writing, mainly published posthumously, among the most influential in European literature.
His stories include "The Metamorphosis" (1912) and " In the Penal Colony " (1914), whereas his posthumous novels include The Trial (1925), The Castle (1926) and Amerika (1927).
Despite first language, Kafka also spoke fluent Czech. Later, Kafka acquired some knowledge of the French language and culture from Flaubert, one of his favorite authors.
Kafka first studied chemistry at the Charles-Ferdinand University of Prague but after two weeks switched to law. This study offered a range of career possibilities, which pleased his father, and required a longer course of study that gave Kafka time to take classes in German studies and art history. At the university, he joined a student club, named Lese- und Redehalle der Deutschen Studenten, which organized literary events, readings, and other activities. In the end of his first year of studies, he met Max Brod, a close friend of his throughout his life, together with the journalist Felix Weltsch, who also studied law. Kafka obtained the degree of doctor of law on 18 June 1906 and performed an obligatory year of unpaid service as law clerk for the civil and criminal courts.
Writing of Kafka attracted little attention before his death. During his lifetime, he published only a few short stories and never finished any of his novels except the very short "The Metamorphosis." Kafka wrote to Max Brod, his friend and literary executor: "Dearest Max, my last request: Everything I leave behind me ... in the way of diaries, manuscripts, letters (my own and others'), sketches, and so on, [is] to be burned unread." Brod told Kafka that he intended not to honor these wishes, but Kafka, so knowing, nevertheless consequently gave these directions specifically to Brod, who, so reasoning, overrode these wishes. Brod in fact oversaw the publication of most of work of Kafka in his possession; these works quickly began to attract attention and high critical regard.
Max Brod encountered significant difficulty in compiling notebooks of Kafka into any chronological order as Kafka started writing in the middle of notebooks, from the last towards the first, et cetera.
Kafka wrote all his published works in German except several letters in Czech to Milena Jesensk谩.
Jewish middle-class family of this major fiction writer of the 20th century spoke German. People consider his unique body of much incomplete writing, mainly published posthumously, among the most influential in European literature.
His stories include "The Metamorphosis" (1912) and " In the Penal Colony " (1914), whereas his posthumous novels include The Trial (1925), The Castle (1926) and Amerika (1927).
Despite first language, Kafka also spoke fluent Czech. Later, Kafka acquired some knowledge of the French language and culture from Flaubert, one of his favorite authors.
Kafka first studied chemistry at the Charles-Ferdinand University of Prague but after two weeks switched to law. This study offered a range of career possibilities, which pleased his father, and required a longer course of study that gave Kafka time to take classes in German studies and art history. At the university, he joined a student club, named Lese- und Redehalle der Deutschen Studenten, which organized literary events, readings, and other activities. In the end of his first year of studies, he met Max Brod, a close friend of his throughout his life, together with the journalist Felix Weltsch, who also studied law. Kafka obtained the degree of doctor of law on 18 June 1906 and performed an obligatory year of unpaid service as law clerk for the civil and criminal courts.
Writing of Kafka attracted little attention before his death. During his lifetime, he published only a few short stories and never finished any of his novels except the very short "The Metamorphosis." Kafka wrote to Max Brod, his friend and literary executor: "Dearest Max, my last request: Everything I leave behind me ... in the way of diaries, manuscripts, letters (my own and others'), sketches, and so on, [is] to be burned unread." Brod told Kafka that he intended not to honor these wishes, but Kafka, so knowing, nevertheless consequently gave these directions specifically to Brod, who, so reasoning, overrode these wishes. Brod in fact oversaw the publication of most of work of Kafka in his possession; these works quickly began to attract attention and high critical regard.
Max Brod encountered significant difficulty in compiling notebooks of Kafka into any chronological order as Kafka started writing in the middle of notebooks, from the last towards the first, et cetera.
Kafka wrote all his published works in German except several letters in Czech to Milena Jesensk谩.
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Displaying 1 - 30 of 4,428 reviews
July 1, 2019
"You misinterpret everything, even the silence."
If this was Homeros, the castle would be unattainable Ithaka. If it was Borges, it would be a labyrinthine library full of books one can't read. If it was Freud, it would be a nightmare in which the dreamer tries to reach a nonexistent goal.
But it is Kafka, and therefore it is a bit of all those stories, told in a meticulously described fog. As a symbol of life, it is depressing, and it leaves the reader to ponder what is worse: spending one's time fruitlessly trying to get access to the castle, or actually achieving the goal?
Life is what is happening in the meantime.
If this was Homeros, the castle would be unattainable Ithaka. If it was Borges, it would be a labyrinthine library full of books one can't read. If it was Freud, it would be a nightmare in which the dreamer tries to reach a nonexistent goal.
But it is Kafka, and therefore it is a bit of all those stories, told in a meticulously described fog. As a symbol of life, it is depressing, and it leaves the reader to ponder what is worse: spending one's time fruitlessly trying to get access to the castle, or actually achieving the goal?
Life is what is happening in the meantime.
December 7, 2024
Is there a way to penetrate into high places? Are high places really high?
Those who wield earthly power don鈥檛 sit high like Olympian gods they hide behind the closed doors concealed in the endless bureaucratic corridors. Do they really wield power?
He who tries to reach the goal that isn鈥檛 worth reaching is doomed.
Keeping his eyes fixed upon the Castle, K. went ahead, nothing else mattered to him. But as he came closer he was disappointed in the Castle, it was only a rather miserable little tower pieced together from village houses, distinctive only because everything was perhaps built out of stone, but the paint had long since flaked off, and the stone seemed to be crumbling.
Those who wield earthly power don鈥檛 sit high like Olympian gods they hide behind the closed doors concealed in the endless bureaucratic corridors. Do they really wield power?
Though the actual corridor was still empty, the doors were already moving, there was always one being opened a crack and then closed again quickly, the corridor was buzzing with all these door openers and door closers; K. saw here and there, above in the opening in the walls, which didn鈥檛 quite reach the ceiling, disheveled early-morning heads appear, and then vanish. From a distance, guided by a servant, came a tiny little cart containing files. A second servant walked alongside, holding a list which he was evidently using to compare the numbers on the doors with those on the files.
He who tries to reach the goal that isn鈥檛 worth reaching is doomed.
May 9, 2025
I have loved this superb novel for a very, very long time. Perhaps you, too, have shrouded yourself in the endless folds of its inner mystery and adventure - and lost yourself within it!
But WHY does it always seem to us so frustrating? So unsatisfying in the end? Is it because the Land Surveyor never gets to his Castle?
Well - maybe there鈥檚 a DEEPER reason why he never arrives... something endemic to the functioning - or malfunctioning, of our ordinary minds.
Let鈥檚 try to FIND OUT what it is.
Now, some writers - and Kafka is one of them - seem to catch us unawares... as if they鈥檙e calling out to us from a higher plane of existence.
Edwin Muir, the Scottish expatriate poet who first 麓discovered鈥� Kafka for us anglophones in the 1930鈥檚, was sure that the dear, misunderstood Franzel had an armlock on some Hidden Truth.
But what if this key to Kafka is that he was caught in the complex to-and-fro-ing of Hegel鈥檚 Contrite Consciousness - the tempestuous Ethical Plane of existence, according to Kierkegaard?
And what happens when the human mind morphs from the everyday sphere of living for the day... to a scary Moral Sphere?
It can be like Freud鈥檚 The Schreber Case. After all, there鈥檚 no justification for moral judgements in an amoral world, is there? So we鈥檙e automatically viewed as a stranger. Once you take sides, Sonny, you鈥檙e on your own! The mind tends to play tricks on us at that point...
And, once challenged and stopped dead in its tracks, the mind starts to replay its key judgements and obsessions ad infinitum, as Kafka does here - almost in anticipation of Freud鈥檚 example, Schreber - but only neurotically, and not psychotically.
But, hey - you rise above the herd, and it ain鈥檛 gonna be easy! Let me put it from another angle: did Frodo chicken out from his Quest?
Not on your life!
Though, like us, he retreated to the false comfort of his Ring now and then - and paid for it heavily.
Just as Kafka and Schreber take comfort in their obsessive disorders... Though Frodo鈥檚 fix is a VERY dangerous narcissism - Power.
But Kafka IS calling us from a higher plane, because the Castle itself is theologically symbolic of a Higher Reality.
Just as Mordor is the hobbits鈥� Armageddon and Gandalf is their Guardian Angel, along with the elfin-folk.
Even though that wonderful symbolic reality has now become shadowy and ungrounded in the crass garish light of the daily news, and though heads of state now seem utterly self-seeking - making our Land Surveyor鈥檚 reasoning utterly nonsensical to them, we now all have to live in an Upside-Down Kingdom, the postmodern mindset.
That鈥檚 a fact of our lives for us modern ethically-minded seekers - for we Quixotes are now hopelessly pitted against powerful electronic windmills!
***
Okay, then.
Had Kafka lived longer, would he have written in a HAPPY ENDING for the poor Land Surveyor?
Would he have entered the Castle, finally?
I think so.
Because all it takes is that one unforgettable moment when, at the end of all our wanderings, we hear the magical voice of the 鈥淲oodthrush calling through the Fog.鈥�
That moment when it finally dawns on us that there鈥檚 a much BIGGER story going on here than our own tiny story of dazed frustration as we trudge endlessly with the Land Surveyor through the snowdrifts of an Eastern European village...
Like in Kafka鈥檚 Amerika.
The bigger story of Redemption.
For it鈥檚 not about us...
It鈥檚 about something Bigger.
Kafka made this clear in a short story called Before the Law - only once (surreptitiously) published in his lifetime.
In Before the Law, a man ceases to believe, because he can鈥檛 even believe in the Law. So if he can鈥檛 believe in the Gospel, he loses the right to enter through the Gate of Heaven.
So the man always starts again. And TRIES again. And continually starts again at the beginning, simply because he now no longer believes.
When it鈥檚 time for him to die, the Gate is Closed.
Why?
Because he has given up trying, believing AND BEGINNING AGAIN!
And accepting the Law as - absurdly - God鈥檚 will.
In Amerika, though, Kafka comes to see that.
Salvation is a Free Gift.
And it鈥檚 only because he has given up hope completely, that the Gate (the Castle - or the Gift of Grace) of the Law is Now closed to him.
Until he starts over, but NOW it鈥檚 too late.
Or WOULD be too late - WITHOUT GRACE?
Or, without... the LAW!
For, to Kafka himself, at the end, Grace now ABOUNDED...
He now had kept his part of the bargain, always trying, unlike the Land Surveyor, no matter how hard it became, to believe and BITE THE BULLET... OF THE HARD AND FAST TRUTH... of the LAW.
AND SO THE CASTLE GATES SWUNG OPEN.
But WHY does it always seem to us so frustrating? So unsatisfying in the end? Is it because the Land Surveyor never gets to his Castle?
Well - maybe there鈥檚 a DEEPER reason why he never arrives... something endemic to the functioning - or malfunctioning, of our ordinary minds.
Let鈥檚 try to FIND OUT what it is.
Now, some writers - and Kafka is one of them - seem to catch us unawares... as if they鈥檙e calling out to us from a higher plane of existence.
Edwin Muir, the Scottish expatriate poet who first 麓discovered鈥� Kafka for us anglophones in the 1930鈥檚, was sure that the dear, misunderstood Franzel had an armlock on some Hidden Truth.
But what if this key to Kafka is that he was caught in the complex to-and-fro-ing of Hegel鈥檚 Contrite Consciousness - the tempestuous Ethical Plane of existence, according to Kierkegaard?
And what happens when the human mind morphs from the everyday sphere of living for the day... to a scary Moral Sphere?
It can be like Freud鈥檚 The Schreber Case. After all, there鈥檚 no justification for moral judgements in an amoral world, is there? So we鈥檙e automatically viewed as a stranger. Once you take sides, Sonny, you鈥檙e on your own! The mind tends to play tricks on us at that point...
And, once challenged and stopped dead in its tracks, the mind starts to replay its key judgements and obsessions ad infinitum, as Kafka does here - almost in anticipation of Freud鈥檚 example, Schreber - but only neurotically, and not psychotically.
But, hey - you rise above the herd, and it ain鈥檛 gonna be easy! Let me put it from another angle: did Frodo chicken out from his Quest?
Not on your life!
Though, like us, he retreated to the false comfort of his Ring now and then - and paid for it heavily.
Just as Kafka and Schreber take comfort in their obsessive disorders... Though Frodo鈥檚 fix is a VERY dangerous narcissism - Power.
But Kafka IS calling us from a higher plane, because the Castle itself is theologically symbolic of a Higher Reality.
Just as Mordor is the hobbits鈥� Armageddon and Gandalf is their Guardian Angel, along with the elfin-folk.
Even though that wonderful symbolic reality has now become shadowy and ungrounded in the crass garish light of the daily news, and though heads of state now seem utterly self-seeking - making our Land Surveyor鈥檚 reasoning utterly nonsensical to them, we now all have to live in an Upside-Down Kingdom, the postmodern mindset.
That鈥檚 a fact of our lives for us modern ethically-minded seekers - for we Quixotes are now hopelessly pitted against powerful electronic windmills!
***
Okay, then.
Had Kafka lived longer, would he have written in a HAPPY ENDING for the poor Land Surveyor?
Would he have entered the Castle, finally?
I think so.
Because all it takes is that one unforgettable moment when, at the end of all our wanderings, we hear the magical voice of the 鈥淲oodthrush calling through the Fog.鈥�
That moment when it finally dawns on us that there鈥檚 a much BIGGER story going on here than our own tiny story of dazed frustration as we trudge endlessly with the Land Surveyor through the snowdrifts of an Eastern European village...
Like in Kafka鈥檚 Amerika.
The bigger story of Redemption.
For it鈥檚 not about us...
It鈥檚 about something Bigger.
Kafka made this clear in a short story called Before the Law - only once (surreptitiously) published in his lifetime.
In Before the Law, a man ceases to believe, because he can鈥檛 even believe in the Law. So if he can鈥檛 believe in the Gospel, he loses the right to enter through the Gate of Heaven.
So the man always starts again. And TRIES again. And continually starts again at the beginning, simply because he now no longer believes.
When it鈥檚 time for him to die, the Gate is Closed.
Why?
Because he has given up trying, believing AND BEGINNING AGAIN!
And accepting the Law as - absurdly - God鈥檚 will.
In Amerika, though, Kafka comes to see that.
Salvation is a Free Gift.
And it鈥檚 only because he has given up hope completely, that the Gate (the Castle - or the Gift of Grace) of the Law is Now closed to him.
Until he starts over, but NOW it鈥檚 too late.
Or WOULD be too late - WITHOUT GRACE?
Or, without... the LAW!
For, to Kafka himself, at the end, Grace now ABOUNDED...
He now had kept his part of the bargain, always trying, unlike the Land Surveyor, no matter how hard it became, to believe and BITE THE BULLET... OF THE HARD AND FAST TRUTH... of the LAW.
AND SO THE CASTLE GATES SWUNG OPEN.
May 28, 2024
La calle, es decir la calle principal del pueblo, no llevaba al cerro del castillo, solamente conduc铆a hasta sus cercan铆as, y entonces, como adrede, se desviaba, y si bien no se alejaba de aquel, tampoco se acercaba m谩s.
La primera l铆nea de El castillo en el que K., el agrimensor y personaje principal de la novela se detiene en el puente de acceso a la aldea, nos da a entender y como ha sucedido en otros textos kafkianos, que est谩 colmada de incertidumbre: 芦Hab铆a ca铆do la noche cuando K. lleg贸. El pueblo estaba sumido en la nieve. No se ve铆a nada del cerro del castillo, lo rodeaban la niebla y tinieblas, y ni la lucecita m谩s d茅bil suger铆a el gran castillo禄.
Para colmo de males K. llega de noche. En La metamorfosis y El proceso todo ocurre de ma帽ana. Aqu铆, nuevamente Kafka nos posiciona en un lugar desconocido, una aldea perteneciente a un pa铆s que no conocemos, en el que adem谩s no aclaran en qu茅 continente se encuentra, aunque suponemos que es el europeo. Por la descripci贸n inicial, da la sensaci贸n de que m谩s que una aldea perdida en el medio de la nada, K. est谩 pisando el puente hacia una isla. La historia comienza como el autor acostumbra y sugiere: que el tiempo comenz贸 en ese mismo instante en una especie de mini universo cerrado.
Pietro Citati en su impecable biograf铆a Kafka nos aclara esta situaci贸n: 芦Al igual que En La metamorfosis y en El proceso, el comienzo es un principio absoluto: tenemos la impresi贸n de que antes, no ha ocurrido nunca nada, y que el universo, la vida de Kafka, la historia de la literatura, comienzan esa tarde, cuando K. llega ante la colina envuelta por la niebla y se detiene en el puente de madera禄.
Como lectores, comenzamos a trazar similitudes y analog铆as con El proceso, ya que mientras que en El proceso la luz y el calor son parte de los ambientes que frecuenta Josef K., aqu铆 K. solo tiene oscuridad y nieve y en ese clima hostil se desarrollar谩 toda la historia.
Max Brod y otros autores y cr铆ticos afirmar谩n tambi茅n que mientras en El proceso todo gira alrededor del concepto de 鈥渓a Ley鈥�, en El castillo lo que K. intentar谩 es acceder a 鈥渓a Divinidad鈥�, representado en las autoridades de ese castillo.
Otros consideran El castillo como la novela capital de Kafka, incluso por sobre El proceso, pero es muy acertado lo que afirma Albert Camus en un cap铆tulo consagrado al absurdo kafkiano en su libro El mito de S铆sifo: 芦El proceso y El castillo no marchan en el mismo sentido. Se completan禄, para definir contundentemente: 芦Hay que haber escrito El proceso para escribir El castillo禄. Seg煤n 茅l, ambas partes funcionan en conjunto para que el lector logre un entendimiento completo y cabal de las historias.
Al segundo d铆a, K. comprende que todo aquello que se relaciona con el castillo no es lo que parece. Nada es lo que parece. Se presenta en la 鈥淧osada de los Se帽ores鈥� indic谩ndoles que ha sido contratado por el conde de Westwest (extra帽o nombre para un conde si los hay) para realizar trabajos como agrimensor.
He aqu铆 el primer escollo: le informan que nadie ha requerido de sus servicios y que debe contar con alg煤n tipo de autorizaci贸n. K. intuye que debe haber alguna clase de error de algunas de la parte: 芦Usted ha sido contratado como agrimensor, pero no tenemos trabajo para usted鈥� nadie lo retiene aqu铆, pero esto no es una expulsi贸n禄.
Comienzan los primeros signos de inaccesibilidad, porque intenta realizar una llamada telef贸nica la cual resulta infructuosa, pues solo recibe ruidos desde el otro extremo del aparato: 芦Del auricular brot贸 un zumbido como K. no hab铆a o铆do nunca en un tel茅fono. Era como si, del zumbido de innumerables voces de ni帽o 鈥揳unque no era tal zumbido, sino el canto de voces lejanas, lejan铆simas-, como si de ese zumbido, de una forma francamente imposible, se formase una voz aguda pero resonante, que vibraba como si quisiera penetrar m谩s all谩 de aquel miserable o铆do禄.
Nuevos escollos atentar谩n contra su empresa de acceder al castillo (ya en el inicio de la novela, K., es otro personaje derrotado de antemano), pues al querer tomar un trineo para llegar a 茅l, recibe una inusitada negativa del cochero: 芦驴Qu茅 est谩 esperando? Alg煤n trineo que me lleve dijo K. Por aqu铆 no pasa ning煤n trineo, dijo el hombre, no hay tr谩fico. Sin embargo, es la calle que lleva al castillo, objet贸 K. Aun as铆, aun as铆, dijo el hombre con cierta inflexibilidad, no hay tr谩fico. Luego los dos se callaron禄.
Cuando finalmente la niebla baja y observa desde su posici贸n el famoso castillo, descubre que ni siquiera se trata de la construcci贸n que 茅l imaginaba: 芦En conjunto, el castillo tal como se mostraba a lo lejos, correspond铆a a las expectativas de K. No era un viejo castillo feudal ni una fastuosa construcci贸n moderna sino una extensa estructura, compuesta de algunos edificios de dos pisos y de muchos edificios bajos muy juntos; si no hubiera sabido que era un castillo, K. lo habr铆a podido tomar como una peque帽a ciudad. Vio solo una torre, y no pudo saber si pertenec铆a a un edificio destinado a habitaci贸n o a una iglesia禄.
Primera desilusi贸n de las tantas que le esperan.
K. es un extra帽o al que los pobladores no quieren aceptar en absoluto y mientras m谩s intente avanzar, m谩s dif铆cil ser谩. Los caminos kafkianos siempre son los m谩s dif铆ciles. La ilusi贸n es el recurso estil铆stico que emplear谩 Kafka para desconcertarnos, aunque haya elementos de conexi贸n, tal es el caso de amas Posadas -la De los Se帽ores y la Del Puente- y de quienes la frecuentan, porque est谩n directamente conectadas con el Castillo de manera similar a los Tribunales en El proceso, ya que todo tiene que ver con todo. Pero recordemos: en forma ilusoria.
Mientras escribe la novela, Kafka todav铆a est谩 hechizado por Milena y como consecuencia de esa relaci贸n decide llevarla a la ficci贸n transform谩ndola en Frieda, quien f铆sicamente es distinta a ella (M铆lena es morocha, mientras que Frieda es rubia), pero dot谩ndola de la misma caracter铆stica que la joven checa: la fogosidad.
Como sucediera con Leni, la secretaria del abogado de Josef K., en El proceso, Frieda utilizar谩 todos los recursos de sirena que posee para intentar seducir a K., y lo consigue.
Frieda, quien fue amante de Klamm, se帽or del Castillo quien supuestamente contrat贸 a K. y es uno de los hombres m谩s poderosos de la aldea, seduce a K. en la 煤nica escena de alto contenido sexual que Kafka representar谩 en toda su obra: entre chacos de cerveza, botellas desparramadas y suciedad, ambos har谩n el amor de manera desenfrenada.
Las mujeres, como en toda obra de Kafka son m谩s un escollo que una ayuda, especialmente para K., pues su relaci贸n con ellas dif铆cil, conflictiva y ambigua y traza en cierto modo un paralelismo con la vida del autor. Tanto en el caso de Frieda como con las otras mujeres con las que se cruza, que son Pepi, la mesonera que reemplaza a Frieda (y que da la sensaci贸n de que para este personaje Kafka se inspir贸 en Julie Wohrysek) y Gardena, que est谩 a cargo de la Posada de los Se帽ores.
Gardena, al igual que Grete y Brunelda en El desaparecido es de dimensiones importantes y no queda claro qu茅 ve铆a Kafka en las mujeres gordas para dotar a sus personajes femeninos con esta caracter铆stica. Lo cierto es que Gardena es bondadosa y respetada en oposici贸n al personaje de Brunelda, pero al principio es ruda con K.: 芦Usted no es del castillo. Usted no es de la aldea. Usted no es nadie禄.
Avanzando la novela, K., conocer谩 a Barnab谩s, el mensajero del castillo que es una especie de Hermes mortal, sin ning煤n atributo de dios quien trabaja llevando la correspondencia entre el castillo y las distintas dependencias de la aldea.
Este muchacho tiene tres hermanas: Amalia y Olga y la 鈥渇amilia Barnab谩s鈥�, como es conocida en la comarca y que est谩 marcada como paria y desclasada, debido a que un funcionario de rango medio llamado Sortini le ofreci贸 matrimonio a Amalia quien desech贸 de lleno la proposici贸n y en represalia a esta acci贸n fueron expulsados del 谩rea del castillo a vivir alejados de todos, con la excepci贸n de mantener en su trabajo al joven Barnab谩s. K. se interioriza de lo que le sucede a Amalia y visita a la familia. Olga es la encargada de contarle a K. la verdadera historia de lo que pas贸 con su hermana de Amalia. Y el caso de Olga es m谩s denigrante, pues se ha prostituido con distintos funcionarios del castillo a cambio de limpiar el nombre de su hermana.
Adem谩s de los inconvenientes que K. ya tiene con la imposibilidad de trabajar como agrimensor para el castillo, las mujeres se complotan contra 茅l. Lo complican (Gardena y Pepi), lo seducen y celan (Frieda) y lo distraen atraen (Olga). Amalia es la 煤nica que se mantiene un tanto distante. Los dem谩s personajes que interact煤an con K. no son muchos. Digamos que son algunos m谩s en cantidad que los de El proceso y que s铆 volver谩n a cruzarse con 茅l, aunque fugazmente.
Para llevar esto a cabo, Kafka diseminar谩 a trav茅s de toda la novela, personajes de distintos rangos jer谩rquicos y sociales.
Durante la lectura y adem谩s del esquivo se帽or Klamm, a nunca lograr谩 ver en persona, conoceremos tambi茅n a Sordini, que es quien confunde el nombramiento de K como agrimensor en un intercambio err贸neo de cartas y a los secretarios B眉rgel y Friedrich, m谩s puntualmente sobre los cap铆tulos finales.
Pero si hay dos personajes que complementar谩n a K. en esta historia estos ser谩n Arthur y Jerem铆as, dos ayudantes que las autoridades del castillo finalmente deciden asignarle al agrimensor. Y nuevamente nos encontramos, al igual que en El desaparecido con Robinson y Dellamarche y en El proceso con los dos se帽ores que abordan a K., al principio y los verdugos de la escena final, con el m谩gico n煤mero dos, como tambi茅n sucede con el relato Blumfeld, un solter贸n entrado en a帽os a quien tambi茅n le dan proveen dos ayudantes en su trabajo.
Estos dos clowns, conspiran todo el tiempo para que K. no logre su cometido. Son ineficientes e inoperantes y hasta pareciera que no poseen sus facultades mentales completas y que act煤an como si fueran dos perros y no seres humanos, por la forma en la que K. les ordena y ellos se chocan entre s铆, o se pelean para llegar primeros o se quedan esperando una orden. Lo persiguen, no saben absolutamente nada del oficio de agrimensura, se entrometen en todo, chusmean los momentos de intimidad que K. tiene con Frieda y lo que es m谩s: sobre el tramo final de la novela, Frieda abandona a K. para irse con Arthur.
Solo le queda a K. apoyarse en el inexperto Barnab谩s que incre铆blemente parece ser la 煤nica esperanza de tener noticias del castillo. Y en esta novela a K. le sucede lo mismo que a Josef K. con el abogado Huld: algunos funcionarios lo atienden desde la cama, como B眉rgel.
Todo, absolutamente todo lo que le pasa a K. en la novela se compone de futilidad, frustraci贸n, imposibilidad, fracaso. El castillo, infranqueable. El pueblo al que tiene que adaptarse, los pobladores, funcionarios, y las mujeres con las que se involucra s贸lo logran que el desasosiego y la desaz贸n de K. alcancen l铆mites insospechados.
Nadie colabora, todos entorpecen. K. se enreda en infinitos intentos que no conducen a nada. La inaccesibilidad al castillo es tal, que todos los funcionarios, dependientes, cocheros y criados conspiran en su contra, como Momus, el cochero que encuentra a K. semidormido dentro del coche que supuestamente lleva a Klamm al castillo. 脡l tambi茅n le anuncia que jam谩s podr谩 acceder al castillo. Pero K. va una y otra vez鈥�
La trama de El castillo va arrinconando al lector hasta lograr lo que Kafka inconscientemente busca: que el estado de frustraci贸n sea compartido con el del personaje.
Cabe destacar que los ambientes en los que se desarrolla El castillo son tambi茅n oscuros y opresivos como los de El proceso. Todos tienen su grado de complejidad. Las posadas, la escuela a la que K. ha sido degradado como Bedel, las oficinas administrativas de acceso al castillo son algunos ejemplos claros.
Y no s贸lo el castillo es inaccesible. Si bien este simboliza el poder, la 鈥淒ivinidad鈥�, afirmaba su amigo y albacea Max Brod, del mismo modo son inaccesibles sus funcionarios, resumidos obviamente en Klamm. Lo que diferencia a K., de Josef K., es que aquel intenta entender por qu茅 es perseguido y condenado por el sistema, mientras que este K. va a su encuentro con el objeto de hacer infructuosos contactos.
K., del que ya ni siquiera conocemos ning煤n tipo de caracter铆stica f铆sica (al menos de Josef K. nos enteramos de que ten铆a unos bonitos ojos negro) va transform谩ndose en la inicial que lo identifica como un hombre reducido a lo m谩s m铆nimo de su existencia. 脡l nunca se plantea: 鈥溌縫or qu茅 no me voy?鈥�, 鈥溌縫or qu茅 no abandono todo esto y pruebo una nueva vida?鈥�, sino todo lo contrario, quiere quedarse, establecerse porque no puede volver a donde vino y como todo personaje kafkiano vive en un eterno presente sin futuro alguno a la vista.
Es un Quijote sin armas, un Ulises que ha perdido completamente el rumbo.
Sobre el final, Frieda le propone escaparse juntos a Espa帽a o Italia, pero 茅l desiste del mismo modo que el autor de esta novela siempre hizo, eligiendo el camino equivocado.
Mientras que en las novelas de Fi贸dor Dostoievski 鈥渓a procesi贸n existencialista鈥� va por dentro del personaje para confrontarlo con la realidad y los dem谩s personajes, en las de Kafka las circunstancias, el entorno y todas las probabilidades conspiran en su contra y a la inversa, perforando la conciencia del personaje para llegar, incluso, a paralizarlo.
Se han hecho muchas interpretaciones sobre el significado que Kafka quiso establecer en El castillo. Lo cierto es que cada lector podr谩 hacer un an谩lisis y llegar a su propia conclusi贸n, tenga que ver con la ley, lo divino o lo inalcanzable, que son en cierto modo los elementos con los que Kafka siempre trabaj贸 sus historias.
Y tiene puntos de contacto con aquel hombre que espera en vano durante a帽os en la puerta junto al guardi谩n en el relato Ante la Ley, ya que el castillo es el punto de destino qu茅 se ha planteado desde el principio porque supuestamente para trabajar all铆 lo contrataron, aunque no le hacen nada f谩cil su acceso y en la 煤nica oportunidad que tiene para llegar a entrar, se queda dormido en la habitaci贸n B眉rgel, el secretario del funcionario Erlanger.
Luego de la muerte de Kafka, Max Brod juraba que este le hab铆a contado a fines de 1922 c贸mo terminaba la historia de K.: 芦Kafka no escribi贸 ning煤n cap铆tulo final. Pero en cierta ocasi贸n me lo explic贸, contestando a mi pregunta sobre el final de la novela. El supuesto agrimensor recibe, por lo menos parcialmente, satisfacci贸n. No ceja en su lucha, pero muere de agotamiento. En torno a su lecho mortuorio se congrega la comunidad, cuando desde el castillo le traen la noticia del fallo judicial, seg煤n el cual no exist铆a por parte de K. derecho legal a vivir en la aldea, pero que -considerando ciertas circunstancias- se le permit铆a vivir y trabajar all铆禄.
Podemos entender el entusiasmo de Brod quien, con mucho af谩n, orden贸 y public贸 los borradores del castillo, pero es muy dif铆cil creer que Kafka le haya contado esto si tenemos en cuenta que como se indicara previamente, le ced铆a el manuscrito porque no lograba cerrar la historia. Es m谩s, una maquinaci贸n de Brod que lo que su amigo ten铆a intenciones de hacer.
Lo que s铆 sabemos, es que Kafka dej贸 inconclusa esta novela con una frase a medio terminar: 芦...hablaba con dificultad, era dif铆cil comprenderla, pero lo que dijo,禄
El enorme Ricardo Piglia supo definir cabalmente lo que significa la novela El castillo al afirmar brillantemente: 芦La interrupci贸n, gran tema de Kafka, la interferencia que impide llegar a destino. La suspensi贸n, el desv铆o, la postergaci贸n, esto es cl谩sico en 茅l, lo narra siempre, pero define tambi茅n el registro de su escritura. Su estilo es un arte de la interrupci贸n, el arte de narrar la interferencia禄. Concuerda con Borges quien afirm贸 que a los personajes kafkianos los caracteriza 鈥渓a infinita postergaci贸n鈥�.
Esa simple frase terminada en una coma es un no-final kafkiano dif铆cil de superar por cualquier novelista, porque refleja su particular manera de abordar la literatura y es de este modo que Kafka desaf铆a al lector abri茅ndole una puerta al infinito.
La primera l铆nea de El castillo en el que K., el agrimensor y personaje principal de la novela se detiene en el puente de acceso a la aldea, nos da a entender y como ha sucedido en otros textos kafkianos, que est谩 colmada de incertidumbre: 芦Hab铆a ca铆do la noche cuando K. lleg贸. El pueblo estaba sumido en la nieve. No se ve铆a nada del cerro del castillo, lo rodeaban la niebla y tinieblas, y ni la lucecita m谩s d茅bil suger铆a el gran castillo禄.
Para colmo de males K. llega de noche. En La metamorfosis y El proceso todo ocurre de ma帽ana. Aqu铆, nuevamente Kafka nos posiciona en un lugar desconocido, una aldea perteneciente a un pa铆s que no conocemos, en el que adem谩s no aclaran en qu茅 continente se encuentra, aunque suponemos que es el europeo. Por la descripci贸n inicial, da la sensaci贸n de que m谩s que una aldea perdida en el medio de la nada, K. est谩 pisando el puente hacia una isla. La historia comienza como el autor acostumbra y sugiere: que el tiempo comenz贸 en ese mismo instante en una especie de mini universo cerrado.
Pietro Citati en su impecable biograf铆a Kafka nos aclara esta situaci贸n: 芦Al igual que En La metamorfosis y en El proceso, el comienzo es un principio absoluto: tenemos la impresi贸n de que antes, no ha ocurrido nunca nada, y que el universo, la vida de Kafka, la historia de la literatura, comienzan esa tarde, cuando K. llega ante la colina envuelta por la niebla y se detiene en el puente de madera禄.
Como lectores, comenzamos a trazar similitudes y analog铆as con El proceso, ya que mientras que en El proceso la luz y el calor son parte de los ambientes que frecuenta Josef K., aqu铆 K. solo tiene oscuridad y nieve y en ese clima hostil se desarrollar谩 toda la historia.
Max Brod y otros autores y cr铆ticos afirmar谩n tambi茅n que mientras en El proceso todo gira alrededor del concepto de 鈥渓a Ley鈥�, en El castillo lo que K. intentar谩 es acceder a 鈥渓a Divinidad鈥�, representado en las autoridades de ese castillo.
Otros consideran El castillo como la novela capital de Kafka, incluso por sobre El proceso, pero es muy acertado lo que afirma Albert Camus en un cap铆tulo consagrado al absurdo kafkiano en su libro El mito de S铆sifo: 芦El proceso y El castillo no marchan en el mismo sentido. Se completan禄, para definir contundentemente: 芦Hay que haber escrito El proceso para escribir El castillo禄. Seg煤n 茅l, ambas partes funcionan en conjunto para que el lector logre un entendimiento completo y cabal de las historias.
Al segundo d铆a, K. comprende que todo aquello que se relaciona con el castillo no es lo que parece. Nada es lo que parece. Se presenta en la 鈥淧osada de los Se帽ores鈥� indic谩ndoles que ha sido contratado por el conde de Westwest (extra帽o nombre para un conde si los hay) para realizar trabajos como agrimensor.
He aqu铆 el primer escollo: le informan que nadie ha requerido de sus servicios y que debe contar con alg煤n tipo de autorizaci贸n. K. intuye que debe haber alguna clase de error de algunas de la parte: 芦Usted ha sido contratado como agrimensor, pero no tenemos trabajo para usted鈥� nadie lo retiene aqu铆, pero esto no es una expulsi贸n禄.
Comienzan los primeros signos de inaccesibilidad, porque intenta realizar una llamada telef贸nica la cual resulta infructuosa, pues solo recibe ruidos desde el otro extremo del aparato: 芦Del auricular brot贸 un zumbido como K. no hab铆a o铆do nunca en un tel茅fono. Era como si, del zumbido de innumerables voces de ni帽o 鈥揳unque no era tal zumbido, sino el canto de voces lejanas, lejan铆simas-, como si de ese zumbido, de una forma francamente imposible, se formase una voz aguda pero resonante, que vibraba como si quisiera penetrar m谩s all谩 de aquel miserable o铆do禄.
Nuevos escollos atentar谩n contra su empresa de acceder al castillo (ya en el inicio de la novela, K., es otro personaje derrotado de antemano), pues al querer tomar un trineo para llegar a 茅l, recibe una inusitada negativa del cochero: 芦驴Qu茅 est谩 esperando? Alg煤n trineo que me lleve dijo K. Por aqu铆 no pasa ning煤n trineo, dijo el hombre, no hay tr谩fico. Sin embargo, es la calle que lleva al castillo, objet贸 K. Aun as铆, aun as铆, dijo el hombre con cierta inflexibilidad, no hay tr谩fico. Luego los dos se callaron禄.
Cuando finalmente la niebla baja y observa desde su posici贸n el famoso castillo, descubre que ni siquiera se trata de la construcci贸n que 茅l imaginaba: 芦En conjunto, el castillo tal como se mostraba a lo lejos, correspond铆a a las expectativas de K. No era un viejo castillo feudal ni una fastuosa construcci贸n moderna sino una extensa estructura, compuesta de algunos edificios de dos pisos y de muchos edificios bajos muy juntos; si no hubiera sabido que era un castillo, K. lo habr铆a podido tomar como una peque帽a ciudad. Vio solo una torre, y no pudo saber si pertenec铆a a un edificio destinado a habitaci贸n o a una iglesia禄.
Primera desilusi贸n de las tantas que le esperan.
K. es un extra帽o al que los pobladores no quieren aceptar en absoluto y mientras m谩s intente avanzar, m谩s dif铆cil ser谩. Los caminos kafkianos siempre son los m谩s dif铆ciles. La ilusi贸n es el recurso estil铆stico que emplear谩 Kafka para desconcertarnos, aunque haya elementos de conexi贸n, tal es el caso de amas Posadas -la De los Se帽ores y la Del Puente- y de quienes la frecuentan, porque est谩n directamente conectadas con el Castillo de manera similar a los Tribunales en El proceso, ya que todo tiene que ver con todo. Pero recordemos: en forma ilusoria.
Mientras escribe la novela, Kafka todav铆a est谩 hechizado por Milena y como consecuencia de esa relaci贸n decide llevarla a la ficci贸n transform谩ndola en Frieda, quien f铆sicamente es distinta a ella (M铆lena es morocha, mientras que Frieda es rubia), pero dot谩ndola de la misma caracter铆stica que la joven checa: la fogosidad.
Como sucediera con Leni, la secretaria del abogado de Josef K., en El proceso, Frieda utilizar谩 todos los recursos de sirena que posee para intentar seducir a K., y lo consigue.
Frieda, quien fue amante de Klamm, se帽or del Castillo quien supuestamente contrat贸 a K. y es uno de los hombres m谩s poderosos de la aldea, seduce a K. en la 煤nica escena de alto contenido sexual que Kafka representar谩 en toda su obra: entre chacos de cerveza, botellas desparramadas y suciedad, ambos har谩n el amor de manera desenfrenada.
Las mujeres, como en toda obra de Kafka son m谩s un escollo que una ayuda, especialmente para K., pues su relaci贸n con ellas dif铆cil, conflictiva y ambigua y traza en cierto modo un paralelismo con la vida del autor. Tanto en el caso de Frieda como con las otras mujeres con las que se cruza, que son Pepi, la mesonera que reemplaza a Frieda (y que da la sensaci贸n de que para este personaje Kafka se inspir贸 en Julie Wohrysek) y Gardena, que est谩 a cargo de la Posada de los Se帽ores.
Gardena, al igual que Grete y Brunelda en El desaparecido es de dimensiones importantes y no queda claro qu茅 ve铆a Kafka en las mujeres gordas para dotar a sus personajes femeninos con esta caracter铆stica. Lo cierto es que Gardena es bondadosa y respetada en oposici贸n al personaje de Brunelda, pero al principio es ruda con K.: 芦Usted no es del castillo. Usted no es de la aldea. Usted no es nadie禄.
Avanzando la novela, K., conocer谩 a Barnab谩s, el mensajero del castillo que es una especie de Hermes mortal, sin ning煤n atributo de dios quien trabaja llevando la correspondencia entre el castillo y las distintas dependencias de la aldea.
Este muchacho tiene tres hermanas: Amalia y Olga y la 鈥渇amilia Barnab谩s鈥�, como es conocida en la comarca y que est谩 marcada como paria y desclasada, debido a que un funcionario de rango medio llamado Sortini le ofreci贸 matrimonio a Amalia quien desech贸 de lleno la proposici贸n y en represalia a esta acci贸n fueron expulsados del 谩rea del castillo a vivir alejados de todos, con la excepci贸n de mantener en su trabajo al joven Barnab谩s. K. se interioriza de lo que le sucede a Amalia y visita a la familia. Olga es la encargada de contarle a K. la verdadera historia de lo que pas贸 con su hermana de Amalia. Y el caso de Olga es m谩s denigrante, pues se ha prostituido con distintos funcionarios del castillo a cambio de limpiar el nombre de su hermana.
Adem谩s de los inconvenientes que K. ya tiene con la imposibilidad de trabajar como agrimensor para el castillo, las mujeres se complotan contra 茅l. Lo complican (Gardena y Pepi), lo seducen y celan (Frieda) y lo distraen atraen (Olga). Amalia es la 煤nica que se mantiene un tanto distante. Los dem谩s personajes que interact煤an con K. no son muchos. Digamos que son algunos m谩s en cantidad que los de El proceso y que s铆 volver谩n a cruzarse con 茅l, aunque fugazmente.
Para llevar esto a cabo, Kafka diseminar谩 a trav茅s de toda la novela, personajes de distintos rangos jer谩rquicos y sociales.
Durante la lectura y adem谩s del esquivo se帽or Klamm, a nunca lograr谩 ver en persona, conoceremos tambi茅n a Sordini, que es quien confunde el nombramiento de K como agrimensor en un intercambio err贸neo de cartas y a los secretarios B眉rgel y Friedrich, m谩s puntualmente sobre los cap铆tulos finales.
Pero si hay dos personajes que complementar谩n a K. en esta historia estos ser谩n Arthur y Jerem铆as, dos ayudantes que las autoridades del castillo finalmente deciden asignarle al agrimensor. Y nuevamente nos encontramos, al igual que en El desaparecido con Robinson y Dellamarche y en El proceso con los dos se帽ores que abordan a K., al principio y los verdugos de la escena final, con el m谩gico n煤mero dos, como tambi茅n sucede con el relato Blumfeld, un solter贸n entrado en a帽os a quien tambi茅n le dan proveen dos ayudantes en su trabajo.
Estos dos clowns, conspiran todo el tiempo para que K. no logre su cometido. Son ineficientes e inoperantes y hasta pareciera que no poseen sus facultades mentales completas y que act煤an como si fueran dos perros y no seres humanos, por la forma en la que K. les ordena y ellos se chocan entre s铆, o se pelean para llegar primeros o se quedan esperando una orden. Lo persiguen, no saben absolutamente nada del oficio de agrimensura, se entrometen en todo, chusmean los momentos de intimidad que K. tiene con Frieda y lo que es m谩s: sobre el tramo final de la novela, Frieda abandona a K. para irse con Arthur.
Solo le queda a K. apoyarse en el inexperto Barnab谩s que incre铆blemente parece ser la 煤nica esperanza de tener noticias del castillo. Y en esta novela a K. le sucede lo mismo que a Josef K. con el abogado Huld: algunos funcionarios lo atienden desde la cama, como B眉rgel.
Todo, absolutamente todo lo que le pasa a K. en la novela se compone de futilidad, frustraci贸n, imposibilidad, fracaso. El castillo, infranqueable. El pueblo al que tiene que adaptarse, los pobladores, funcionarios, y las mujeres con las que se involucra s贸lo logran que el desasosiego y la desaz贸n de K. alcancen l铆mites insospechados.
Nadie colabora, todos entorpecen. K. se enreda en infinitos intentos que no conducen a nada. La inaccesibilidad al castillo es tal, que todos los funcionarios, dependientes, cocheros y criados conspiran en su contra, como Momus, el cochero que encuentra a K. semidormido dentro del coche que supuestamente lleva a Klamm al castillo. 脡l tambi茅n le anuncia que jam谩s podr谩 acceder al castillo. Pero K. va una y otra vez鈥�
La trama de El castillo va arrinconando al lector hasta lograr lo que Kafka inconscientemente busca: que el estado de frustraci贸n sea compartido con el del personaje.
Cabe destacar que los ambientes en los que se desarrolla El castillo son tambi茅n oscuros y opresivos como los de El proceso. Todos tienen su grado de complejidad. Las posadas, la escuela a la que K. ha sido degradado como Bedel, las oficinas administrativas de acceso al castillo son algunos ejemplos claros.
Y no s贸lo el castillo es inaccesible. Si bien este simboliza el poder, la 鈥淒ivinidad鈥�, afirmaba su amigo y albacea Max Brod, del mismo modo son inaccesibles sus funcionarios, resumidos obviamente en Klamm. Lo que diferencia a K., de Josef K., es que aquel intenta entender por qu茅 es perseguido y condenado por el sistema, mientras que este K. va a su encuentro con el objeto de hacer infructuosos contactos.
K., del que ya ni siquiera conocemos ning煤n tipo de caracter铆stica f铆sica (al menos de Josef K. nos enteramos de que ten铆a unos bonitos ojos negro) va transform谩ndose en la inicial que lo identifica como un hombre reducido a lo m谩s m铆nimo de su existencia. 脡l nunca se plantea: 鈥溌縫or qu茅 no me voy?鈥�, 鈥溌縫or qu茅 no abandono todo esto y pruebo una nueva vida?鈥�, sino todo lo contrario, quiere quedarse, establecerse porque no puede volver a donde vino y como todo personaje kafkiano vive en un eterno presente sin futuro alguno a la vista.
Es un Quijote sin armas, un Ulises que ha perdido completamente el rumbo.
Sobre el final, Frieda le propone escaparse juntos a Espa帽a o Italia, pero 茅l desiste del mismo modo que el autor de esta novela siempre hizo, eligiendo el camino equivocado.
Mientras que en las novelas de Fi贸dor Dostoievski 鈥渓a procesi贸n existencialista鈥� va por dentro del personaje para confrontarlo con la realidad y los dem谩s personajes, en las de Kafka las circunstancias, el entorno y todas las probabilidades conspiran en su contra y a la inversa, perforando la conciencia del personaje para llegar, incluso, a paralizarlo.
Se han hecho muchas interpretaciones sobre el significado que Kafka quiso establecer en El castillo. Lo cierto es que cada lector podr谩 hacer un an谩lisis y llegar a su propia conclusi贸n, tenga que ver con la ley, lo divino o lo inalcanzable, que son en cierto modo los elementos con los que Kafka siempre trabaj贸 sus historias.
Y tiene puntos de contacto con aquel hombre que espera en vano durante a帽os en la puerta junto al guardi谩n en el relato Ante la Ley, ya que el castillo es el punto de destino qu茅 se ha planteado desde el principio porque supuestamente para trabajar all铆 lo contrataron, aunque no le hacen nada f谩cil su acceso y en la 煤nica oportunidad que tiene para llegar a entrar, se queda dormido en la habitaci贸n B眉rgel, el secretario del funcionario Erlanger.
Luego de la muerte de Kafka, Max Brod juraba que este le hab铆a contado a fines de 1922 c贸mo terminaba la historia de K.: 芦Kafka no escribi贸 ning煤n cap铆tulo final. Pero en cierta ocasi贸n me lo explic贸, contestando a mi pregunta sobre el final de la novela. El supuesto agrimensor recibe, por lo menos parcialmente, satisfacci贸n. No ceja en su lucha, pero muere de agotamiento. En torno a su lecho mortuorio se congrega la comunidad, cuando desde el castillo le traen la noticia del fallo judicial, seg煤n el cual no exist铆a por parte de K. derecho legal a vivir en la aldea, pero que -considerando ciertas circunstancias- se le permit铆a vivir y trabajar all铆禄.
Podemos entender el entusiasmo de Brod quien, con mucho af谩n, orden贸 y public贸 los borradores del castillo, pero es muy dif铆cil creer que Kafka le haya contado esto si tenemos en cuenta que como se indicara previamente, le ced铆a el manuscrito porque no lograba cerrar la historia. Es m谩s, una maquinaci贸n de Brod que lo que su amigo ten铆a intenciones de hacer.
Lo que s铆 sabemos, es que Kafka dej贸 inconclusa esta novela con una frase a medio terminar: 芦...hablaba con dificultad, era dif铆cil comprenderla, pero lo que dijo,禄
El enorme Ricardo Piglia supo definir cabalmente lo que significa la novela El castillo al afirmar brillantemente: 芦La interrupci贸n, gran tema de Kafka, la interferencia que impide llegar a destino. La suspensi贸n, el desv铆o, la postergaci贸n, esto es cl谩sico en 茅l, lo narra siempre, pero define tambi茅n el registro de su escritura. Su estilo es un arte de la interrupci贸n, el arte de narrar la interferencia禄. Concuerda con Borges quien afirm贸 que a los personajes kafkianos los caracteriza 鈥渓a infinita postergaci贸n鈥�.
Esa simple frase terminada en una coma es un no-final kafkiano dif铆cil de superar por cualquier novelista, porque refleja su particular manera de abordar la literatura y es de este modo que Kafka desaf铆a al lector abri茅ndole una puerta al infinito.
January 19, 2018
螠苇蟽伪 蟽蟿慰谓 螤蠉蟻纬慰 魏蟻蠉尾蔚蟿伪喂 畏 慰蠀蟽委伪 蟿畏蟼 蠉蟺伪蟻尉畏蟼. 螠蠈谓慰 蔚魏蔚委 渭蟺慰蟻慰蠉渭蔚 谓伪 伪谓伪魏伪位蠉蠄慰蠀渭蔚 蟿慰 伪谓蠋蟿蔚蟻慰 谓蠈畏渭伪,蟺苇蟻伪 伪蟺慰 蟿慰 蟺位伪委蟽喂慰 蟿畏蟼 蠁蠀蟽喂魏萎蟼 渭伪蟼 味蠅萎蟼 蟺维谓蠅 蟽蟿畏 纬畏.
危蔚 蠈位慰 蟿慰 蟽蟿蔚蟻苇蠅渭伪 蟿慰蠀 螝伪蠁魏喂魏慰蠉 蟽蠉渭蟺伪谓蟿慰蟼 渭蔚 蔚蟺委魏蔚谓蟿蟻慰 蟿慰谓 胃蟻蠀位喂魏蠈 螤蠉蟻纬慰 蟺蟻慰蟽蟺伪胃慰蠉渭蔚 谓伪 蟺蟻慰蟽蔚纬纬委蟽慰蠀渭蔚 蟿畏谓 蔚委蟽慰未慰, 蟿畏谓 蔚蟺伪蠁萎,蟿慰 渭蠀蟽蟿萎蟻喂慰,蟿慰 蟺伪蟻维位慰纬慰,蟿慰 喂未蔚蠋未蔚蟼,蟿慰 蟽蠉渭尾慰位慰 蟿畏蟼 蠉蟺伪蟻尉畏蟼 魏伪喂 蟿慰蠀 慰谓蔚喂蟻喂魏慰蠉 蔚蠁喂维位蟿畏.
螢蔚魏喂谓蠋谓蟿伪蟼 伪蟺慰 苇谓伪 蠁蟿蠅蠂蠈 魏伪喂 蟺伪蟻伪渭蔚位畏渭苇谓慰 蠂蠅蟻喂蠈 蟽蟿慰 慰蟺慰委慰 慰蠉蟿蔚 蠅蟼 魏位蔚渭渭苇谓畏 未蔚谓 蟽蠀谓伪谓蟿慰蠉蟽蔚蟼 蟿畏 蠂伪蟻维 蟽蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 蟿慰蠀,蟺蟻苇蟺蔚喂 伪蟻蠂喂魏维 谓伪 蟽蠀谓畏胃委蟽慰蠀渭蔚 蟿伪 蔚蟺喂魏蟻伪蟿苇蟽蟿蔚蟻伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 尾喂蠋谓慰蠀渭蔚. 螒蟺蠈纬谓蠅蟽畏,蠁蠈尾慰 慰蟻纬萎,蟺伪蟻伪谓慰蠆魏萎 伪谓伪渭慰谓萎 纬喂伪 蟿慰 蟺伪蟻维未慰尉慰.
螆蟺蔚喂蟿伪 谓伪 未喂伪蟽蠂委蟽慰蠀渭蔚 渭蔚 伪蟺蠈位蠀蟿畏 未蔚喂位委伪,未蠀蟽魏慰位委伪,伪蟺蔚喂位萎 魏伪喂 蟺蠈谓慰 蟿伪 伪蟺蔚位蟺喂蟽蟿喂魏维 蟺慰位位维 魏伪喂 渭蟺蔚蟻未蔚渭苇谓伪 渭慰谓慰蟺维蟿喂伪 蟿慰蠀 慰喂魏喂蟽渭慰蠉 魏伪喂 蟿慰蠀 渭蠀伪位慰蠉 渭伪蟼 魏伪喂 伪蠁慰蠉 魏伪蟿伪蠁苇蟻慰蠀渭蔚 谓伪 蔚蟺喂味萎蟽慰蠀渭蔚 萎 谓伪 渭畏谓 蟿蟻蔚位伪胃慰蠉渭蔚 魏伪喂 蠂伪胃蔚委 蟿慰 魏位蔚喂未委 纬喂伪 蟿畏谓 蟺蠉位畏 蟿慰蠀 螤蠉蟻纬慰蠀 蟺慰蠀 蔚委谓伪喂 畏 蠄蠀蠂萎 渭伪蟼, 委蟽蠅蟼, 渭伪 魏伪喂 蟺维位喂 渭维蟿伪喂伪 魏伪蟿伪蠁苇蟻慰蠀渭蔚 谓伪 伪谓蟿喂渭蔚蟿蠅蟺委蟽慰蠀渭蔚 蟿畏谓 伪谓畏渭蟺慰蟻喂维 魏伪喂 谓伪 蟽蟿畏蟻委尉慰蠀渭蔚 蟿畏谓 蠉蟺伪蟻尉畏 渭伪蟼 蟽蟿慰 蠀蠄畏位蠈蟿蔚蟻慰 蔚蟺委蟺蔚未慰 蟺谓蔚蠀渭伪蟿喂魏萎蟼 蟽慰蠁委伪蟼,未蠉谓伪渭畏蟼,蟿蠈位渭畏蟼,
伪蟺慰蠁伪蟽喂蟽蟿喂魏蠈蟿畏蟿伪蟼 魏伪喂 蟿蔚位蔚喂慰蟺慰委畏蟽畏蟼.
螉蟽蠅蟼 蠂蠅蟻委蟼 蟽蠀谓蔚委未畏蟽畏,未委蠂蠅蟼 蟿蠉蠄蔚喂蟼,蟽蔚 渭喂伪 魏伪蟿维蟽蟿伪蟽畏 蟺蟻喂谓 蟿畏谓 蔚蟺伪蠁萎 渭蔚 蟿慰 胃蔚蠆魏蠈 伪蟺蠈魏慰蟽渭慰 谓伪 渭蟺伪委谓伪渭蔚 蟽蟿慰谓 螤蠉蟻纬慰 魏伪喂 谓伪 尾蟻委蟽魏伪渭蔚 蟿慰 谓蠈畏渭伪 蟿畏蟼 味蠅萎蟼.
螌渭蠅蟼 蟽蔚 蠈位畏 蟿畏 未喂维蟻魏蔚喂伪 蟿畏蟼 蟺蟻慰蟽蟺维胃蔚喂伪蟼 渭伪蟼 伪纬谓慰慰蠉渭蔚 蟿喂 蟺蟻苇蟺蔚喂 谓伪 魏维谓慰蠀渭蔚. 韦伪 蔚渭蟺蠈未喂伪 蟽蠀谓蔚蠂蠈渭蔚谓伪 魏伪喂 蟺慰位蠉蟺位慰魏伪,慰喂 未蠀谓维渭蔚喂蟼 蔚尉伪谓蟿位慰蠉谓蟿伪喂.
螘蟺喂魏蟻伪蟿蔚委 苇位位蔚喂蠄畏 蔚位蟺委未伪蟼 魏伪喂 尾慰萎胃蔚喂伪蟼 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿畏谓 蔚蟺喂尾慰位萎 渭喂伪蟼 维谓慰渭畏蟼 蔚尉慰蠀蟽委伪蟼 蟺慰蠀 蟺伪蟻维位慰纬伪 伪蟽魏蔚委蟿伪喂 魏伪喂 维未喂魏伪 渭伪蟼 尾伪蟽伪谓委味蔚喂 蔚渭蟺慰未委味慰谓蟿伪蟼 蟿畏谓 蔚委蟽慰未慰 蟽蟿喂蟼 魏蔚谓蟿蟻喂魏苇蟼 蟺蠉位蔚蟼 蟿慰蠀 螤蠉蟻纬慰蠀.
韦伪 蠈蟻纬伪谓伪 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 蔚委谓伪喂 蟿慰 委未喂慰 蔚蟿蔚蟻蠈魏位畏蟿伪 魏伪喂 伪谓蔚喂未委魏蔚蠀蟿伪,蟿慰 委未喂慰 伪魏伪蟿维位畏蟺蟿伪 魏伪喂 伪谓蔚蟻渭萎谓蔚蠀蟿伪 蠈蟽慰 魏伪喂 畏 蠁伪谓蟿伪蟽蟿喂魏萎 未喂维蟽蟿伪蟽畏 蟿慰蠀 魏蠈蟽渭慰蠀 渭伪蟼.
螒蠀蟿蠈 蟺慰蠀 魏蠀蟻喂伪蟻蠂蔚委 蟽蔚 蠈位慰 蟿慰 尾喂尾位委慰 魏伪喂 魏伪蟿伪蟻蟻伪魏蠋谓蔚喂 蟽蔚 蟺位萎蟻畏 蟿伪蠉蟿喂蟽畏 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蔚委谓伪喂 畏 伪纬蠅谓喂蠋未畏蟼 伪谓伪渭慰谓萎,畏 未喂伪谓慰畏蟿喂魏萎 蔚渭蟺位慰魏萎,畏 伪谓畏渭蟺慰蟻喂维 魏伪喂 畏 慰蟻纬萎 蟺慰蠀 蟽喂纬维 蟽喂纬维 渭伪蟼 魏伪蟿伪尾维位慰蠀谓 魏伪喂 蔚蟺蔚魏蟿蔚委谓慰谓蟿伪喂 魏伪喂 蟽蟿喂蟼 蟺蟻慰蟽蠅蟺喂魏苇蟼 魏伪喂 未喂伪蟺蟻慰蟽蠅蟺喂魏苇蟼 位蔚喂蟿慰蠀蟻纬委蔚蟼.
螣喂 魏维蟿慰喂魏慰喂 蟿慰蠀 蠂蠅蟻喂慰蠉 未蔚 纬谓蠅蟻委味慰蠀谓 蟿喂 胃伪 蟿慰蠀蟼 尾蟻蔚喂,未蔚谓 尉苇蟻慰蠀谓 蟿喂 蟿慰蠀蟼 蟺蔚蟻喂渭苇谓蔚喂, 未蔚谓 蟺蟻慰蔚喂未慰蟺慰喂慰蠉谓蟿伪喂 纬喂伪 蟿慰 维纬蟻喂慰 芦伪蠉蟻喂慰禄 蟿慰蠀 螤蠉蟻纬慰蠀 蟺慰蠀 未蔚蟽蟺蠈味蔚喂 魏伪喂 蟿慰蠀蟼 蟺位萎蟿蟿蔚喂 萎未畏.
螘委谓伪喂 伪蟺慰魏慰渭渭苇谓慰喂 伪蟺慰 蟿畏谓 蔚尉苇位喂尉畏 蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓 魏伪喂 蟿畏谓 伪位萎胃蔚喂伪 蟿蠅谓 纬蔚纬慰谓蠈蟿蠅谓,渭蟺伪委谓慰蠀谓 蟽蟿慰谓 魏伪谓蠈谓伪 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 渭蔚 渭蠈谓慰 蔚蠁蠈未喂慰 蟿畏谓 蟿蟻慰蠁慰未蠈蟿畏蟽畏 未喂伪谓慰畏蟿喂魏萎蟼 蔚渭蟺位慰魏萎蟼 魏伪喂 蟿慰 谓慰蔚蟻蠈 魏伪喂 蠄蠀蠂喂魏蠈 渭慰蠉未喂伪蟽渭伪. 螖蔚蟽蟺蠈味蔚喂 蟿慰 维纬蠂慰蟼,畏 胃位委蠄畏,畏 蟺伪蟻蔚尉萎纬畏蟽畏 蔚谓谓慰喂蠋谓 魏伪喂 蟺蟻维尉蔚蠅谓 魏伪喂 畏 魏伪蟿维蟻蟻蔚蠀蟽畏.
螣 螤蠉蟻纬慰蟼 蔚委谓伪喂 维未蔚喂慰蟼 伪蟺慰 维蟿慰渭伪 蔚尉慰蠀蟽委伪蟼 魏伪喂 蟺慰位喂蟿喂魏萎蟼 未蠉谓伪渭畏蟼.
螘委谓伪喂 维未蔚喂慰蟼 伪蟺慰 魏维胃蔚 伪谓胃蟻蠋蟺喂谓畏 蔚蟺委蠁伪蟽畏 伪谓蠅蟿蔚蟻蠈蟿畏蟿伪蟼 魏伪喂 蠂蔚喂蟻伪纬蠋纬畏蟽畏蟼 蟿畏蟼 渭慰委蟻伪蟼 蟿慰蠀 魏蠈蟽渭慰蠀.
螌渭蠅蟼 蟺蟻慰尾维位位蔚蟿伪喂 魏伪喂 蟺喂蟽蟿蔚蠉蔚蟿伪喂 蠅蟼 蠄蔚蠀未伪委蟽胃畏蟽畏 维蟽魏畏蟽畏蟼 未喂魏伪委慰蠀 魏伪喂 蔚尉慰蠀蟽喂伪蟽蟿喂魏萎蟼 蔚蟺喂尾慰位萎蟼.
螖蔚谓 蠀蟺维蟻蠂慰蠀谓 魏慰蟽渭喂魏苇蟼 蔚尉慰蠀蟽委蔚蟼 蟽蟿慰谓 螤蠉蟻纬慰, 慰喂 蠄蔚蠀未伪喂蟽胃萎蟽蔚喂蟼 蟺慰蠀 渭伪蟼 蔚蟺喂尾维位位慰蠀谓 谓慰渭委味慰蠀渭蔚 蟺蠅蟼 蠀蟺维蟻蠂慰蠀谓.
螒蟺伪纬慰蟻蔚蠉蔚蟿伪喂 谓伪 蠂蟻畏蟽喂渭慰蟺慰喂萎蟽慰蠀渭蔚 蟿畏 未蠉谓伪渭畏 蟿慰蠀 渭蠀伪位慰蠉 渭伪蟼 蠅蟼 伪谓胃蟻蠋蟺喂谓伪 蠈谓蟿伪 纬喂伪 谓伪 魏伪蟿伪谓慰萎蟽慰蠀渭蔚 蟿慰 伪位畏胃喂谓维 渭蔚蟿伪蠁蠀蟽喂魏蠈.
螝伪喂 伪蠁慰蠉 苇蟿蟽喂 渭伪蟼 渭蔚纬伪位蠋谓慰蠀谓 魏伪喂 伪蟺慰 蟿畏谓 魏慰蠉谓喂伪 渭伪蟼 蟺委谓慰蠀渭蔚 蟿慰 纬维位伪 蟿畏蟼 蔚蟺喂蠁伪谓蔚喂伪魏萎蟼 魏伪喂 蟽蟿畏渭苇谓畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 蔚委渭伪蟽蟿蔚 伪谓委魏伪谓慰喂 谓伪 位蔚喂蟿慰蠀蟻纬萎蟽慰蠀渭蔚 蔚纬魏蔚蠁伪位喂魏维 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏维 未蔚未慰渭苇谓伪 魏伪喂 味畏蟿慰蠉渭蔚谓伪.
螣喂 蟺位畏蟻慰蠁慰蟻委蔚蟼 蟺慰蠀 渭伪蟼 魏伪胃喂蟽蟿慰蠉谓 喂魏伪谓慰蠉蟼 谓伪 蔚蟺蔚尉蔚蟻纬伪味蠈渭伪蟽蟿蔚 蟽蟿伪渭伪蟿慰蠉谓 渭蟺蟻慰蟽蟿维 蟽蟿伪 蟽蟿蔚蟻蔚蠈蟿蠀蟺伪 魏伪位慰蠉-魏伪魏慰蠉, 未委魏伪喂慰蠀-维未喂魏慰蠀,蟽蠅蟽蟿慰蠉-位维胃慰蠀蟼,位慰纬喂魏慰蠉-蟺伪蟻维位慰纬慰蠀 魏伪喂 纬蔚谓喂魏蠈蟿蔚蟻伪 蟽蔚 蠈位伪 蟿伪 未委蟺慰位伪 魏伪蟿蔚蟽蟿畏渭苇谓蠅谓 蠄蔚蠀未伪委蟽胃畏蟽蔚蠅谓.
螘蟺慰渭苇谓蠅蟼 未蔚谓 渭蟺慰蟻慰蠉渭蔚 谓伪 蟽蠀位位维尾慰蠀渭蔚 蟿畏谓 喂未苇伪 蟿慰蠀 螤蠉蟻纬慰蠀 魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 未蔚谓 蔚委渭伪蟽蟿蔚 喂魏伪谓慰委 魏蠀蟻委蠅蟼 蟺谓蔚蠀渭伪蟿喂魏维 谓伪 蔚喂蟽苇位胃慰蠀渭蔚 蟽蔚 伪蠀蟿蠈谓.
螘位维蠂喂蟽蟿慰喂 委蟽蠅蟼 魏伪蟿慰喂魏慰蔚未蟻蔚蠉慰蠀谓 渭苇蟽伪 蟽蟿慰谓 螛蟻蠀位喂魏蠈 螤蠉蟻纬慰.
桅萎渭蔚蟼 位苇谓蔚 蟺蠅蟼 蔚魏蔚委 渭苇蟽伪 蟿蟻伪纬慰蠀未慰蠉谓 伪喂蟻蔚蟿喂魏维 蠁伪谓蟿维蟽渭伪蟿伪 伪蟺慰谓蔚谓慰畏渭苇谓蠅谓 蟺蟻维尉蔚蠅谓 蟽蠀谓蔚委未畏蟽畏蟼,蟿蟻蔚位慰委,蟽慰蠁慰委 蟺慰蠀 伪未喂伪蠁蠈蟻畏蟽伪谓,苇尉蠀蟺谓慰喂 蟺慰蠀 蟽喂蠋蟺畏蟽伪谓 蟿畏谓 蔚魏未委魏畏蟽畏 魏伪喂 蔚蠀蠁蠀蔚委蟼 蟺慰蠀 蟺伪蟻伪谓蠈畏蟽伪谓 魏伪喂 蔚蟺畏蟻苇伪蟽伪谓 蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 蠁蠀蟽喂魏萎蟼 谓慰渭慰蟿苇位蔚喂伪蟼.
螣 螤蠉蟻纬慰蟼 伪谓萎魏蔚喂 蟽蔚 苇谓伪谓 喂未蔚伪蟿蠈 魏蠈蟽渭慰 蟺慰蠀 未蔚谓 蠀蟺蠈魏蔚喂蟿伪喂 蟽蔚 魏维蟺慰喂慰谓 苇位蔚纬蠂慰,维蟻伪 慰喂 伪谓胃蟻蠋蟺喂谓蔚蟼 蟽蠀渭蟺蔚蟻喂蠁慰蟻苇蟼 魏伪喂 蟿伪 魏慰喂谓维 蠁伪喂谓蠈渭蔚谓伪 未蔚谓 渭蟺慰蟻慰蠉谓 谓伪 蔚蟻渭畏谓蔚蠀蟿慰蠉谓 渭蔚 位慰纬喂魏蠈 蟿蟻蠈蟺慰.
螌位伪 蟿伪 蟺伪蟻伪蟺维谓蠅 渭慰蠀 蟿伪 蔚尉喂蟽蟿蠈蟻畏蟽蔚 渭蔚 蔚尉伪喂蟻蔚蟿喂魏萎 渭蔚蟿伪未慰蟿喂魏蠈蟿畏蟿伪 魏伪喂 维蟻喂蟽蟿畏 渭蔚胃慰未慰位慰纬委伪 慰 渭苇纬伪蟼 未维蟽魏伪位慰蟼 螝. 蟺慰蠀 位维蟿蟻蔚蠄蔚 蟿慰谓 螤蠉蟻纬慰 魏伪喂 蟿慰 谓蠈畏渭伪 蟿慰蠀.
韦慰 谓蠈畏渭伪 蟿慰蠀 苇纬魏蔚喂蟿伪喂 蟽蟿慰 谓蠈畏渭伪 蟿畏蟼 味蠅萎蟼. 螒蠀蟿蠈 蟿慰 渭蔚纬维位慰 伪谓蔚尉萎纬畏蟿慰 渭蠀蟽蟿喂魏蠈 蟺慰蠀 蟽蠀谓委蟽蟿伪蟿伪喂 伪蟺位维 蟽蟿慰 谓伪 味蔚喂蟼!
螝维蟺慰喂伪 蟽蟿喂纬渭萎 蟺蟻慰蟼 蟿慰 蟿苇位慰蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 慰 螖维蟽魏伪位慰蟼 螝. 渭慰蠀 蔚委蟺蔚 蟺蠅蟼 苇蟺蟻蔚蟺蔚 谓伪 蠁蠉纬蔚喂 纬喂伪 位委纬慰 (萎 纬喂伪 蟺维谓蟿伪)未蔚谓 蟿慰 未喂蔚蠀魏蟻委谓畏蟽蔚.
危蟿畏 胃苇蟽畏 蟿慰蠀 萎蟻胃蔚 苇谓伪蟼 蠁委位慰蟼 蟿慰蠀 蟺慰蠀 蟺蟻慰蟽蟺维胃畏蟽蔚 谓伪 蟽蠀谓蔚蠂委蟽蔚喂 蟿畏谓 蔚尉喂蟽蟿蠈蟻畏蟽畏 蟿慰蠀 螤蠉蟻纬慰蠀... 蠁维谓畏魏蔚 蠈渭蠅蟼 蟺蠅蟼 未蔚谓 渭蟺蠈蟻蔚蟽蔚 谓伪 蟽蟿伪胃蔚委 蟽蟿慰 蠉蠄慰蟼 蟿蠅谓 蟺蔚蟻喂蟽蟿维蟽蔚蠅谓.
螚 伪蠁萎纬畏蟽畏 蟿慰蠀 萎蟿伪谓 伪蟺慰纬慰畏蟿蔚蠀蟿喂魏萎 蟽蔚 蟽蠂苇蟽畏 渭蔚 蟿慰蠀 螖伪蟽魏维位慰蠀.
螒谓伪位慰纬喂味蠈渭蔚谓畏 蠈蟽伪 蔚委蠂伪渭蔚 蟺蔚喂 渭蔚蟿伪尉蠉 渭伪蟼, 魏伪蟿维位伪尾伪 蟺蠅蟼 慰 螖维蟽魏伪位慰蟼 螝. 蔚蠁蠀纬蔚 蔚蟺蔚喂未萎 魏伪蟿维蠁蔚蟻蔚 谓伪 渭蟺蔚喂 蟿蔚位喂魏维 蟽蟿慰谓 螤蠉蟻纬慰 苇蟽蟿蠅 魏伪喂 伪蟺慰 维位位畏 蔚喂蟽慰未慰,位喂纬蠈蟿蔚蟻慰 纬谓蠅蟽蟿萎.
螘魏蔚委 尾蟻委蟽魏蔚蟿伪喂 蟿蠋蟻伪 蟺伪蟻苇伪 渭蔚 蟿慰 胃维谓伪蟿慰,蟿慰谓 伪尾维蟽蟿伪蠂蟿慰 蟺蠈谓慰,蟿畏谓 蠉蟺伪蟻尉畏 蟿慰蠀 魏伪魏慰蠉,蟿畏谓 伪委蟽胃畏蟽畏 蟿慰蠀 蟺伪蟻伪位蠈纬慰蠀 魏伪喂 蟿畏谓 伪蟺慰蠀蟽委伪 谓慰萎渭伪蟿慰蟼.
韦蠋蟻伪 蟺慰蠀 未蔚谓 蠁慰尾维蟿伪喂 蟿慰 胃维谓伪蟿慰 魏伪喂 苇蠂蔚喂 蟿畏谓 蔚渭蟺蔚喂蟻委伪 蟿畏蟼 慰未蠉谓畏蟼 魏伪喂 蟿畏谓 蟺蔚蟺慰委胃畏蟽畏 苇位位蔚喂蠄畏蟼 伪尉喂蠋谓, 委蟽蠅蟼 蟺蔚蟻喂蠁苇蟻蔚蟿伪喂 蟽蟿慰谓 螤蠉蟻纬慰 魏伪喂 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蟽蠀渭蠁喂位喂蠋蟽蔚喂 伪谓蟿委胃蔚蟿蔚蟼 胃蔚蠅蟻萎蟽蔚喂蟼 魏伪喂 渭蔚纬维位蔚蟼 喂未苇蔚蟼 纬喂伪 谓伪 渭蟺慰蟻慰蠉渭蔚 魏维蟺慰蠀 谓伪 伪蟺慰尾位苇蟺慰蠀渭蔚 ...!!
馃彴馃彴鈿旓笍馃敧馃馃栈馃啌馃敐馃敋馃敊馃敧馃馃彴馃彴
螝伪位萎 伪谓维纬谓蠅蟽畏!!
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼!!
危蔚 蠈位慰 蟿慰 蟽蟿蔚蟻苇蠅渭伪 蟿慰蠀 螝伪蠁魏喂魏慰蠉 蟽蠉渭蟺伪谓蟿慰蟼 渭蔚 蔚蟺委魏蔚谓蟿蟻慰 蟿慰谓 胃蟻蠀位喂魏蠈 螤蠉蟻纬慰 蟺蟻慰蟽蟺伪胃慰蠉渭蔚 谓伪 蟺蟻慰蟽蔚纬纬委蟽慰蠀渭蔚 蟿畏谓 蔚委蟽慰未慰, 蟿畏谓 蔚蟺伪蠁萎,蟿慰 渭蠀蟽蟿萎蟻喂慰,蟿慰 蟺伪蟻维位慰纬慰,蟿慰 喂未蔚蠋未蔚蟼,蟿慰 蟽蠉渭尾慰位慰 蟿畏蟼 蠉蟺伪蟻尉畏蟼 魏伪喂 蟿慰蠀 慰谓蔚喂蟻喂魏慰蠉 蔚蠁喂维位蟿畏.
螢蔚魏喂谓蠋谓蟿伪蟼 伪蟺慰 苇谓伪 蠁蟿蠅蠂蠈 魏伪喂 蟺伪蟻伪渭蔚位畏渭苇谓慰 蠂蠅蟻喂蠈 蟽蟿慰 慰蟺慰委慰 慰蠉蟿蔚 蠅蟼 魏位蔚渭渭苇谓畏 未蔚谓 蟽蠀谓伪谓蟿慰蠉蟽蔚蟼 蟿畏 蠂伪蟻维 蟽蟿慰蠀蟼 魏伪蟿慰委魏慰蠀蟼 蟿慰蠀,蟺蟻苇蟺蔚喂 伪蟻蠂喂魏维 谓伪 蟽蠀谓畏胃委蟽慰蠀渭蔚 蟿伪 蔚蟺喂魏蟻伪蟿苇蟽蟿蔚蟻伪 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟺慰蠀 尾喂蠋谓慰蠀渭蔚. 螒蟺蠈纬谓蠅蟽畏,蠁蠈尾慰 慰蟻纬萎,蟺伪蟻伪谓慰蠆魏萎 伪谓伪渭慰谓萎 纬喂伪 蟿慰 蟺伪蟻维未慰尉慰.
螆蟺蔚喂蟿伪 谓伪 未喂伪蟽蠂委蟽慰蠀渭蔚 渭蔚 伪蟺蠈位蠀蟿畏 未蔚喂位委伪,未蠀蟽魏慰位委伪,伪蟺蔚喂位萎 魏伪喂 蟺蠈谓慰 蟿伪 伪蟺蔚位蟺喂蟽蟿喂魏维 蟺慰位位维 魏伪喂 渭蟺蔚蟻未蔚渭苇谓伪 渭慰谓慰蟺维蟿喂伪 蟿慰蠀 慰喂魏喂蟽渭慰蠉 魏伪喂 蟿慰蠀 渭蠀伪位慰蠉 渭伪蟼 魏伪喂 伪蠁慰蠉 魏伪蟿伪蠁苇蟻慰蠀渭蔚 谓伪 蔚蟺喂味萎蟽慰蠀渭蔚 萎 谓伪 渭畏谓 蟿蟻蔚位伪胃慰蠉渭蔚 魏伪喂 蠂伪胃蔚委 蟿慰 魏位蔚喂未委 纬喂伪 蟿畏谓 蟺蠉位畏 蟿慰蠀 螤蠉蟻纬慰蠀 蟺慰蠀 蔚委谓伪喂 畏 蠄蠀蠂萎 渭伪蟼, 委蟽蠅蟼, 渭伪 魏伪喂 蟺维位喂 渭维蟿伪喂伪 魏伪蟿伪蠁苇蟻慰蠀渭蔚 谓伪 伪谓蟿喂渭蔚蟿蠅蟺委蟽慰蠀渭蔚 蟿畏谓 伪谓畏渭蟺慰蟻喂维 魏伪喂 谓伪 蟽蟿畏蟻委尉慰蠀渭蔚 蟿畏谓 蠉蟺伪蟻尉畏 渭伪蟼 蟽蟿慰 蠀蠄畏位蠈蟿蔚蟻慰 蔚蟺委蟺蔚未慰 蟺谓蔚蠀渭伪蟿喂魏萎蟼 蟽慰蠁委伪蟼,未蠉谓伪渭畏蟼,蟿蠈位渭畏蟼,
伪蟺慰蠁伪蟽喂蟽蟿喂魏蠈蟿畏蟿伪蟼 魏伪喂 蟿蔚位蔚喂慰蟺慰委畏蟽畏蟼.
螉蟽蠅蟼 蠂蠅蟻委蟼 蟽蠀谓蔚委未畏蟽畏,未委蠂蠅蟼 蟿蠉蠄蔚喂蟼,蟽蔚 渭喂伪 魏伪蟿维蟽蟿伪蟽畏 蟺蟻喂谓 蟿畏谓 蔚蟺伪蠁萎 渭蔚 蟿慰 胃蔚蠆魏蠈 伪蟺蠈魏慰蟽渭慰 谓伪 渭蟺伪委谓伪渭蔚 蟽蟿慰谓 螤蠉蟻纬慰 魏伪喂 谓伪 尾蟻委蟽魏伪渭蔚 蟿慰 谓蠈畏渭伪 蟿畏蟼 味蠅萎蟼.
螌渭蠅蟼 蟽蔚 蠈位畏 蟿畏 未喂维蟻魏蔚喂伪 蟿畏蟼 蟺蟻慰蟽蟺维胃蔚喂伪蟼 渭伪蟼 伪纬谓慰慰蠉渭蔚 蟿喂 蟺蟻苇蟺蔚喂 谓伪 魏维谓慰蠀渭蔚. 韦伪 蔚渭蟺蠈未喂伪 蟽蠀谓蔚蠂蠈渭蔚谓伪 魏伪喂 蟺慰位蠉蟺位慰魏伪,慰喂 未蠀谓维渭蔚喂蟼 蔚尉伪谓蟿位慰蠉谓蟿伪喂.
螘蟺喂魏蟻伪蟿蔚委 苇位位蔚喂蠄畏 蔚位蟺委未伪蟼 魏伪喂 尾慰萎胃蔚喂伪蟼 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿畏谓 蔚蟺喂尾慰位萎 渭喂伪蟼 维谓慰渭畏蟼 蔚尉慰蠀蟽委伪蟼 蟺慰蠀 蟺伪蟻维位慰纬伪 伪蟽魏蔚委蟿伪喂 魏伪喂 维未喂魏伪 渭伪蟼 尾伪蟽伪谓委味蔚喂 蔚渭蟺慰未委味慰谓蟿伪蟼 蟿畏谓 蔚委蟽慰未慰 蟽蟿喂蟼 魏蔚谓蟿蟻喂魏苇蟼 蟺蠉位蔚蟼 蟿慰蠀 螤蠉蟻纬慰蠀.
韦伪 蠈蟻纬伪谓伪 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 蔚委谓伪喂 蟿慰 委未喂慰 蔚蟿蔚蟻蠈魏位畏蟿伪 魏伪喂 伪谓蔚喂未委魏蔚蠀蟿伪,蟿慰 委未喂慰 伪魏伪蟿维位畏蟺蟿伪 魏伪喂 伪谓蔚蟻渭萎谓蔚蠀蟿伪 蠈蟽慰 魏伪喂 畏 蠁伪谓蟿伪蟽蟿喂魏萎 未喂维蟽蟿伪蟽畏 蟿慰蠀 魏蠈蟽渭慰蠀 渭伪蟼.
螒蠀蟿蠈 蟺慰蠀 魏蠀蟻喂伪蟻蠂蔚委 蟽蔚 蠈位慰 蟿慰 尾喂尾位委慰 魏伪喂 魏伪蟿伪蟻蟻伪魏蠋谓蔚喂 蟽蔚 蟺位萎蟻畏 蟿伪蠉蟿喂蟽畏 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蔚委谓伪喂 畏 伪纬蠅谓喂蠋未畏蟼 伪谓伪渭慰谓萎,畏 未喂伪谓慰畏蟿喂魏萎 蔚渭蟺位慰魏萎,畏 伪谓畏渭蟺慰蟻喂维 魏伪喂 畏 慰蟻纬萎 蟺慰蠀 蟽喂纬维 蟽喂纬维 渭伪蟼 魏伪蟿伪尾维位慰蠀谓 魏伪喂 蔚蟺蔚魏蟿蔚委谓慰谓蟿伪喂 魏伪喂 蟽蟿喂蟼 蟺蟻慰蟽蠅蟺喂魏苇蟼 魏伪喂 未喂伪蟺蟻慰蟽蠅蟺喂魏苇蟼 位蔚喂蟿慰蠀蟻纬委蔚蟼.
螣喂 魏维蟿慰喂魏慰喂 蟿慰蠀 蠂蠅蟻喂慰蠉 未蔚 纬谓蠅蟻委味慰蠀谓 蟿喂 胃伪 蟿慰蠀蟼 尾蟻蔚喂,未蔚谓 尉苇蟻慰蠀谓 蟿喂 蟿慰蠀蟼 蟺蔚蟻喂渭苇谓蔚喂, 未蔚谓 蟺蟻慰蔚喂未慰蟺慰喂慰蠉谓蟿伪喂 纬喂伪 蟿慰 维纬蟻喂慰 芦伪蠉蟻喂慰禄 蟿慰蠀 螤蠉蟻纬慰蠀 蟺慰蠀 未蔚蟽蟺蠈味蔚喂 魏伪喂 蟿慰蠀蟼 蟺位萎蟿蟿蔚喂 萎未畏.
螘委谓伪喂 伪蟺慰魏慰渭渭苇谓慰喂 伪蟺慰 蟿畏谓 蔚尉苇位喂尉畏 蟿蠅谓 蟺蟻伪纬渭维蟿蠅谓 魏伪喂 蟿畏谓 伪位萎胃蔚喂伪 蟿蠅谓 纬蔚纬慰谓蠈蟿蠅谓,渭蟺伪委谓慰蠀谓 蟽蟿慰谓 魏伪谓蠈谓伪 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 渭蔚 渭蠈谓慰 蔚蠁蠈未喂慰 蟿畏谓 蟿蟻慰蠁慰未蠈蟿畏蟽畏 未喂伪谓慰畏蟿喂魏萎蟼 蔚渭蟺位慰魏萎蟼 魏伪喂 蟿慰 谓慰蔚蟻蠈 魏伪喂 蠄蠀蠂喂魏蠈 渭慰蠉未喂伪蟽渭伪. 螖蔚蟽蟺蠈味蔚喂 蟿慰 维纬蠂慰蟼,畏 胃位委蠄畏,畏 蟺伪蟻蔚尉萎纬畏蟽畏 蔚谓谓慰喂蠋谓 魏伪喂 蟺蟻维尉蔚蠅谓 魏伪喂 畏 魏伪蟿维蟻蟻蔚蠀蟽畏.
螣 螤蠉蟻纬慰蟼 蔚委谓伪喂 维未蔚喂慰蟼 伪蟺慰 维蟿慰渭伪 蔚尉慰蠀蟽委伪蟼 魏伪喂 蟺慰位喂蟿喂魏萎蟼 未蠉谓伪渭畏蟼.
螘委谓伪喂 维未蔚喂慰蟼 伪蟺慰 魏维胃蔚 伪谓胃蟻蠋蟺喂谓畏 蔚蟺委蠁伪蟽畏 伪谓蠅蟿蔚蟻蠈蟿畏蟿伪蟼 魏伪喂 蠂蔚喂蟻伪纬蠋纬畏蟽畏蟼 蟿畏蟼 渭慰委蟻伪蟼 蟿慰蠀 魏蠈蟽渭慰蠀.
螌渭蠅蟼 蟺蟻慰尾维位位蔚蟿伪喂 魏伪喂 蟺喂蟽蟿蔚蠉蔚蟿伪喂 蠅蟼 蠄蔚蠀未伪委蟽胃畏蟽畏 维蟽魏畏蟽畏蟼 未喂魏伪委慰蠀 魏伪喂 蔚尉慰蠀蟽喂伪蟽蟿喂魏萎蟼 蔚蟺喂尾慰位萎蟼.
螖蔚谓 蠀蟺维蟻蠂慰蠀谓 魏慰蟽渭喂魏苇蟼 蔚尉慰蠀蟽委蔚蟼 蟽蟿慰谓 螤蠉蟻纬慰, 慰喂 蠄蔚蠀未伪喂蟽胃萎蟽蔚喂蟼 蟺慰蠀 渭伪蟼 蔚蟺喂尾维位位慰蠀谓 谓慰渭委味慰蠀渭蔚 蟺蠅蟼 蠀蟺维蟻蠂慰蠀谓.
螒蟺伪纬慰蟻蔚蠉蔚蟿伪喂 谓伪 蠂蟻畏蟽喂渭慰蟺慰喂萎蟽慰蠀渭蔚 蟿畏 未蠉谓伪渭畏 蟿慰蠀 渭蠀伪位慰蠉 渭伪蟼 蠅蟼 伪谓胃蟻蠋蟺喂谓伪 蠈谓蟿伪 纬喂伪 谓伪 魏伪蟿伪谓慰萎蟽慰蠀渭蔚 蟿慰 伪位畏胃喂谓维 渭蔚蟿伪蠁蠀蟽喂魏蠈.
螝伪喂 伪蠁慰蠉 苇蟿蟽喂 渭伪蟼 渭蔚纬伪位蠋谓慰蠀谓 魏伪喂 伪蟺慰 蟿畏谓 魏慰蠉谓喂伪 渭伪蟼 蟺委谓慰蠀渭蔚 蟿慰 纬维位伪 蟿畏蟼 蔚蟺喂蠁伪谓蔚喂伪魏萎蟼 魏伪喂 蟽蟿畏渭苇谓畏蟼 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 蔚委渭伪蟽蟿蔚 伪谓委魏伪谓慰喂 谓伪 位蔚喂蟿慰蠀蟻纬萎蟽慰蠀渭蔚 蔚纬魏蔚蠁伪位喂魏维 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏维 未蔚未慰渭苇谓伪 魏伪喂 味畏蟿慰蠉渭蔚谓伪.
螣喂 蟺位畏蟻慰蠁慰蟻委蔚蟼 蟺慰蠀 渭伪蟼 魏伪胃喂蟽蟿慰蠉谓 喂魏伪谓慰蠉蟼 谓伪 蔚蟺蔚尉蔚蟻纬伪味蠈渭伪蟽蟿蔚 蟽蟿伪渭伪蟿慰蠉谓 渭蟺蟻慰蟽蟿维 蟽蟿伪 蟽蟿蔚蟻蔚蠈蟿蠀蟺伪 魏伪位慰蠉-魏伪魏慰蠉, 未委魏伪喂慰蠀-维未喂魏慰蠀,蟽蠅蟽蟿慰蠉-位维胃慰蠀蟼,位慰纬喂魏慰蠉-蟺伪蟻维位慰纬慰蠀 魏伪喂 纬蔚谓喂魏蠈蟿蔚蟻伪 蟽蔚 蠈位伪 蟿伪 未委蟺慰位伪 魏伪蟿蔚蟽蟿畏渭苇谓蠅谓 蠄蔚蠀未伪委蟽胃畏蟽蔚蠅谓.
螘蟺慰渭苇谓蠅蟼 未蔚谓 渭蟺慰蟻慰蠉渭蔚 谓伪 蟽蠀位位维尾慰蠀渭蔚 蟿畏谓 喂未苇伪 蟿慰蠀 螤蠉蟻纬慰蠀 魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 未蔚谓 蔚委渭伪蟽蟿蔚 喂魏伪谓慰委 魏蠀蟻委蠅蟼 蟺谓蔚蠀渭伪蟿喂魏维 谓伪 蔚喂蟽苇位胃慰蠀渭蔚 蟽蔚 伪蠀蟿蠈谓.
螘位维蠂喂蟽蟿慰喂 委蟽蠅蟼 魏伪蟿慰喂魏慰蔚未蟻蔚蠉慰蠀谓 渭苇蟽伪 蟽蟿慰谓 螛蟻蠀位喂魏蠈 螤蠉蟻纬慰.
桅萎渭蔚蟼 位苇谓蔚 蟺蠅蟼 蔚魏蔚委 渭苇蟽伪 蟿蟻伪纬慰蠀未慰蠉谓 伪喂蟻蔚蟿喂魏维 蠁伪谓蟿维蟽渭伪蟿伪 伪蟺慰谓蔚谓慰畏渭苇谓蠅谓 蟺蟻维尉蔚蠅谓 蟽蠀谓蔚委未畏蟽畏蟼,蟿蟻蔚位慰委,蟽慰蠁慰委 蟺慰蠀 伪未喂伪蠁蠈蟻畏蟽伪谓,苇尉蠀蟺谓慰喂 蟺慰蠀 蟽喂蠋蟺畏蟽伪谓 蟿畏谓 蔚魏未委魏畏蟽畏 魏伪喂 蔚蠀蠁蠀蔚委蟼 蟺慰蠀 蟺伪蟻伪谓蠈畏蟽伪谓 魏伪喂 蔚蟺畏蟻苇伪蟽伪谓 蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 蠁蠀蟽喂魏萎蟼 谓慰渭慰蟿苇位蔚喂伪蟼.
螣 螤蠉蟻纬慰蟼 伪谓萎魏蔚喂 蟽蔚 苇谓伪谓 喂未蔚伪蟿蠈 魏蠈蟽渭慰 蟺慰蠀 未蔚谓 蠀蟺蠈魏蔚喂蟿伪喂 蟽蔚 魏维蟺慰喂慰谓 苇位蔚纬蠂慰,维蟻伪 慰喂 伪谓胃蟻蠋蟺喂谓蔚蟼 蟽蠀渭蟺蔚蟻喂蠁慰蟻苇蟼 魏伪喂 蟿伪 魏慰喂谓维 蠁伪喂谓蠈渭蔚谓伪 未蔚谓 渭蟺慰蟻慰蠉谓 谓伪 蔚蟻渭畏谓蔚蠀蟿慰蠉谓 渭蔚 位慰纬喂魏蠈 蟿蟻蠈蟺慰.
螌位伪 蟿伪 蟺伪蟻伪蟺维谓蠅 渭慰蠀 蟿伪 蔚尉喂蟽蟿蠈蟻畏蟽蔚 渭蔚 蔚尉伪喂蟻蔚蟿喂魏萎 渭蔚蟿伪未慰蟿喂魏蠈蟿畏蟿伪 魏伪喂 维蟻喂蟽蟿畏 渭蔚胃慰未慰位慰纬委伪 慰 渭苇纬伪蟼 未维蟽魏伪位慰蟼 螝. 蟺慰蠀 位维蟿蟻蔚蠄蔚 蟿慰谓 螤蠉蟻纬慰 魏伪喂 蟿慰 谓蠈畏渭伪 蟿慰蠀.
韦慰 谓蠈畏渭伪 蟿慰蠀 苇纬魏蔚喂蟿伪喂 蟽蟿慰 谓蠈畏渭伪 蟿畏蟼 味蠅萎蟼. 螒蠀蟿蠈 蟿慰 渭蔚纬维位慰 伪谓蔚尉萎纬畏蟿慰 渭蠀蟽蟿喂魏蠈 蟺慰蠀 蟽蠀谓委蟽蟿伪蟿伪喂 伪蟺位维 蟽蟿慰 谓伪 味蔚喂蟼!
螝维蟺慰喂伪 蟽蟿喂纬渭萎 蟺蟻慰蟼 蟿慰 蟿苇位慰蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 慰 螖维蟽魏伪位慰蟼 螝. 渭慰蠀 蔚委蟺蔚 蟺蠅蟼 苇蟺蟻蔚蟺蔚 谓伪 蠁蠉纬蔚喂 纬喂伪 位委纬慰 (萎 纬喂伪 蟺维谓蟿伪)未蔚谓 蟿慰 未喂蔚蠀魏蟻委谓畏蟽蔚.
危蟿畏 胃苇蟽畏 蟿慰蠀 萎蟻胃蔚 苇谓伪蟼 蠁委位慰蟼 蟿慰蠀 蟺慰蠀 蟺蟻慰蟽蟺维胃畏蟽蔚 谓伪 蟽蠀谓蔚蠂委蟽蔚喂 蟿畏谓 蔚尉喂蟽蟿蠈蟻畏蟽畏 蟿慰蠀 螤蠉蟻纬慰蠀... 蠁维谓畏魏蔚 蠈渭蠅蟼 蟺蠅蟼 未蔚谓 渭蟺蠈蟻蔚蟽蔚 谓伪 蟽蟿伪胃蔚委 蟽蟿慰 蠉蠄慰蟼 蟿蠅谓 蟺蔚蟻喂蟽蟿维蟽蔚蠅谓.
螚 伪蠁萎纬畏蟽畏 蟿慰蠀 萎蟿伪谓 伪蟺慰纬慰畏蟿蔚蠀蟿喂魏萎 蟽蔚 蟽蠂苇蟽畏 渭蔚 蟿慰蠀 螖伪蟽魏维位慰蠀.
螒谓伪位慰纬喂味蠈渭蔚谓畏 蠈蟽伪 蔚委蠂伪渭蔚 蟺蔚喂 渭蔚蟿伪尉蠉 渭伪蟼, 魏伪蟿维位伪尾伪 蟺蠅蟼 慰 螖维蟽魏伪位慰蟼 螝. 蔚蠁蠀纬蔚 蔚蟺蔚喂未萎 魏伪蟿维蠁蔚蟻蔚 谓伪 渭蟺蔚喂 蟿蔚位喂魏维 蟽蟿慰谓 螤蠉蟻纬慰 苇蟽蟿蠅 魏伪喂 伪蟺慰 维位位畏 蔚喂蟽慰未慰,位喂纬蠈蟿蔚蟻慰 纬谓蠅蟽蟿萎.
螘魏蔚委 尾蟻委蟽魏蔚蟿伪喂 蟿蠋蟻伪 蟺伪蟻苇伪 渭蔚 蟿慰 胃维谓伪蟿慰,蟿慰谓 伪尾维蟽蟿伪蠂蟿慰 蟺蠈谓慰,蟿畏谓 蠉蟺伪蟻尉畏 蟿慰蠀 魏伪魏慰蠉,蟿畏谓 伪委蟽胃畏蟽畏 蟿慰蠀 蟺伪蟻伪位蠈纬慰蠀 魏伪喂 蟿畏谓 伪蟺慰蠀蟽委伪 谓慰萎渭伪蟿慰蟼.
韦蠋蟻伪 蟺慰蠀 未蔚谓 蠁慰尾维蟿伪喂 蟿慰 胃维谓伪蟿慰 魏伪喂 苇蠂蔚喂 蟿畏谓 蔚渭蟺蔚喂蟻委伪 蟿畏蟼 慰未蠉谓畏蟼 魏伪喂 蟿畏谓 蟺蔚蟺慰委胃畏蟽畏 苇位位蔚喂蠄畏蟼 伪尉喂蠋谓, 委蟽蠅蟼 蟺蔚蟻喂蠁苇蟻蔚蟿伪喂 蟽蟿慰谓 螤蠉蟻纬慰 魏伪喂 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蟽蠀渭蠁喂位喂蠋蟽蔚喂 伪谓蟿委胃蔚蟿蔚蟼 胃蔚蠅蟻萎蟽蔚喂蟼 魏伪喂 渭蔚纬维位蔚蟼 喂未苇蔚蟼 纬喂伪 谓伪 渭蟺慰蟻慰蠉渭蔚 魏维蟺慰蠀 谓伪 伪蟺慰尾位苇蟺慰蠀渭蔚 ...!!
馃彴馃彴鈿旓笍馃敧馃馃栈馃啌馃敐馃敋馃敊馃敧馃馃彴馃彴
螝伪位萎 伪谓维纬谓蠅蟽畏!!
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼!!
September 4, 2021
(Book 691 From 1001 Books) - Das Schloss = Das Schlo脽 = The Castle, Franz Kafka
The Castle is a 1926 novel by Franz Kafka. In it a protagonist known only as K. arrives in a village and struggles to gain access to the mysterious authorities who govern it from a castle.
Kafka died before finishing the work, but suggested it would end with K. dying in the village, the castle notifying him on his death bed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was permitted to live and work there."
Dark and at times surreal, The Castle is often understood to be about alienation, unresponsive bureaucracy, the frustration of trying to conduct business with non-transparent, seemingly arbitrary controlling systems, and the futile pursuit of an unobtainable goal.
毓賳賵丕賳賴丕蹖 趩丕倬 卮丿賴 丿乇 丕蹖乇丕賳: 芦賯氐乇禄貨 芦賯氐乇 賮乇丕賳鬲爻 讴丕賮讴丕禄貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 丕賳鬲卮丕乇丕鬲蹖賴丕: (賳蹖賱賵賮乇貙 賲丕賴蹖貙 丌爻賵)貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 乇賵夭 丿賴賲 賲丕賴 丌賵乇蹖賱 爻丕賱 1976賲蹖賱丕丿蹖
毓賳賵丕賳: 賯氐乇貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 賲鬲乇噩賲 丕夭 賲鬲賳 丌賱賲丕賳蹖: 毓亘丿丕賱乇丨賲賳 氐丿乇蹖賴貨 鬲賴乇丕賳貙 賮乇賵睾蹖貨 1340貨 丿乇 301氐貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丌賱賲丕賳 - 爻丿賴 20賲
毓賳賵丕賳: 賯氐乇貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 賲鬲乇噩賲: 丕賲蹖乇 噩賱丕賱 丕賱丿蹖賳 丕毓賱賲貨 鬲賴乇丕賳貙 賳蹖賱賵賮乇貨 1373貨 丿乇 442氐貨 趩丕倬 丿賵賲 1376貨 趩丕倬 賴賮鬲賲 1392貨
毓賳賵丕賳: 賯氐乇貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 賲鬲乇噩賲: 毓賱蹖 丕氐睾乇 丨丿丕丿貨 鬲賴乇丕賳貙 賲丕賴蹖貨 1388貨 丿乇 427氐貨
毓賳賵丕賳: 賯氐乇貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 賲鬲乇噩賲: 賲丨丿孬賴 賲賵丨丿蹖貨 賲賵賳丕 賯乇亘丕賳蹖貨 鬲賴乇丕賳貙 丌爻賵貨 1396貨 丿乇 411氐貨 卮丕亘讴 9786008755173貨
丿丕爻鬲丕賳 丕夭 丌賳噩丕蹖蹖 丌睾丕夭 賲蹖鈥屫促堌� 讴賴 芦讴丕禄貙 卮亘丕賴賳诏丕賲 賵丕乇丿 丿賴讴丿賴鈥� 丕蹖 賲蹖鈥屫促堌� 讴賴 芦賯氐乇禄 丿乇 丌賳 賵丕賯毓 丕爻鬲貨 亘賴 賲賴賲丕賳禺丕賳賴鈥� 丕蹖 倬賳丕賴 賲蹖鈥屫ㄘ必� 鬲丕 丕爻鬲乇丕丨鬲 讴賳丿貙 丕賲丕 賲蹖鈥屫堌з囐嗀� 丕賵 乇丕 丕夭 丌賳噩丕 亘乇丕賳賳丿貙 亘丕 丕蹖賳 亘乇賴丕賳 讴賴 賲蹖鈥屭堐屬嗀�: 芦賴乇 讴爻 亘禺賵丕賴丿 賵丕乇丿 丿賴讴丿賴 卮賵丿貙 蹖丕 丿乇 丌賳噩丕 亘賲丕賳丿 賲蹖鈥屫ㄘй屫池� 丕夭 賯氐乇 丕噩丕夭賴 诏乇賮鬲賴 亘丕卮丿禄貨 芦讴丕禄 賲丿毓蹖 賲蹖鈥屫促堌� 讴賴 卮睾賱卮 賲爻賾丕丨蹖 丕爻鬲貙 賵 亘丕 丿乇禺賵丕爻鬲 禺賵丿賽 芦賯氐乇禄貙 亘賴 丌賳噩丕 丌賲丿賴鈥� 丕爻鬲貨 倬爻 丕夭 夭賳诏 夭丿賳貙 賳禺爻鬲 丕丿毓丕蹖 芦讴丕禄 鬲讴匕蹖亘 賲蹖鈥屫促堌� 賵 爻倬爻 鬲兀蹖蹖丿 賲蹖鈥屭必� 賵 丿乇 賵丕賯毓 芦賯氐乇禄貙 芦讴丕禄 乇丕 亘賴 賲爻賾丕丨蹖 賲蹖鈥屬矩佰屫必� 芦讴丕禄 丕夭 賮乇丿丕 氐亘丨貙 丿乇 倬蹖 丌賳爻鬲 鬲丕 賴乇 胤賵乇 卮丿賴貙 亘賴 芦賯氐乇禄 亘乇賵丿貙 賵 卮乇丨 賵馗丕蹖賮卮 乇丕 亘倬乇爻丿貙 賵 賲卮睾賵賱 讴丕乇 卮賵丿貙 賵賱蹖 鬲丕 倬丕蹖丕賳 讴鬲丕亘 讴丕賲蹖丕亘 賳賲蹖鈥屫促堌�.貨 賵 ...貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 10/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 12/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Castle is a 1926 novel by Franz Kafka. In it a protagonist known only as K. arrives in a village and struggles to gain access to the mysterious authorities who govern it from a castle.
Kafka died before finishing the work, but suggested it would end with K. dying in the village, the castle notifying him on his death bed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was permitted to live and work there."
Dark and at times surreal, The Castle is often understood to be about alienation, unresponsive bureaucracy, the frustration of trying to conduct business with non-transparent, seemingly arbitrary controlling systems, and the futile pursuit of an unobtainable goal.
毓賳賵丕賳賴丕蹖 趩丕倬 卮丿賴 丿乇 丕蹖乇丕賳: 芦賯氐乇禄貨 芦賯氐乇 賮乇丕賳鬲爻 讴丕賮讴丕禄貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 丕賳鬲卮丕乇丕鬲蹖賴丕: (賳蹖賱賵賮乇貙 賲丕賴蹖貙 丌爻賵)貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 乇賵夭 丿賴賲 賲丕賴 丌賵乇蹖賱 爻丕賱 1976賲蹖賱丕丿蹖
毓賳賵丕賳: 賯氐乇貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 賲鬲乇噩賲 丕夭 賲鬲賳 丌賱賲丕賳蹖: 毓亘丿丕賱乇丨賲賳 氐丿乇蹖賴貨 鬲賴乇丕賳貙 賮乇賵睾蹖貨 1340貨 丿乇 301氐貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丌賱賲丕賳 - 爻丿賴 20賲
毓賳賵丕賳: 賯氐乇貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 賲鬲乇噩賲: 丕賲蹖乇 噩賱丕賱 丕賱丿蹖賳 丕毓賱賲貨 鬲賴乇丕賳貙 賳蹖賱賵賮乇貨 1373貨 丿乇 442氐貨 趩丕倬 丿賵賲 1376貨 趩丕倬 賴賮鬲賲 1392貨
毓賳賵丕賳: 賯氐乇貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 賲鬲乇噩賲: 毓賱蹖 丕氐睾乇 丨丿丕丿貨 鬲賴乇丕賳貙 賲丕賴蹖貨 1388貨 丿乇 427氐貨
毓賳賵丕賳: 賯氐乇貨 賳賵蹖爻賳丿賴: 賮乇丕賳鬲爻 讴丕賮讴丕貨 賲鬲乇噩賲: 賲丨丿孬賴 賲賵丨丿蹖貨 賲賵賳丕 賯乇亘丕賳蹖貨 鬲賴乇丕賳貙 丌爻賵貨 1396貨 丿乇 411氐貨 卮丕亘讴 9786008755173貨
丿丕爻鬲丕賳 丕夭 丌賳噩丕蹖蹖 丌睾丕夭 賲蹖鈥屫促堌� 讴賴 芦讴丕禄貙 卮亘丕賴賳诏丕賲 賵丕乇丿 丿賴讴丿賴鈥� 丕蹖 賲蹖鈥屫促堌� 讴賴 芦賯氐乇禄 丿乇 丌賳 賵丕賯毓 丕爻鬲貨 亘賴 賲賴賲丕賳禺丕賳賴鈥� 丕蹖 倬賳丕賴 賲蹖鈥屫ㄘ必� 鬲丕 丕爻鬲乇丕丨鬲 讴賳丿貙 丕賲丕 賲蹖鈥屫堌з囐嗀� 丕賵 乇丕 丕夭 丌賳噩丕 亘乇丕賳賳丿貙 亘丕 丕蹖賳 亘乇賴丕賳 讴賴 賲蹖鈥屭堐屬嗀�: 芦賴乇 讴爻 亘禺賵丕賴丿 賵丕乇丿 丿賴讴丿賴 卮賵丿貙 蹖丕 丿乇 丌賳噩丕 亘賲丕賳丿 賲蹖鈥屫ㄘй屫池� 丕夭 賯氐乇 丕噩丕夭賴 诏乇賮鬲賴 亘丕卮丿禄貨 芦讴丕禄 賲丿毓蹖 賲蹖鈥屫促堌� 讴賴 卮睾賱卮 賲爻賾丕丨蹖 丕爻鬲貙 賵 亘丕 丿乇禺賵丕爻鬲 禺賵丿賽 芦賯氐乇禄貙 亘賴 丌賳噩丕 丌賲丿賴鈥� 丕爻鬲貨 倬爻 丕夭 夭賳诏 夭丿賳貙 賳禺爻鬲 丕丿毓丕蹖 芦讴丕禄 鬲讴匕蹖亘 賲蹖鈥屫促堌� 賵 爻倬爻 鬲兀蹖蹖丿 賲蹖鈥屭必� 賵 丿乇 賵丕賯毓 芦賯氐乇禄貙 芦讴丕禄 乇丕 亘賴 賲爻賾丕丨蹖 賲蹖鈥屬矩佰屫必� 芦讴丕禄 丕夭 賮乇丿丕 氐亘丨貙 丿乇 倬蹖 丌賳爻鬲 鬲丕 賴乇 胤賵乇 卮丿賴貙 亘賴 芦賯氐乇禄 亘乇賵丿貙 賵 卮乇丨 賵馗丕蹖賮卮 乇丕 亘倬乇爻丿貙 賵 賲卮睾賵賱 讴丕乇 卮賵丿貙 賵賱蹖 鬲丕 倬丕蹖丕賳 讴鬲丕亘 讴丕賲蹖丕亘 賳賲蹖鈥屫促堌�.貨 賵 ...貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 10/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 12/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
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August 4, 2023slowly but surely attempting to make kafka my entire personality
January 30, 2025
#bibliotecaafectiva
Un roman neterminat (ca toate ale lui Kafka), tip膬rit de Max Brod dup膬 moartea autorului, 卯n 1926. Titlul 卯i apar葲ine lui Brod. Kafka a inten葲ionat s膬-l scrie la persoana 卯nt卯i, dar pe parcursul redact膬rii 葯i-a schimbat g卯ndul 葯i l-a redactat la persoana a treia: 鈥濫ra sear膬 c卯nd K. sosi鈥�.
Max Brod a propus 葯i prima lui interpretare. Das Schlo脽 ar prezenta alegoric o c膬utare (ne卯mplinit膬, desigur) a gra葲iei divine. 脦ntr-un eseu mai vechi, m-am 卯ntrebat ce s-ar 卯nt卯mpla dac膬 protagonistul ar fi primit la castel... Dar s卯nt aproape sigur c膬 Franz Kafka nu s-a g卯ndit nici o clip膬 la acest sf卯r葯it banal (K e primit cu amabilitate de Klamm, apoi de contele de Westwest, e servit cu un ceai etc.) 葯i ar fi l膬sat finalul deschis...
Ceea ce m-a intrigat c卯nd am citit literatura critic膬 dedicat膬 romanului (pentru a-mi redacta eseul) a fost afirma葲ia recurent膬 c膬 o astfel de carte nu este interpretabil膬. Cineva a plusat 葯i a scris, negru pe alb, c膬 e vorba de 鈥瀠n roman inexplicabil鈥�. Inexplicabil poate avea dou膬 sensuri: fie c膬 romanul lui Kafka e ilizibil (nu pricepi nimic din el), fie c膬 admite mai multe interpret膬ri. 脦nclin s膬 cred c膬 acesta e sensul corect. Dac膬 Das Schlo脽 ar fi incomprehensibil (dar nu e!), un cititor nici m膬car nu l-ar putea rezuma.
脦n opinia mea, la nivel literal, Castelul este o proz膬 perfect lizibil膬 艧i interpretabil膬. Dificult膬牛ile survin abia dac膬 卯葲i propui (cum a f膬cut Max Brod) s膬-l cite葯ti simbolic, alegoric, mistic. Mul葲i comentatori i-au urmat exemplul. Simbolic, nimic nu e sigur. Dar po牛i face ipoteze cutez膬toare. Po葲i vedea, bun膬oar膬, 卯n cl膬direa meschin膬 艧i inaccesibil膬 a castelului de pe deal un simbol al divinit膬牛ii (sau al Ierusalimul celest, de ce nu?). Problema e c膬 n-ai rezolvat mare lucru, ai mutat-o ceva mai 卯ncolo. 葮i, 卯n fond, ce-ar putea face somnolentul Klamm 卯n Ierusalimului celest?
M膬 g卯ndesc c膬 Franz Kafka a procedat, ca de obicei, ironic. C卯nd citea prietenilor dintr-un manuscris de-al lui, era primul care se amuza. Deci, a construit o tram膬 葯i a l膬sat restul 卯n voia cititorilor. Care nu duc niciodat膬 lips膬 de imagina葲ie, abia a葯teapt膬 un impuls.
脦n 卯ncheiere, a葯 cita ni葯te rezumate. Nimic nu exprim膬 mai bine ceea ce au 卯n葲eles criticii literari dec卯t rezumatele pe care le propun. Primul 卯mi apar葲ine:
鈥濽n individ, desemnat prin ini牛iala K, f膬r膬 o identitate precis膬, greu creditabil, face eforturi zadarnice, 卯n scopul de a fi acceptat de 鈥榗astelani鈥� ca agrimensor al satului鈥�. Cum vedem, subiectul romanului poate fi expus simplu 葯i limpede. 脦n aceast膬 privin牛膬, nu exist膬 vreun motiv de controvers膬 卯ntre exege葲i.
Nici Ilana Shilot nu rezum膬 altfel: Castelul e povestea unui anume K., individ care sose艧te 卯ntr-o a艧ezare ne卯nsemnat膬, urm卯nd astfel o pretins膬 卯n牛elegere cu pretin艧ii st膬p卯ni ai locului (aceea de a fi agrimensor) 艧i care a艧teapt膬 zadarnic recunoa艧terea statutului s膬u de c膬tre domnii din castel.
葮i mai simplu a formulat subiectul Elizabeth Boa: 鈥濼he modern hero has arrived in a premodern world鈥�. Altfel spus: Castelul ar ilustra zicala despre omul (ne)potrivit aflat 卯n locul 艧i momentul (ne)potrivite...
Un roman neterminat (ca toate ale lui Kafka), tip膬rit de Max Brod dup膬 moartea autorului, 卯n 1926. Titlul 卯i apar葲ine lui Brod. Kafka a inten葲ionat s膬-l scrie la persoana 卯nt卯i, dar pe parcursul redact膬rii 葯i-a schimbat g卯ndul 葯i l-a redactat la persoana a treia: 鈥濫ra sear膬 c卯nd K. sosi鈥�.
Max Brod a propus 葯i prima lui interpretare. Das Schlo脽 ar prezenta alegoric o c膬utare (ne卯mplinit膬, desigur) a gra葲iei divine. 脦ntr-un eseu mai vechi, m-am 卯ntrebat ce s-ar 卯nt卯mpla dac膬 protagonistul ar fi primit la castel... Dar s卯nt aproape sigur c膬 Franz Kafka nu s-a g卯ndit nici o clip膬 la acest sf卯r葯it banal (K e primit cu amabilitate de Klamm, apoi de contele de Westwest, e servit cu un ceai etc.) 葯i ar fi l膬sat finalul deschis...
Ceea ce m-a intrigat c卯nd am citit literatura critic膬 dedicat膬 romanului (pentru a-mi redacta eseul) a fost afirma葲ia recurent膬 c膬 o astfel de carte nu este interpretabil膬. Cineva a plusat 葯i a scris, negru pe alb, c膬 e vorba de 鈥瀠n roman inexplicabil鈥�. Inexplicabil poate avea dou膬 sensuri: fie c膬 romanul lui Kafka e ilizibil (nu pricepi nimic din el), fie c膬 admite mai multe interpret膬ri. 脦nclin s膬 cred c膬 acesta e sensul corect. Dac膬 Das Schlo脽 ar fi incomprehensibil (dar nu e!), un cititor nici m膬car nu l-ar putea rezuma.
脦n opinia mea, la nivel literal, Castelul este o proz膬 perfect lizibil膬 艧i interpretabil膬. Dificult膬牛ile survin abia dac膬 卯葲i propui (cum a f膬cut Max Brod) s膬-l cite葯ti simbolic, alegoric, mistic. Mul葲i comentatori i-au urmat exemplul. Simbolic, nimic nu e sigur. Dar po牛i face ipoteze cutez膬toare. Po葲i vedea, bun膬oar膬, 卯n cl膬direa meschin膬 艧i inaccesibil膬 a castelului de pe deal un simbol al divinit膬牛ii (sau al Ierusalimul celest, de ce nu?). Problema e c膬 n-ai rezolvat mare lucru, ai mutat-o ceva mai 卯ncolo. 葮i, 卯n fond, ce-ar putea face somnolentul Klamm 卯n Ierusalimului celest?
M膬 g卯ndesc c膬 Franz Kafka a procedat, ca de obicei, ironic. C卯nd citea prietenilor dintr-un manuscris de-al lui, era primul care se amuza. Deci, a construit o tram膬 葯i a l膬sat restul 卯n voia cititorilor. Care nu duc niciodat膬 lips膬 de imagina葲ie, abia a葯teapt膬 un impuls.
脦n 卯ncheiere, a葯 cita ni葯te rezumate. Nimic nu exprim膬 mai bine ceea ce au 卯n葲eles criticii literari dec卯t rezumatele pe care le propun. Primul 卯mi apar葲ine:
鈥濽n individ, desemnat prin ini牛iala K, f膬r膬 o identitate precis膬, greu creditabil, face eforturi zadarnice, 卯n scopul de a fi acceptat de 鈥榗astelani鈥� ca agrimensor al satului鈥�. Cum vedem, subiectul romanului poate fi expus simplu 葯i limpede. 脦n aceast膬 privin牛膬, nu exist膬 vreun motiv de controvers膬 卯ntre exege葲i.
Nici Ilana Shilot nu rezum膬 altfel: Castelul e povestea unui anume K., individ care sose艧te 卯ntr-o a艧ezare ne卯nsemnat膬, urm卯nd astfel o pretins膬 卯n牛elegere cu pretin艧ii st膬p卯ni ai locului (aceea de a fi agrimensor) 艧i care a艧teapt膬 zadarnic recunoa艧terea statutului s膬u de c膬tre domnii din castel.
葮i mai simplu a formulat subiectul Elizabeth Boa: 鈥濼he modern hero has arrived in a premodern world鈥�. Altfel spus: Castelul ar ilustra zicala despre omul (ne)potrivit aflat 卯n locul 艧i momentul (ne)potrivite...
May 14, 2023
Warning for those wanting to read this, it is excruciating. Having said that, it is Kafka at his best.
Protagonist K. enters a small village located under a large castle on a mountain, its winter, dark, cold, and forever snowing. K. enters an inn and announces he has been engaged by the Count of the Castle as a land surveyor. The initial suspicion and hostility of the locals is transformed into silent acquiescence as a call is made to check with the Central Office of the castle to check K鈥檚. story.
Needless to say, Central Office have never heard of K.
Now we enter 鈥淜afka-World.鈥� It is a nightmare comprising of self-important, often invisible, administrators (senior and junior), inept assistants 鈥� such as secretaries and messengers, inefficient and ineffective departments a bloated self-serving bureaucracy and suspicious and unfriendly locals. All of this, snugly ensconced in a dark, cold, unfriendly environment.
K. is buffeted between all the above, he is certainly determined (bahahaha 鈥� poor bloke) and he is obsessed about contacting a senior official called Klamm, this guy has all the answers apparently. K. is usually lead on 鈥� he gets many false promises if he鈥檚 lucky, lots of dead-ends. He鈥檚 also allocated two of the most useless assistants one could ever meet 鈥� both act like 4-year-olds and make his life worse. Funny enough - K. also ends up being a school janitor and ends up with a fianc茅e called Freida (Klamm's ex). There are too many other unhelpful & odd characters to mention here 鈥� but if you read this you will find the distractions and diversions annoyingly numerous.
One can only feel for K. his pain, frustration and desire for help and friendship is palpable.
One main, if not the main reason I read is to 鈥漟别别濒鈥�. For an author to make one feel frustrated so completely, a bit angry, to feel bored more than once 鈥� and also to chuck in a couple of laughable scenes (more like chuckles really 鈥� or irritated chuckles), is no mean feat. Kafka achieves this absolutely and completely.
The weight of the novel is considerable. So much so, that I was going to DNF on many occasions. But what compelled me to continue was twofold:
1. My man, Kafka spent a lot of time and effort creating this befuddling world, so I felt an obligation to spend a lot of time in it.
2. To get the whole 鈥�Kafka Experience 鈥渙ne must suffer and gobble up every annoying word and situation. So, I did.
Without giving the ending away, this story ends mid-paragraph. This was Kafka鈥檚 last work 鈥� so we can draw our own conclusions whether he died mid-sentence or not. But, in a nightmare story like this 鈥� perhaps there is no ending.
I hated and loved this.
5-Stars
Note for those of you who haven't read Kafka - I'm not sure this one is the best to start your bizarre journey. This short story is a good one of his A Country Doctor and will only take you half an hour:
Protagonist K. enters a small village located under a large castle on a mountain, its winter, dark, cold, and forever snowing. K. enters an inn and announces he has been engaged by the Count of the Castle as a land surveyor. The initial suspicion and hostility of the locals is transformed into silent acquiescence as a call is made to check with the Central Office of the castle to check K鈥檚. story.
Needless to say, Central Office have never heard of K.
Now we enter 鈥淜afka-World.鈥� It is a nightmare comprising of self-important, often invisible, administrators (senior and junior), inept assistants 鈥� such as secretaries and messengers, inefficient and ineffective departments a bloated self-serving bureaucracy and suspicious and unfriendly locals. All of this, snugly ensconced in a dark, cold, unfriendly environment.
K. is buffeted between all the above, he is certainly determined (bahahaha 鈥� poor bloke) and he is obsessed about contacting a senior official called Klamm, this guy has all the answers apparently. K. is usually lead on 鈥� he gets many false promises if he鈥檚 lucky, lots of dead-ends. He鈥檚 also allocated two of the most useless assistants one could ever meet 鈥� both act like 4-year-olds and make his life worse. Funny enough - K. also ends up being a school janitor and ends up with a fianc茅e called Freida (Klamm's ex). There are too many other unhelpful & odd characters to mention here 鈥� but if you read this you will find the distractions and diversions annoyingly numerous.
One can only feel for K. his pain, frustration and desire for help and friendship is palpable.
One main, if not the main reason I read is to 鈥漟别别濒鈥�. For an author to make one feel frustrated so completely, a bit angry, to feel bored more than once 鈥� and also to chuck in a couple of laughable scenes (more like chuckles really 鈥� or irritated chuckles), is no mean feat. Kafka achieves this absolutely and completely.
The weight of the novel is considerable. So much so, that I was going to DNF on many occasions. But what compelled me to continue was twofold:
1. My man, Kafka spent a lot of time and effort creating this befuddling world, so I felt an obligation to spend a lot of time in it.
2. To get the whole 鈥�Kafka Experience 鈥渙ne must suffer and gobble up every annoying word and situation. So, I did.
Without giving the ending away, this story ends mid-paragraph. This was Kafka鈥檚 last work 鈥� so we can draw our own conclusions whether he died mid-sentence or not. But, in a nightmare story like this 鈥� perhaps there is no ending.
I hated and loved this.
5-Stars
Note for those of you who haven't read Kafka - I'm not sure this one is the best to start your bizarre journey. This short story is a good one of his A Country Doctor and will only take you half an hour:
February 2, 2023
Mr. K arrives in the village where he is appointed surveyor; he discovers the castle, a central city, where the officials order, with the help of enigmatic circulars and without any spirit of responsibility, the collective life of the village below. To put up with it, except K. wants to communicate with the castle from which he awaits its installation. He is impatient. He wishes to exercise his rights and exist as a responsible individual in legality, but this would imply a change in the established order and acceptance by all; therefore, he will be isolated and seen as an absurd character, the stranger, the intruder.
Through absurd machinery, Kafka emphasizes with his usual humor our difficulty in finding our place individually in the world to which we belong.
The devices described by Kafka are, unfortunately, realistic.
Through absurd machinery, Kafka emphasizes with his usual humor our difficulty in finding our place individually in the world to which we belong.
The devices described by Kafka are, unfortunately, realistic.
September 25, 2022
4.5 stars rounded up
" It was late evening when K. arrived. The village lay deep in snow. There was nothing to be seen of Castle Mount, for mist and darkness surrounded it, and not the faintest glimmer of light showed where the great castle lay. K. stood on the wooden bridge leading from the road to the village for a long time, looking up at what seemed to be a void ."
Such are the opening lines of this novel, where almost nothing is quite as it appears.
Kafka wrote to Milena Jesensk谩 as regards her translation of one of his works:
鈥溾赌� I have the feeling that I鈥檓 taking you by the hand through the story鈥檚 subterranean passages, gloomy, low, ugly, almost endless <...> hopefully in order to have the good sense to disappear into the daylight at the exit.鈥�
The same holds true for the Castle. Some of its paragraphs are almost endless, most of them gloomy, but the novel as a whole astounds the reader and catches their attention.
Everything here resembles an agonizing dream. In this nightmare, you continue going in circles without any feasible hope of achieving what you want to achieve or what you presume that you want to achieve.
If we regard the story as a dream, the fact that the writer never completed it (the novel literally ends mid-sentence) will look reasonable. Dreams could be suddenly cut short, could they not?
We follow a man called K. as he arrives in some village to work as a land surveyor. On the top of a nearby mountain stands the castle. The villagers view it as the sole source of power and status.
The only subject that the people in the village care about is the castle. Their lives revolve around this semi-mythical and quasi-mysterious building and officials who seem to have access to it.
It is snowing and does not want to stop at all, as if the weather were in accord with such a gloomy and depressing mood.
The seemingly omnipotent castle casts its long shadow over the village. However, the relationship between the two entities must be symbiotic. One cannot exist without another, and vice versa.
In this world, which K. is about to discover, nothing is certain and no one worries about such things as logic and common sense.
Although the protagonist is convinced that the castle sent for him to work as a land surveyor, not a single authorized person is ready to confirm his appointment, thus reducing K. to constant waiting.
K. does not want to reconcile himself with the reality, inimical to him and his plans. He attempts to fight the System and grab every opportunity that presents itself. One of such opportunities is Frieda, an alleged lover of a powerful official from the castle. Some aspects of Frieda鈥檚 personality and K.鈥檚 attitude toward her may relate to Kafka鈥檚 relationship with Milena.
After several unsuccessful attempts to turn the tide, the main character seems to let himself be taken in by the weird circumstances, which have turned out to be too difficult for him.
K. has to follow where fate takes him. Nevertheless, for the story does not have an ending we will never know what may happen to the unlucky land surveyor.
In the novel, everyone experiences anxiety, one way or another. K. is frustrated with the castle鈥檚 officials, whereas the local people dislike K. whom they regard as being extremely impolite.
They do not hesitate to point out to him the importance of showing deference toward the castle.
Having to delve into the impersonal world of bureaucracy with its endless tunnels and hiding-places is a disturbing perspective.
K. is too stubborn to stop trying to find some logic concerning his job appointment, but his chances of being able to cope with the absurd look bleak.
What does the image of the castle stand for?
It can be seen as a metaphor for bureaucracy that permeates every sphere of public and private life. However, the power of the castle, which may seem limitless, lasts as long as the people in the village choose to believe in it.
If you do not want to be disappointed, having started the novel, you should not expect to find a plot in it. You should not expect your efforts to be rewarded with a proper ending. There will be none, as I have already mentioned.
The novel, like many of Franz Kafka鈥檚 texts, is abstract, remote from real life, and at the same time poignantly personal, reminiscent of Kafka's personal experiences.
Instead of going deeper into the story, which I do not pretend to fully understand, I want to quote the following lines from Leonard Cohen鈥檚 Waiting for the Miracle.
Nothing left to do
When you're begging for a crumb
Nothing left to do
When you've got to go on waiting
Waiting for the miracle to come
(see )
I think that they capture the prevailing atmosphere of the book, the feelings of our bedazzled protagonist, and my overall impression.
" It was late evening when K. arrived. The village lay deep in snow. There was nothing to be seen of Castle Mount, for mist and darkness surrounded it, and not the faintest glimmer of light showed where the great castle lay. K. stood on the wooden bridge leading from the road to the village for a long time, looking up at what seemed to be a void ."
Such are the opening lines of this novel, where almost nothing is quite as it appears.
Kafka wrote to Milena Jesensk谩 as regards her translation of one of his works:
鈥溾赌� I have the feeling that I鈥檓 taking you by the hand through the story鈥檚 subterranean passages, gloomy, low, ugly, almost endless <...> hopefully in order to have the good sense to disappear into the daylight at the exit.鈥�
The same holds true for the Castle. Some of its paragraphs are almost endless, most of them gloomy, but the novel as a whole astounds the reader and catches their attention.
Everything here resembles an agonizing dream. In this nightmare, you continue going in circles without any feasible hope of achieving what you want to achieve or what you presume that you want to achieve.
If we regard the story as a dream, the fact that the writer never completed it (the novel literally ends mid-sentence) will look reasonable. Dreams could be suddenly cut short, could they not?
We follow a man called K. as he arrives in some village to work as a land surveyor. On the top of a nearby mountain stands the castle. The villagers view it as the sole source of power and status.
The only subject that the people in the village care about is the castle. Their lives revolve around this semi-mythical and quasi-mysterious building and officials who seem to have access to it.
It is snowing and does not want to stop at all, as if the weather were in accord with such a gloomy and depressing mood.
K. was left standing in the snow, feeling disinclined to haul his foot out of it only to have it sink in again a little further on. The master tanner and his friend, happy to be rid of K. at last, made their way slowly back through the door of the house, which was only standing ajar, still keeping an eye on him. K. was left alone in the all-enveloping snow.
The seemingly omnipotent castle casts its long shadow over the village. However, the relationship between the two entities must be symbiotic. One cannot exist without another, and vice versa.
In this world, which K. is about to discover, nothing is certain and no one worries about such things as logic and common sense.
Although the protagonist is convinced that the castle sent for him to work as a land surveyor, not a single authorized person is ready to confirm his appointment, thus reducing K. to constant waiting.
K. does not want to reconcile himself with the reality, inimical to him and his plans. He attempts to fight the System and grab every opportunity that presents itself. One of such opportunities is Frieda, an alleged lover of a powerful official from the castle. Some aspects of Frieda鈥檚 personality and K.鈥檚 attitude toward her may relate to Kafka鈥檚 relationship with Milena.
After several unsuccessful attempts to turn the tide, the main character seems to let himself be taken in by the weird circumstances, which have turned out to be too difficult for him.
K. has to follow where fate takes him. Nevertheless, for the story does not have an ending we will never know what may happen to the unlucky land surveyor.
In the novel, everyone experiences anxiety, one way or another. K. is frustrated with the castle鈥檚 officials, whereas the local people dislike K. whom they regard as being extremely impolite.
They do not hesitate to point out to him the importance of showing deference toward the castle.
Having to delve into the impersonal world of bureaucracy with its endless tunnels and hiding-places is a disturbing perspective.
K. is too stubborn to stop trying to find some logic concerning his job appointment, but his chances of being able to cope with the absurd look bleak.
What does the image of the castle stand for?
It can be seen as a metaphor for bureaucracy that permeates every sphere of public and private life. However, the power of the castle, which may seem limitless, lasts as long as the people in the village choose to believe in it.
If you do not want to be disappointed, having started the novel, you should not expect to find a plot in it. You should not expect your efforts to be rewarded with a proper ending. There will be none, as I have already mentioned.
The novel, like many of Franz Kafka鈥檚 texts, is abstract, remote from real life, and at the same time poignantly personal, reminiscent of Kafka's personal experiences.
Instead of going deeper into the story, which I do not pretend to fully understand, I want to quote the following lines from Leonard Cohen鈥檚 Waiting for the Miracle.
Nothing left to do
When you're begging for a crumb
Nothing left to do
When you've got to go on waiting
Waiting for the miracle to come
(see )
I think that they capture the prevailing atmosphere of the book, the feelings of our bedazzled protagonist, and my overall impression.
August 19, 2012
Honestly, I quit.
It was too, how do I say it?...Kafkaesque. But am I greater than the writer himself? No. Kafka quit too and just as mid-sentence as I--only later in the text. Evidently, he died of tedium. Thank goodness I stopped before Kafka's work killed me too.
I was not enriched by the petty squabbles of German? Czech? villagers and the gyrating evasions of bureaucrats worshiped in detail by said squabbling villagers. I didn't like the protagonist; I couldn't even admire K. for not liking K.self.
I think at the time and place of its writing, it was somehow valuable to use The Castle, pointing out in surrealism the satirible qualities of the bureaucracy and peasantry.
The value The Castle has to offer here and now is not worth the attention required to read it. Kafka is upside down in his book.
It was too, how do I say it?...Kafkaesque. But am I greater than the writer himself? No. Kafka quit too and just as mid-sentence as I--only later in the text. Evidently, he died of tedium. Thank goodness I stopped before Kafka's work killed me too.
I was not enriched by the petty squabbles of German? Czech? villagers and the gyrating evasions of bureaucrats worshiped in detail by said squabbling villagers. I didn't like the protagonist; I couldn't even admire K. for not liking K.self.
I think at the time and place of its writing, it was somehow valuable to use The Castle, pointing out in surrealism the satirible qualities of the bureaucracy and peasantry.
The value The Castle has to offer here and now is not worth the attention required to read it. Kafka is upside down in his book.
October 5, 2018
郾.
芦丿乇 賳賵乇 鬲賴 卮賲毓貙 讴爻蹖 賯賵夭 讴乇丿賴 賵 讴鬲丕亘 賲蹖 禺賵丕賳丿. 賲丕丿乇 诏乇爻鬲讴乇 亘賵丿. 丿爻鬲 賱乇夭丕賳卮 乇丕 亘賴 胤乇賮 讴 丿乇丕夭 讴乇丿 賵 丕賵 乇丕 讴賳丕乇 禺賵丿 賳卮丕賳丿. 亘丕 夭丨賲鬲 丨乇賮 賲蹖 夭丿貙 賮賴賲蹖丿賳 爻禺賳卮 丿卮賵丕乇 亘賵丿貙 賵賱蹖 趩蹖夭蹖 讴賴 賲蹖 诏賮鬲貙
賲鬲賳 丿爻鬲 賳賵卮鬲踿 乇賲丕賳 賯氐乇 賴賲蹖賳 噩丕 賵 亘賴 賴賲蹖賳 氐賵乇鬲賽 賳丕鬲賲丕賲貙 倬丕蹖丕賳 賲蹖 蹖丕亘丿.禄
賮讴乇 讴賳賲 乇賲丕賳 乇賵 亘丕蹖丿 鬲賵蹖 卮賽賱賮 芦賳丕鬲賲丕賲 賴丕禄 亘匕丕乇賲. (:
鄄.
丿賵 爻賴 賲丕賴 亘毓丿 丕夭 鬲賲賵賲 讴乇丿賳 賯氐乇貙 蹖賴 卮亘 禺賵丕亘 丿蹖丿賲 讴賴 丿丕卮鬲賲 亘乇丕蹖 讴爻蹖 乇丕噩毓 亘賴 鬲賮丕賵鬲 丿賵 乇賲丕賳 賯氐乇 賵 賲丨丕讴賲賴 鬲賵囟蹖丨 賲蹖 丿丕丿賲. 诏賮鬲賲: 賲丨丕讴賲賴 倬蹖乇賳诏 賳丿丕乇賴貙 丕夭 蹖賴 爻乇蹖 氐丨賳賴 賴丕蹖 讴賲丕亘蹖卮 賲賳賯胤毓 丕夭 賴賲 鬲卮讴蹖賱 卮丿賴. 讴 賲蹖乇賴 丕蹖賳 噩丕貙 亘丕 丕蹖賳 丌丿賲 丨乇賮 賲蹖 夭賳賴貙 蹖賴 爻乇蹖 丕胤賱丕毓丕鬲 乇丕噩毓 亘賴 丿丕丿诏丕賴 賲蹖 诏蹖乇賴. 亘毓丿 賲蹖乇賴 丕賵賳 噩丕貙 亘丕 丕賵賳 丌丿賲 丨乇賮 賲蹖 夭賳賴貙 蹖賴 爻乇蹖 丕胤賱丕毓丕鬲 丿蹖诏賴 賲蹖 诏蹖乇賴 賵 賴賲蹖賳 胤賵乇...
亘乇毓讴爻貙 賯氐乇 倬蹖乇賳诏 丿丕乇賴. 蹖賴 丕鬲賮丕賯 毓賱鬲 丕鬲賮丕賯 亘毓丿蹖 賲蹖卮賴 讴賴 丕賵賳賲 毓賱鬲 丕鬲賮丕賯 亘毓丿蹖 賲蹖卮賴 賵 賴賲蹖賳 胤賵乇... 賲孬賱 賲賴乇賴 賴丕蹖 丿賵賲蹖賳賵. 賯氐乇 賴賲 诏賮鬲诏賵賴丕蹖 胤賵賱丕賳蹖 乇丕噩毓 亘賴 賲丕賴蹖鬲 賯氐乇 丿丕乇賴貙 丕賲丕 鬲賲丕賲 丿丕爻鬲丕賳 賮賯胤 诏賮鬲诏賵 賳蹖爻鬲. 丕蹖賳 诏賮鬲诏賵賴丕 鬲賵爻胤 蹖賴 乇卮鬲賴贁 賲丨讴賲 讴賴 倬蹖乇賳诏 亘丕卮賴 亘賴 賴賲 賲鬲氐賱 卮丿賴鈥屬�. 亘賴 禺丕胤乇 賴賲蹖賳賴 讴賴 賯氐乇 乇賵 亘蹖卮鬲乇 丕夭賲丨丕讴賲賴 丿賵爻鬲 丿丕乇賲.
鬲賵蹖 亘蹖丿丕乇蹖 賲鬲賵噩賴 丕蹖賳 賮乇賯卮賵賳 賳卮丿賴 亘賵丿賲.
鄢.
趩蹖夭蹖 讴賴 亘乇丕賲 噩丕賱亘 亘賵丿貙 鬲賮丕賵鬲 卮禺氐蹖鬲 讴 丿乇 丕蹖賳 乇賲丕賳 亘丕 讴 丿乇 賲丨丕讴賲賴 亘賵丿. 亘丕 丕蹖賳 讴賴 賴乇 丿賵 乇賲丕賳 賲囟賲賵賳 賲卮丕亘賴蹖 丿丕乇賳貙 丕賲丕 讴 丿乇 丕蹖賳 乇賲丕賳 亘蹖卮鬲乇 毓氐蹖丕賳 賲蹖 讴賳賴貙 亘蹖卮鬲乇 亘蹖 丕毓鬲賳丕蹖蹖 賲蹖 讴賳賴 亘賴 鬲賵囟蹖丨丕鬲 賵 鬲賵噩蹖賴丕鬲 亘趩诏丕賳踿 丌丿賲 賴丕 乇丕噩毓 亘賴 賯氐乇/丿丕丿诏丕賴貙 亘蹖卮鬲乇 賵丕賯毓 亘蹖賳蹖 卮 乇賵 丨賮馗 賲蹖 讴賳賴 賵 爻毓蹖 賲蹖 讴賳賴 丿乇爻鬲 賵丕讴賳卮 賳卮賵賳 亘丿賴貙 賵丕讴賳卮 賴丕蹖蹖 讴賴 诏丕賴蹖 丿賱 賲賳 禺賵丕賳賳丿賴 乇賵 禺賳讴 賲蹖 讴乇丿 讴賴 賯氐乇/丿丕丿诏丕賴 丕诏乇 賳賴 讴丕賲賱丕賸 丨丿丕賯賱 丿乇 蹖讴 賲賵乇丿 禺蹖賱蹖 噩夭卅蹖 爻賳诏 乇賵蹖 蹖禺 卮丿賴.
亘乇 禺賱丕賮 讴 丿乇 賲丨丕讴賲賴 讴賴 賲孬賱 讴爻蹖 讴賴 丿乇 禺賵丕亘蹖 诏蹖乇 丕賮鬲丕丿賴 亘丕卮賴貙 鬲賳賴丕 賳丕馗乇 亘賵丿貙 賳丕馗乇 丕鬲賮丕賯丕鬲 賵 鬲氐賲蹖賲丕鬲蹖 讴賴 亘乇丕卮 诏乇賮鬲賴 賲蹖 卮丿貙 亘丿賵賳 丕蹖賳 讴賴 禺賵丿卮 讴丕乇蹖 亘鬲賵賳賴 亘讴賳賴貙 賵 丿乇 丕賳鬲賴丕 賴賲 亘賴 诏賮鬲踿 禺賵丿卮 芦賲孬賱 爻诏禄 讴卮鬲賴 卮丿.
賲蹖 鬲賵賳賲 丕賲蹖丿賵丕乇 亘丕卮賲 讴 丿乇 賯氐乇 丨丿丕賯賱 芦賲孬賱 爻诏禄 讴卮鬲賴 賳賲蹖 卮賴. 賴乇 趩賳丿 爻乇賳賵卮鬲卮 賲亘賴賲 鬲乇 丕夭 讴 丿乇 賲丨丕讴賲賴 丕爻鬲. 卮丕蹖丿 亘賴 禺丕胤乇 賴賲蹖賳 卮禺氐蹖鬲 睾蹖乇賲賳賮毓賱 讴 丿乇 賯氐乇貙 丨鬲蹖 禺賵丿 讴丕賮讴丕 賴賲 丕賳鬲賴丕蹖蹖 亘乇丕蹖 丿丕爻鬲丕賳 丿乇 賳馗乇 賳诏乇賮鬲賴 亘賵丿賴 賵 賳賲蹖 丿賵賳爻鬲賴 趩胤賵乇 趩賳蹖賳 丿丕爻鬲丕賳蹖 亘賴 丕賳鬲賴丕 賲蹖 乇爻賴. 賵賯鬲蹖 讴賴 賳賴 卮禺氐蹖鬲 賲蹖 鬲賵賳賴 卮讴爻鬲 亘禺賵乇賴貙 賳賴 賯氐乇/丿丕丿诏丕賴.
亘賴 賯賵賱 噩賵讴乇:
This is what happens when an unstoppable force meets an immovable object.
丿丕爻鬲丕賳蹖 讴賴 囟乇賵乇鬲丕賸 賳賲蹖 鬲賵賳賴 倬丕蹖丕賳蹖 丿丕卮鬲賴 亘丕卮賴貙 賵 囟乇賵乇鬲丕賸 鬲丕 丕亘丿 丕蹖賳 鬲禺丕氐賲 賵 丿乇诏蹖乇蹖 丕丿丕賲賴 倬蹖丿丕 賲蹖 讴賳賴.
倬賱 丕爻鬲乇丕鬲乇賳 鬲賵蹖 芦丌卮賳丕蹖蹖 亘丕 讴丕賮讴丕禄 诏賮鬲賴 亘賵丿 丕蹖賳 丕丨鬲賲丕賱丕賸 亘丕夭鬲丕亘 丨丕賱 乇賵丨蹖 讴丕賮讴丕 賲賵賯毓 賳賵卮鬲賳 丿賵 丿丕爻鬲丕賳賴. 賲賵賯毓 賳賵卮鬲賳 賲丨丕讴賲賴 讴丕賮讴丕 賴賳賵夭 鬲丨鬲 鬲丕孬蹖乇 倬丿乇卮 賵 讴丕乇卮 賵 賯蹖丿 賵 亘賳丿賴丕蹖 丿蹖诏賴貙 丕丨爻丕爻 丿乇賲丕賳丿诏蹖 賵 賳丕鬲賵丕賳蹖 丿丕卮鬲. 丕賲丕 賲賵賯毓 賳賵卮鬲賳 賯氐乇 亘丕 丿禺鬲乇蹖 丌卮賳丕 卮丿賴 亘賵丿貙 丕夭 夭丕丿诏丕賴卮 亘賴 噩丕蹖 丿蹖诏賴 丕蹖 賳賯賱 賲讴丕賳 讴乇丿賴 亘賵丿 (亘賴 丌賱賲丕賳責 蹖丕丿賲 賳蹖爻鬲) 賵 賲丿鬲蹖 賴乇 趩賳丿 讴賵鬲丕賴貙 丕夭 丕賵賳 丕丨爻丕爻 丿乇賲丕賳丿诏蹖 賵 賳丕鬲賵丕賳蹖 讴賴 賲丨蹖胤 禺丕賳賵丕丿賴 賵 夭丕丿诏丕賴卮 亘賴卮 鬲丨賲蹖賱 賲蹖 讴乇丿 丌夭丕丿 卮丿賴 亘賵丿.
芦丿乇 賳賵乇 鬲賴 卮賲毓貙 讴爻蹖 賯賵夭 讴乇丿賴 賵 讴鬲丕亘 賲蹖 禺賵丕賳丿. 賲丕丿乇 诏乇爻鬲讴乇 亘賵丿. 丿爻鬲 賱乇夭丕賳卮 乇丕 亘賴 胤乇賮 讴 丿乇丕夭 讴乇丿 賵 丕賵 乇丕 讴賳丕乇 禺賵丿 賳卮丕賳丿. 亘丕 夭丨賲鬲 丨乇賮 賲蹖 夭丿貙 賮賴賲蹖丿賳 爻禺賳卮 丿卮賵丕乇 亘賵丿貙 賵賱蹖 趩蹖夭蹖 讴賴 賲蹖 诏賮鬲貙
賲鬲賳 丿爻鬲 賳賵卮鬲踿 乇賲丕賳 賯氐乇 賴賲蹖賳 噩丕 賵 亘賴 賴賲蹖賳 氐賵乇鬲賽 賳丕鬲賲丕賲貙 倬丕蹖丕賳 賲蹖 蹖丕亘丿.禄
賮讴乇 讴賳賲 乇賲丕賳 乇賵 亘丕蹖丿 鬲賵蹖 卮賽賱賮 芦賳丕鬲賲丕賲 賴丕禄 亘匕丕乇賲. (:
鄄.
丿賵 爻賴 賲丕賴 亘毓丿 丕夭 鬲賲賵賲 讴乇丿賳 賯氐乇貙 蹖賴 卮亘 禺賵丕亘 丿蹖丿賲 讴賴 丿丕卮鬲賲 亘乇丕蹖 讴爻蹖 乇丕噩毓 亘賴 鬲賮丕賵鬲 丿賵 乇賲丕賳 賯氐乇 賵 賲丨丕讴賲賴 鬲賵囟蹖丨 賲蹖 丿丕丿賲. 诏賮鬲賲: 賲丨丕讴賲賴 倬蹖乇賳诏 賳丿丕乇賴貙 丕夭 蹖賴 爻乇蹖 氐丨賳賴 賴丕蹖 讴賲丕亘蹖卮 賲賳賯胤毓 丕夭 賴賲 鬲卮讴蹖賱 卮丿賴. 讴 賲蹖乇賴 丕蹖賳 噩丕貙 亘丕 丕蹖賳 丌丿賲 丨乇賮 賲蹖 夭賳賴貙 蹖賴 爻乇蹖 丕胤賱丕毓丕鬲 乇丕噩毓 亘賴 丿丕丿诏丕賴 賲蹖 诏蹖乇賴. 亘毓丿 賲蹖乇賴 丕賵賳 噩丕貙 亘丕 丕賵賳 丌丿賲 丨乇賮 賲蹖 夭賳賴貙 蹖賴 爻乇蹖 丕胤賱丕毓丕鬲 丿蹖诏賴 賲蹖 诏蹖乇賴 賵 賴賲蹖賳 胤賵乇...
亘乇毓讴爻貙 賯氐乇 倬蹖乇賳诏 丿丕乇賴. 蹖賴 丕鬲賮丕賯 毓賱鬲 丕鬲賮丕賯 亘毓丿蹖 賲蹖卮賴 讴賴 丕賵賳賲 毓賱鬲 丕鬲賮丕賯 亘毓丿蹖 賲蹖卮賴 賵 賴賲蹖賳 胤賵乇... 賲孬賱 賲賴乇賴 賴丕蹖 丿賵賲蹖賳賵. 賯氐乇 賴賲 诏賮鬲诏賵賴丕蹖 胤賵賱丕賳蹖 乇丕噩毓 亘賴 賲丕賴蹖鬲 賯氐乇 丿丕乇賴貙 丕賲丕 鬲賲丕賲 丿丕爻鬲丕賳 賮賯胤 诏賮鬲诏賵 賳蹖爻鬲. 丕蹖賳 诏賮鬲诏賵賴丕 鬲賵爻胤 蹖賴 乇卮鬲賴贁 賲丨讴賲 讴賴 倬蹖乇賳诏 亘丕卮賴 亘賴 賴賲 賲鬲氐賱 卮丿賴鈥屬�. 亘賴 禺丕胤乇 賴賲蹖賳賴 讴賴 賯氐乇 乇賵 亘蹖卮鬲乇 丕夭賲丨丕讴賲賴 丿賵爻鬲 丿丕乇賲.
鬲賵蹖 亘蹖丿丕乇蹖 賲鬲賵噩賴 丕蹖賳 賮乇賯卮賵賳 賳卮丿賴 亘賵丿賲.
鄢.
趩蹖夭蹖 讴賴 亘乇丕賲 噩丕賱亘 亘賵丿貙 鬲賮丕賵鬲 卮禺氐蹖鬲 讴 丿乇 丕蹖賳 乇賲丕賳 亘丕 讴 丿乇 賲丨丕讴賲賴 亘賵丿. 亘丕 丕蹖賳 讴賴 賴乇 丿賵 乇賲丕賳 賲囟賲賵賳 賲卮丕亘賴蹖 丿丕乇賳貙 丕賲丕 讴 丿乇 丕蹖賳 乇賲丕賳 亘蹖卮鬲乇 毓氐蹖丕賳 賲蹖 讴賳賴貙 亘蹖卮鬲乇 亘蹖 丕毓鬲賳丕蹖蹖 賲蹖 讴賳賴 亘賴 鬲賵囟蹖丨丕鬲 賵 鬲賵噩蹖賴丕鬲 亘趩诏丕賳踿 丌丿賲 賴丕 乇丕噩毓 亘賴 賯氐乇/丿丕丿诏丕賴貙 亘蹖卮鬲乇 賵丕賯毓 亘蹖賳蹖 卮 乇賵 丨賮馗 賲蹖 讴賳賴 賵 爻毓蹖 賲蹖 讴賳賴 丿乇爻鬲 賵丕讴賳卮 賳卮賵賳 亘丿賴貙 賵丕讴賳卮 賴丕蹖蹖 讴賴 诏丕賴蹖 丿賱 賲賳 禺賵丕賳賳丿賴 乇賵 禺賳讴 賲蹖 讴乇丿 讴賴 賯氐乇/丿丕丿诏丕賴 丕诏乇 賳賴 讴丕賲賱丕賸 丨丿丕賯賱 丿乇 蹖讴 賲賵乇丿 禺蹖賱蹖 噩夭卅蹖 爻賳诏 乇賵蹖 蹖禺 卮丿賴.
亘乇 禺賱丕賮 讴 丿乇 賲丨丕讴賲賴 讴賴 賲孬賱 讴爻蹖 讴賴 丿乇 禺賵丕亘蹖 诏蹖乇 丕賮鬲丕丿賴 亘丕卮賴貙 鬲賳賴丕 賳丕馗乇 亘賵丿貙 賳丕馗乇 丕鬲賮丕賯丕鬲 賵 鬲氐賲蹖賲丕鬲蹖 讴賴 亘乇丕卮 诏乇賮鬲賴 賲蹖 卮丿貙 亘丿賵賳 丕蹖賳 讴賴 禺賵丿卮 讴丕乇蹖 亘鬲賵賳賴 亘讴賳賴貙 賵 丿乇 丕賳鬲賴丕 賴賲 亘賴 诏賮鬲踿 禺賵丿卮 芦賲孬賱 爻诏禄 讴卮鬲賴 卮丿.
賲蹖 鬲賵賳賲 丕賲蹖丿賵丕乇 亘丕卮賲 讴 丿乇 賯氐乇 丨丿丕賯賱 芦賲孬賱 爻诏禄 讴卮鬲賴 賳賲蹖 卮賴. 賴乇 趩賳丿 爻乇賳賵卮鬲卮 賲亘賴賲 鬲乇 丕夭 讴 丿乇 賲丨丕讴賲賴 丕爻鬲. 卮丕蹖丿 亘賴 禺丕胤乇 賴賲蹖賳 卮禺氐蹖鬲 睾蹖乇賲賳賮毓賱 讴 丿乇 賯氐乇貙 丨鬲蹖 禺賵丿 讴丕賮讴丕 賴賲 丕賳鬲賴丕蹖蹖 亘乇丕蹖 丿丕爻鬲丕賳 丿乇 賳馗乇 賳诏乇賮鬲賴 亘賵丿賴 賵 賳賲蹖 丿賵賳爻鬲賴 趩胤賵乇 趩賳蹖賳 丿丕爻鬲丕賳蹖 亘賴 丕賳鬲賴丕 賲蹖 乇爻賴. 賵賯鬲蹖 讴賴 賳賴 卮禺氐蹖鬲 賲蹖 鬲賵賳賴 卮讴爻鬲 亘禺賵乇賴貙 賳賴 賯氐乇/丿丕丿诏丕賴.
亘賴 賯賵賱 噩賵讴乇:
This is what happens when an unstoppable force meets an immovable object.
丿丕爻鬲丕賳蹖 讴賴 囟乇賵乇鬲丕賸 賳賲蹖 鬲賵賳賴 倬丕蹖丕賳蹖 丿丕卮鬲賴 亘丕卮賴貙 賵 囟乇賵乇鬲丕賸 鬲丕 丕亘丿 丕蹖賳 鬲禺丕氐賲 賵 丿乇诏蹖乇蹖 丕丿丕賲賴 倬蹖丿丕 賲蹖 讴賳賴.
倬賱 丕爻鬲乇丕鬲乇賳 鬲賵蹖 芦丌卮賳丕蹖蹖 亘丕 讴丕賮讴丕禄 诏賮鬲賴 亘賵丿 丕蹖賳 丕丨鬲賲丕賱丕賸 亘丕夭鬲丕亘 丨丕賱 乇賵丨蹖 讴丕賮讴丕 賲賵賯毓 賳賵卮鬲賳 丿賵 丿丕爻鬲丕賳賴. 賲賵賯毓 賳賵卮鬲賳 賲丨丕讴賲賴 讴丕賮讴丕 賴賳賵夭 鬲丨鬲 鬲丕孬蹖乇 倬丿乇卮 賵 讴丕乇卮 賵 賯蹖丿 賵 亘賳丿賴丕蹖 丿蹖诏賴貙 丕丨爻丕爻 丿乇賲丕賳丿诏蹖 賵 賳丕鬲賵丕賳蹖 丿丕卮鬲. 丕賲丕 賲賵賯毓 賳賵卮鬲賳 賯氐乇 亘丕 丿禺鬲乇蹖 丌卮賳丕 卮丿賴 亘賵丿貙 丕夭 夭丕丿诏丕賴卮 亘賴 噩丕蹖 丿蹖诏賴 丕蹖 賳賯賱 賲讴丕賳 讴乇丿賴 亘賵丿 (亘賴 丌賱賲丕賳責 蹖丕丿賲 賳蹖爻鬲) 賵 賲丿鬲蹖 賴乇 趩賳丿 讴賵鬲丕賴貙 丕夭 丕賵賳 丕丨爻丕爻 丿乇賲丕賳丿诏蹖 賵 賳丕鬲賵丕賳蹖 讴賴 賲丨蹖胤 禺丕賳賵丕丿賴 賵 夭丕丿诏丕賴卮 亘賴卮 鬲丨賲蹖賱 賲蹖 讴乇丿 丌夭丕丿 卮丿賴 亘賵丿.
January 11, 2018
It was the start of the year when NK. picked up The Castle by Kafka, a book he had tried to read a lot of times but failed in the past; but now he was full of a new resolution that he will finish it this time. He had hardly read a few pages, however, when his wife called him. "We need to withdraw some money from the bank," she said: "There are a lot of bills to be paid, and some of them are long overdue.""Can't we do it online?" NK. grumbled. "No," said his wife. "The grocer and the vegetable peddler do not carry card-swiping machines." NK. set off to the bank, annoyed.
At the bank, he tried to withdraw money, first from the ATM, and when that proved unsuccessful, from the bank personally; but the teller told him: "I am afraid there is a technical issue, sir, you Aadhar number which is linked your account has some problem, so I am unable to complete the transaction.""Oh," said NK. "What is the problem?" "I can't see that from here, sir," said the teller. "I think you will have to log in to the site with your ID and check yourself." "Can I do it from here?" NK. asked. "No sir, our bank policy prevents us from allowing outsiders to use our computers. I am sorry, sir." The teller replied.
NK. returned home. "Got the money?" asked his wife. "No. There is a problem with my Aadhar number and I need to correct it online." NK. said. His wife replied: "Well, you can't do it from here. There is a power shutdown until the evening.""I will do it on my laptop," NK. said and went to his office room. But the laptop would not power up: he suddenly remembered that the battery was dead and had to be replaced. He called his computer serviceman. "I guess you will have to bring it here, sir," said that gentleman. "Today all my assistants are on leave and there is no one to send." Accordingly NK. went outside to catch an auto-rickshaw.
He was standing on the roadside for quite some time without success, when a neighbour chanced by. "What are you waiting for?" he asked. "An auto," said NK. "Well, you won't get any today. There's a lightning bandh declared by one of the political parties, the Congress, BJP or CPI(M), I don't know which, to protest against a killing somewhere in the North." Said the neighbour. "Well, in that case I better go home,"NK. said. The neighbour concurred.
By this time it had grown quite dark. NK. wondered where the day had gone. As he went into his office room, he saw The Castle lying unread on his table. "I will definitely read it tomorrow," he said.
At the bank, he tried to withdraw money, first from the ATM, and when that proved unsuccessful, from the bank personally; but the teller told him: "I am afraid there is a technical issue, sir, you Aadhar number which is linked your account has some problem, so I am unable to complete the transaction.""Oh," said NK. "What is the problem?" "I can't see that from here, sir," said the teller. "I think you will have to log in to the site with your ID and check yourself." "Can I do it from here?" NK. asked. "No sir, our bank policy prevents us from allowing outsiders to use our computers. I am sorry, sir." The teller replied.
NK. returned home. "Got the money?" asked his wife. "No. There is a problem with my Aadhar number and I need to correct it online." NK. said. His wife replied: "Well, you can't do it from here. There is a power shutdown until the evening.""I will do it on my laptop," NK. said and went to his office room. But the laptop would not power up: he suddenly remembered that the battery was dead and had to be replaced. He called his computer serviceman. "I guess you will have to bring it here, sir," said that gentleman. "Today all my assistants are on leave and there is no one to send." Accordingly NK. went outside to catch an auto-rickshaw.
He was standing on the roadside for quite some time without success, when a neighbour chanced by. "What are you waiting for?" he asked. "An auto," said NK. "Well, you won't get any today. There's a lightning bandh declared by one of the political parties, the Congress, BJP or CPI(M), I don't know which, to protest against a killing somewhere in the North." Said the neighbour. "Well, in that case I better go home,"NK. said. The neighbour concurred.
By this time it had grown quite dark. NK. wondered where the day had gone. As he went into his office room, he saw The Castle lying unread on his table. "I will definitely read it tomorrow," he said.
December 18, 2024
In my humble opinion, 'The Trial' is a more powerful work than 'The Castle' but it is as difficult as 'The Trial' to describe and define. All these people who live in their village next to the Castle all their lives are motivated and driven by the only desire - to get into the Castle to serve their crazy, comic inhabitants - the officials or at least get closer to them. Only Kafka can create this surreal, dark, tense, somewhat grotesque and mesmerizing (as strange as it may seem) atmospere of the novel where the characters follow their only agenda and twisted logic and keep trying to obtain the unobtainable.
Is there a point in existance? Is salavation possible?
'There's no quiet place here on earth for our love, not in the village and not anywhere else, so I picture a grave, deep and narrow, in which we embrace as if clamped together, I bury my face against you, you yours against me, and no one will ever see us.'
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'If a man has his eyes bound, you can encourage him as much as you like to stare through the bandage, but he'll never see anything.'
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'Illusions are more common than changes in fortune.'
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'Our winters are very long here, very long and very monotonous. But we don't complain about it downstairs, we're shielded against the winter. Oh, spring does come eventually, and summer, and they last for a while, but now, looking back, spring and summer seem too short, as if they were not much more than a couple of days, and even on those days, no matter how lovely the day, it still snows occasionally.'
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'It seemed to K. as if at last those people had broken off all relations with him, and as if now in reality he were freer than he had ever been, and at liberty to wait here in this place usually forbidden to him as long as he desired, and had won a freedom such as hardly anybody else had ever succeeded in winning, and as if nobody could dare touch him or drive him away, or even speak to him, but 鈥� this conviction was at least equally as strong 鈥� as if at the same time there was nothing more senseless, more hopeless, than this freedom, this waiting, this inviolability.'
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'Of course I'm ignorant, that remains true at all events and is extremely distressing for me, but it does have the advantage that the ignorant man dares more, so I shall gladly put up with ignorance and its undoubtedly dire consequences for a while, as long as my strength lasts.'
Is there a point in existance? Is salavation possible?
'There's no quiet place here on earth for our love, not in the village and not anywhere else, so I picture a grave, deep and narrow, in which we embrace as if clamped together, I bury my face against you, you yours against me, and no one will ever see us.'
------------------------------------------------------------------------------
'If a man has his eyes bound, you can encourage him as much as you like to stare through the bandage, but he'll never see anything.'
------------------------------------------------------------------------------
'Illusions are more common than changes in fortune.'
------------------------------------------------------------------------------
'Our winters are very long here, very long and very monotonous. But we don't complain about it downstairs, we're shielded against the winter. Oh, spring does come eventually, and summer, and they last for a while, but now, looking back, spring and summer seem too short, as if they were not much more than a couple of days, and even on those days, no matter how lovely the day, it still snows occasionally.'
------------------------------------------------------------------------------
'It seemed to K. as if at last those people had broken off all relations with him, and as if now in reality he were freer than he had ever been, and at liberty to wait here in this place usually forbidden to him as long as he desired, and had won a freedom such as hardly anybody else had ever succeeded in winning, and as if nobody could dare touch him or drive him away, or even speak to him, but 鈥� this conviction was at least equally as strong 鈥� as if at the same time there was nothing more senseless, more hopeless, than this freedom, this waiting, this inviolability.'
------------------------------------------------------------------------------
'Of course I'm ignorant, that remains true at all events and is extremely distressing for me, but it does have the advantage that the ignorant man dares more, so I shall gladly put up with ignorance and its undoubtedly dire consequences for a while, as long as my strength lasts.'
May 21, 2024
A murky exercise in the absurd, a soup without flavor but nutritious to the consumer if they can digest it, a labyrinth into a maze with a molasses plot you may scream at yet continue into the fog helpless, however this is Kafka what did the reader expect? Not a clear view certainly, nevertheless The Castle one of only three novels he tried to produce all incomplete though, the unusual, uniquely talented writer but unsure of his own worth never could believe in himself. As his multiple nervous breakdowns and broken engagements that history records. The book meanders like the main character "K"( why are authors lacking the energy to give a protagonist a credible name?) I digress . The narrative set in a little nameless village probably in Bohemia, Czech Republic dominated by the enigmatic Castle and surrounding territories during the 1920s as electric lights are rare here. Officials from the citadel rule still... for good or bad this is the unanswered question. They don't mingle much with villagers when living in the hamlet, hidden in inns writing reports of who knowns for what purpose the Count never seen, few invited to the castle . K a surveyor he says hired by them, though nobody says for what job. Meets and fall immediately in love, Frieda a barmaid, not pretty or intelligent, all the same sly and former mistress of Klamm the apparent power behind the throne, to be sure nothing is understood in the village, all are illusions the more K wanders lifting the veil the more the mystery thickens and frustrations increase, but bureaucracy governs . K can't leave or stay no money still women Amelia and sister Olga both poor are attracted to the impoverished man. He becomes a janitor, Frieda tries assisting but can she be trusted with Arthur and Jeremiah, K's helpers given to him to spy on him? The novel will frustrate, puzzle and never be solved since the author passed away unable to complete it for better or worse. Those people with stamina might like this, others the grind can not be forgotten and have an opposite reaction. I'm in the former side.
June 29, 2007
I'm re-reading The Castle 10 years later with older, more patient eyes and it's proving to be a wonderful time, especially with the new translation.
"The Eighth Chapter" of The Castle is, perhaps, some of the most beautifully composed writing in all of modern literature. The new translation adds a dreamy, sudden stillness and frightening sense of desolate open space in Kafka's work which is better known for his breathless, claustophobic style of writing and description. This feeling was lost and never captured in the previous, "original" translations which used archaic (even for kafka's time) english words from Kafka's odd german. Punctuation and syntax and grammer and phrasing that Kafka never used or put in were added in the old translations. All of that has been stripped away and the purest form of Kafka's German in English is now available. While still not the same as the actual German, it's very close and very true to his "real" style.
Kafka is, without argument, regarded as one of the greats of 20th century literature, and The Castle (the third installment of Kafka's alluded "brothers" trilogy, with Amerika & The Trial being the other two) is the purest example of what makes him great. Within this amazing book that was never finished and thus has no ending, is "The Eighth Chapter", a small chapter so heart-wrenchingly beautiful I had to read it twice before moving on to the next chapter.
It is a hard book to begin as a "starter" into Kafka, and perhaps not even suggested as a starter regardless. Following his own writing path would be highly valuable, reading through the new critical translations of Amerika and The Trial, as well as his short stories (the hunger artist, the sons, the penal colony, the metamorphosis), will grant a greater appreciation when undertaking The Castle.
"The Eighth Chapter" of The Castle is, perhaps, some of the most beautifully composed writing in all of modern literature. The new translation adds a dreamy, sudden stillness and frightening sense of desolate open space in Kafka's work which is better known for his breathless, claustophobic style of writing and description. This feeling was lost and never captured in the previous, "original" translations which used archaic (even for kafka's time) english words from Kafka's odd german. Punctuation and syntax and grammer and phrasing that Kafka never used or put in were added in the old translations. All of that has been stripped away and the purest form of Kafka's German in English is now available. While still not the same as the actual German, it's very close and very true to his "real" style.
Kafka is, without argument, regarded as one of the greats of 20th century literature, and The Castle (the third installment of Kafka's alluded "brothers" trilogy, with Amerika & The Trial being the other two) is the purest example of what makes him great. Within this amazing book that was never finished and thus has no ending, is "The Eighth Chapter", a small chapter so heart-wrenchingly beautiful I had to read it twice before moving on to the next chapter.
It is a hard book to begin as a "starter" into Kafka, and perhaps not even suggested as a starter regardless. Following his own writing path would be highly valuable, reading through the new critical translations of Amerika and The Trial, as well as his short stories (the hunger artist, the sons, the penal colony, the metamorphosis), will grant a greater appreciation when undertaking The Castle.
October 16, 2022
An extraordinary combination of beauty and subtle, paranoid horror - "growing inured to disappointment". Who else can make snow sinister (scary perhaps, but surely not sinister)? It ends in the middle of a sentence, more tantalisingly still, it ends with a mysterious old woman just about to say something... Very apt for a tale of layers of secrecy and never-ending frustration.
It can be interpreted as an allegory for Jewish alienation and/or as a semi-autobiographical rendition of his relationship with Milena and hers with her husband (portrayed as the mysterious Klamm). Or you can read your own meaning into it.
See my Kafka-related bookshelf for other works by and about Kafka: HERE.
See also Murakami's Hard-Boiled Wonderland and the End of the World, which I reviewed HERE. One of the two strands has many parallels with this.
It can be interpreted as an allegory for Jewish alienation and/or as a semi-autobiographical rendition of his relationship with Milena and hers with her husband (portrayed as the mysterious Klamm). Or you can read your own meaning into it.
See my Kafka-related bookshelf for other works by and about Kafka: HERE.
See also Murakami's Hard-Boiled Wonderland and the End of the World, which I reviewed HERE. One of the two strands has many parallels with this.
March 5, 2011
The devil has a library. Alongside Necronomicon and Malleus Maleficarum, you can find a copy of Franz Kafka's The Castle. To read this is to know pain. This book is an ungodly torment. It doesn't even have proper paragraph division. There are paragraphs that contain chapters inside themselves. How much of a mind twist is that? Wall of text of death! The narrative unravels in a feverish and dream-like state and never breaks from it. Nevertheless, I manage to finish reading this sucker. Oh! I am the baddest motherfucker alive and I wasn't going to give up just like that. While reading The Castle, I experienced nausea, boredom, anxiety, nervous breakdown and unsurpassed rage. I survived through it all. I half expected that, in the last chapter, Franz Kafka would reveal this book as being a big joke. He would congratulate the reader for reading thus far and offer his sincerest apologizes for such torture. It never happened. I hear he died before finishing The Castle. Maybe that was his intended ending.
Spoilers ahead! The Castle is an obvious commentary about bureaucracy and about an individual oppressed by society. Nonetheless, I cooked up my own interpretation of this bloody mess. The next paragraph exposes it.
The villagers and castle-officers share two common traits. First off, they both are proud of their station in life and job. Some of the villagers work at the most mundane jobs possible. Nevertheless, they are proud of it. The castle-officers are shamelessly inefficient and The Castle fails to provide solution to anything during the novel. Nonetheless, these officers regard themselves as semi-gods and are proud of it. The other common trait is that they all believe that life is out of control. They never act. Instead, they accept every circumstance and let every occurrence mold their lives without resistance. Except the disgraced family, but that鈥檚 precisely why they are disgusting to the villagers. Every time a villager reinterprets everything that happens to K as being profoundly and inexorable important to his or her own life, Kafka is pointing out that the commoners never act to fix their lives. They accept it as it is. I perceived this when Pepi (the most unimportant character imaginable) reviews everything that happened thus far from her point of view. Moreover, blamed K. for every affect it had in her life. She is just a passive victim. All the villagers and castle-folk are passive. As a foreigner, K. is different. First, K. does not have a clear job and that hurts his pride. In the first chapters, he is completely pissed off but the book never tells it to you straightaway. He is hurling snowballs at people to catch their attention. If that is not the action of an angry person, I do not know what it is. Second, and most important, K. is active. He acts and tries to solve his problem. That is completely alien to the villagers. Their only trade is the art of making excuses and empty (endless) arguments. That is the reason why the villagers consider K. as being childish and naive. Does he not know he is supposed to accept live as it is? When the narrative approaches its end, K. is reasoning like one of the villagers already. Body Snatcher style, he has been assimilated.
Spoilers ahead! The Castle is an obvious commentary about bureaucracy and about an individual oppressed by society. Nonetheless, I cooked up my own interpretation of this bloody mess. The next paragraph exposes it.
The villagers and castle-officers share two common traits. First off, they both are proud of their station in life and job. Some of the villagers work at the most mundane jobs possible. Nevertheless, they are proud of it. The castle-officers are shamelessly inefficient and The Castle fails to provide solution to anything during the novel. Nonetheless, these officers regard themselves as semi-gods and are proud of it. The other common trait is that they all believe that life is out of control. They never act. Instead, they accept every circumstance and let every occurrence mold their lives without resistance. Except the disgraced family, but that鈥檚 precisely why they are disgusting to the villagers. Every time a villager reinterprets everything that happens to K as being profoundly and inexorable important to his or her own life, Kafka is pointing out that the commoners never act to fix their lives. They accept it as it is. I perceived this when Pepi (the most unimportant character imaginable) reviews everything that happened thus far from her point of view. Moreover, blamed K. for every affect it had in her life. She is just a passive victim. All the villagers and castle-folk are passive. As a foreigner, K. is different. First, K. does not have a clear job and that hurts his pride. In the first chapters, he is completely pissed off but the book never tells it to you straightaway. He is hurling snowballs at people to catch their attention. If that is not the action of an angry person, I do not know what it is. Second, and most important, K. is active. He acts and tries to solve his problem. That is completely alien to the villagers. Their only trade is the art of making excuses and empty (endless) arguments. That is the reason why the villagers consider K. as being childish and naive. Does he not know he is supposed to accept live as it is? When the narrative approaches its end, K. is reasoning like one of the villagers already. Body Snatcher style, he has been assimilated.
April 29, 2025
"Lei non 猫 del Castello, non 猫 del villaggio, lei non 猫 nessuno."
Uno straniero, K., giunge in un freddo villaggio nevoso con un incarico lavorativo. Il suo obiettivo 猫 raggiungere e contattare il CASTELLO, sede dell'autorit脿, del Potere. Non sar脿 semplice.
Ci sono scrittori che hanno bisogno di una "chiave" speciale per poter accedere al loro lavoro. Con Kafka siamo di fronte ad uno dei massimi rappresentanti di questo genere di scritti e il povero lettore, che pretende di forzare la serratura e penetrare nel suo pensiero, deve fare della filosofia ermeneutica il suo grimaldello d'argento.
Kafka va quindi interpretato e non semplicemente letto, in base al suo pensiero filosofico, la sua vita, il suo tempo, la sua concezione religiosa, i suoi problemi esistenziali, non farlo lascia il lettore in uno stato di oblio e confusione, un groviglio inestricabile di non sensi e situazioni al limite del grottesco, incapace di cogliere fino in fondo le tante allusioni, le similitudini e gli infiniti possibili significati racchiusi nella sua opera.
Ebraismo al contrario, psicanalisi, surrealismo, Kierkegaard, metafore, allegorie, paradossi, labirinti mentali, angoscia, la mancanza di giustizia calpestata ogni giorno, "un dio in esilio ha portato con s茅 la giustizia", e la Legge che non pu貌 essere messa in dubbio da incapaci, impossibilitati a capire.
"Uno dei principi ispiratori del lavoro delle autorit脿 猫 che non si contempla affatto la possibilit脿 di un errore."
Una burocrazia padrona e complicata, talmente irraggiungibile da portare alla follia, come la dodicesima fatica di Asterix. Personaggi ambigui e scostanti o grotteschi come ad esempio i due aiutanti, simili ai gemelli in Alice nel paese delle Meraviglie, altro caposaldo del surrealismo.
Non mi sento assolutamente in grado di giungere a dare un significato univoco a questo "incubo" della letteratura, dove anche gli esperti non ne vengono del tutto a capo. Nessuno pu貌. Kafka fa della sua scrittura un mezzo per racchiudere la sua angoscia ed 猫 quindi del tutto personale. Ogni tentativo di critica risulta sterile e incompleto.
Molti dei significati racchiusi in questi frammenti mi saranno sfuggiti, perch茅 in fondo solo Kafka conosceva Kafka, ma senza dubbio mi sono trovato pi霉 volte a riflettere e altri con un bel sorriso amaro in volto. Esperienza assolutamente imperdibile.
-------------------------------------
"She's not from the Castle, she's not from the village, she's nobody."
A stranger, K., arrives in a cold snowy village with a job assignment. His goal is to reach and contact the CASTLE, seat of authority, of Power. It won't be easy.
There are writers who need a special "key" to access their work. With Kafka we are faced with one of the greatest representatives of this kind of writing and the poor reader, who claims to force the lock and penetrate his thought, must make hermeneutic philosophy his silver pick.
Kafka must therefore be interpreted and not simply read, based on his philosophical thought, his life, his time, his religious conception, his existential problems, not doing so leaves the reader in a state of oblivion and confusion, an inextricable tangle of non-senses and situations bordering on the grotesque, unable to fully grasp the many allusions, similarities and infinite possible meanings enclosed in his work.
Reverse Judaism, psychoanalysis, surrealism, Kierkegaard, metaphors, allegories, paradoxes, mental labyrinths, anguish, the lack of justice trampled on every day, "a god in exile brought justice with him", and the Law that cannot be enforced in doubt from incapable, unable to understand.
"One of the guiding principles of the work of the authorities is that the possibility of a mistake is not contemplated at all."
A mistress and complicated bureaucracy, so unattainable as to lead to madness, like the twelfth effort of Asterix. Ambiguous and unfriendly or grotesque characters such as the two helpers, similar to the twins in Alice in Wonderland, another cornerstone of surrealism.
I absolutely do not feel able to come to give a univocal meaning to this "nightmare" of literature, where even the experts are not entirely on top of it. Nobody can. Kafka makes his writing a means to enclose his anguish and is therefore entirely personal. Any attempt at criticism is sterile and incomplete.
Many of the meanings contained in these fragments will have escaped me, because after all only Kafka knew Kafka, but without a doubt I found myself reflecting several times and others with a beautiful, bitter smile on their faces. Absolutely unmissable experience.
Uno straniero, K., giunge in un freddo villaggio nevoso con un incarico lavorativo. Il suo obiettivo 猫 raggiungere e contattare il CASTELLO, sede dell'autorit脿, del Potere. Non sar脿 semplice.
Ci sono scrittori che hanno bisogno di una "chiave" speciale per poter accedere al loro lavoro. Con Kafka siamo di fronte ad uno dei massimi rappresentanti di questo genere di scritti e il povero lettore, che pretende di forzare la serratura e penetrare nel suo pensiero, deve fare della filosofia ermeneutica il suo grimaldello d'argento.
Kafka va quindi interpretato e non semplicemente letto, in base al suo pensiero filosofico, la sua vita, il suo tempo, la sua concezione religiosa, i suoi problemi esistenziali, non farlo lascia il lettore in uno stato di oblio e confusione, un groviglio inestricabile di non sensi e situazioni al limite del grottesco, incapace di cogliere fino in fondo le tante allusioni, le similitudini e gli infiniti possibili significati racchiusi nella sua opera.
Ebraismo al contrario, psicanalisi, surrealismo, Kierkegaard, metafore, allegorie, paradossi, labirinti mentali, angoscia, la mancanza di giustizia calpestata ogni giorno, "un dio in esilio ha portato con s茅 la giustizia", e la Legge che non pu貌 essere messa in dubbio da incapaci, impossibilitati a capire.
"Uno dei principi ispiratori del lavoro delle autorit脿 猫 che non si contempla affatto la possibilit脿 di un errore."
Una burocrazia padrona e complicata, talmente irraggiungibile da portare alla follia, come la dodicesima fatica di Asterix. Personaggi ambigui e scostanti o grotteschi come ad esempio i due aiutanti, simili ai gemelli in Alice nel paese delle Meraviglie, altro caposaldo del surrealismo.
Non mi sento assolutamente in grado di giungere a dare un significato univoco a questo "incubo" della letteratura, dove anche gli esperti non ne vengono del tutto a capo. Nessuno pu貌. Kafka fa della sua scrittura un mezzo per racchiudere la sua angoscia ed 猫 quindi del tutto personale. Ogni tentativo di critica risulta sterile e incompleto.
Molti dei significati racchiusi in questi frammenti mi saranno sfuggiti, perch茅 in fondo solo Kafka conosceva Kafka, ma senza dubbio mi sono trovato pi霉 volte a riflettere e altri con un bel sorriso amaro in volto. Esperienza assolutamente imperdibile.
-------------------------------------
"She's not from the Castle, she's not from the village, she's nobody."
A stranger, K., arrives in a cold snowy village with a job assignment. His goal is to reach and contact the CASTLE, seat of authority, of Power. It won't be easy.
There are writers who need a special "key" to access their work. With Kafka we are faced with one of the greatest representatives of this kind of writing and the poor reader, who claims to force the lock and penetrate his thought, must make hermeneutic philosophy his silver pick.
Kafka must therefore be interpreted and not simply read, based on his philosophical thought, his life, his time, his religious conception, his existential problems, not doing so leaves the reader in a state of oblivion and confusion, an inextricable tangle of non-senses and situations bordering on the grotesque, unable to fully grasp the many allusions, similarities and infinite possible meanings enclosed in his work.
Reverse Judaism, psychoanalysis, surrealism, Kierkegaard, metaphors, allegories, paradoxes, mental labyrinths, anguish, the lack of justice trampled on every day, "a god in exile brought justice with him", and the Law that cannot be enforced in doubt from incapable, unable to understand.
"One of the guiding principles of the work of the authorities is that the possibility of a mistake is not contemplated at all."
A mistress and complicated bureaucracy, so unattainable as to lead to madness, like the twelfth effort of Asterix. Ambiguous and unfriendly or grotesque characters such as the two helpers, similar to the twins in Alice in Wonderland, another cornerstone of surrealism.
I absolutely do not feel able to come to give a univocal meaning to this "nightmare" of literature, where even the experts are not entirely on top of it. Nobody can. Kafka makes his writing a means to enclose his anguish and is therefore entirely personal. Any attempt at criticism is sterile and incomplete.
Many of the meanings contained in these fragments will have escaped me, because after all only Kafka knew Kafka, but without a doubt I found myself reflecting several times and others with a beautiful, bitter smile on their faces. Absolutely unmissable experience.
October 4, 2019
What a crying shame Kafka never got to finish what probably would have been his finest achievement. Certainly on an emotional level anyway. Kafka had a greater poignancy and a deeper feeling for his characters in The Castle when compared to the other works of his I have read, so it was extremely frustrating for this book to end right in mid-sentence. Damn!
I knew it was going to happen, but how can one truly prepare one's self for a novel without an ending?
Parts of me felt like it would have been better not reading it at all, to spare the pain of getting to the final few words, and screaming to the heavens - NO!
The three star rating reflects more on the way it made me feel at the end (or non-end in this case)
rather than what went before, which was mostly great.
What was to become of K.? I can only guess how things would have gone, and haven't a clue just how much more Kafka planned to write to get to his finale. So if there are any of my fine and helpful GR brothers and sisters who are well knowledged when it comes to The Castle, and have any ideas, then I'd love to know.
I'm now off to drown my Kafka sorrows with a cocktail or two.
I knew it was going to happen, but how can one truly prepare one's self for a novel without an ending?
Parts of me felt like it would have been better not reading it at all, to spare the pain of getting to the final few words, and screaming to the heavens - NO!
The three star rating reflects more on the way it made me feel at the end (or non-end in this case)
rather than what went before, which was mostly great.
What was to become of K.? I can only guess how things would have gone, and haven't a clue just how much more Kafka planned to write to get to his finale. So if there are any of my fine and helpful GR brothers and sisters who are well knowledged when it comes to The Castle, and have any ideas, then I'd love to know.
I'm now off to drown my Kafka sorrows with a cocktail or two.
February 10, 2024
孝褉邪写懈褑懈芯薪薪邪褟 写谢褟 袣邪褎泻懈 褋锌邪泄泻邪 邪斜褋褍褉写邪, 褌褉械胁芯谐懈, 斜械褋锌谢芯写薪褘褏 褍褋懈谢懈泄 锌褉械写胁械褖邪械褌 斜械写褍, 泻芯褌芯褉邪褟 胁褋械 薪械 薪邪褋褌褍锌邪械褌, 邪 芯斜褉邪蟹褍械褌 斜械褋泻芯薪械褔薪褘泄 懈 斜械褋褋屑褘褋谢械薪薪褘泄 锌褍褌褜 胁 薪懈泻褍写邪, 泻芯褌芯褉芯械 薪懈泻芯谐写邪 薪械 泻芯薪褔懈褌褋褟. 小褉芯写薪懈 小懈蟹懈褎芯胁褍 褌褉褍写褍, 械卸械写薪械胁薪褘械 锌芯锌褘褌泻懈 褋写胁懈薪褍褌褜褋褟 褏芯褌褜 薪邪 泄芯褌褍, 斜芯褉褜斜邪 褋 褋懈褋褌械屑芯泄 薪械 写邪褞褌 褉械蟹褍谢褜褌邪褌邪. 袟邪屑芯泻 屑芯卸械褌 褕懈褉芯泻芯 懈薪褌械褉锌褉械褌懈褉芯胁邪褌褜褋褟 鈥� 芯褌 褌芯褌邪谢懈褌邪褉薪芯泄 褋懈褋褌械屑褘 写芯 谐芯褋锌芯写邪 袘芯谐邪. 袙 谢褞斜芯屑 褋谢褍褔邪械, 褝褌芯 胁谢邪褋褌褜 蟹械屑薪邪褟, 薪械斜械褋薪邪褟 懈谢懈 谢褞斜邪褟 锟斤拷褉褍谐邪褟 鈥� 芯薪邪 邪斜褋芯谢褞褌薪邪 锌芯 褋胁芯械泄 锌褉懈褉芯写械, 写芯 泻芯褌芯褉芯泄 锌褉芯褋褌芯屑褍 褔械谢芯胁械泻褍 写邪谢械泻芯 懈 斜械褋褋屑褘褋谢械薪 褌褉褍写 写芯褋褌懈褔褜 写邪卸械 械谐芯 锌芯写薪芯卸懈褟.
袧芯 薪械 褌芯谢褜泻芯 芦褋邪屑褘泄 薪懈褔褌芯卸薪褘泄 褔械谢芯胁械泻禄 锌芯写邪胁谢褟械褌褋褟 褝褌芯泄 胁谢邪褋褌褜褞, 邪斜褋褍褉写 褋懈褋褌械屑褘 胁 褌芯屑, 褔褌芯 谢褞写懈, 胁褘褋褌褉邪懈胁邪褞褖懈械 械褢 懈 褋谢褍卸邪褖懈械 械泄, 褋谢褍卸邪褖懈械 蟹邪屑泻邪 褌邪泻卸械 锌芯写邪胁谢褟械屑褘 械褞. 袧邪 泻邪卸写芯谐芯 薪邪褔邪谢褜薪懈泻邪 薪邪泄写械褌褋褟 褋胁芯泄, 斜芯谢械械 胁褘褕械褋褌芯褟褖懈泄 薪邪褔邪谢褜薪懈泻. 袧械蟹褘斜谢械屑芯褋褌褜 懈械褉邪褉褏懈褔薪芯泄 锌懈褉邪屑懈写褘 芯斜褍褋谢芯胁谢懈胁邪械褌褋褟 褌械屑, 褔褌芯 褋懈褋褌械屑邪 褟胁谢褟械褌褋褟 械写懈薪褋褌胁械薪薪褘屑 懈褋褌芯褔薪懈泻芯屑 蟹邪泻芯薪邪, 蟹邪泻芯薪邪 薪械褋芯胁械褉褕械薪薪芯谐芯, 薪邪锌褉邪胁谢械薪薪芯谐芯 薪邪 胁芯褋锌褉芯懈蟹胁芯写褋褌胁芯 斜褞褉芯泻褉邪褌懈懈 写芯 斜械褋泻芯薪械褔薪芯褋褌懈, 胁 褉械蟹褍谢褜褌邪褌械 褔械谐芯 蟹邪泻芯薪芯锌芯褋谢褍褕薪褘泄 褔械谢芯胁械泻 懈 褋谢褍卸邪褖懈械 褝褌芯泄 褋懈褋褌械屑褘 芯泻邪蟹褘胁邪械褌褋褟 胁芯胁谢械褔械薪薪褘泄 胁 斜械谐 锌芯 泻褉褍谐褍, 泻邪泻 斜械谢泻邪 胁 泻芯谢械褋械. 协褌芯 褏芯谢芯褋褌芯泄 褏芯写, 写械褟褌械谢褜薪芯褋褌褜 褉邪写懈 写械褟褌械谢褜薪芯褋褌懈, 芯褉懈械薪褌懈褉芯胁邪薪薪芯褋褌褜 薪邪 锌褉芯褑械褋褋, 邪 薪械 薪邪 褉械蟹褍谢褜褌邪褌. 袗斜褋褍褉写薪芯褋褌褜 斜褞褉芯泻褉邪褌懈懈 胁芯 胁褋械泄 械械 斜械褋褋屑褘褋谢械薪薪芯褋褌懈!
袩褉懈屑械褔邪褌械谢褜薪邪 褉械邪泻褑懈褟 卸懈褌械谢械泄 写械褉械胁薪懈 薪邪 褔械谢芯胁械泻邪, 锌褉懈褕械写褕械谐芯 懈蟹胁薪械, 邪, 蟹薪邪褔懈褌, 褋胁芯斜芯写薪芯谐芯 芯褌 褋懈褋褌械屑褘 鈥� 械谐芯 锌褘褌邪褞褌褋褟 褍薪懈蟹懈褌褜, 锌芯写邪胁懈褌褜. 袣. 锌褉懈褕械谢 褋胁芯斜芯写薪褘屑 褔械谢芯胁械泻芯屑, 薪芯 胁写褉褍谐 芯泻邪蟹褘胁邪械褌褋褟 锌褉懈薪褟褌褘屑 薪邪 褉邪斜芯褌褍 蟹械屑谢械屑械褉芯屑. 小懈褋褌械屑械, 褔褌芯斜褘 锌芯写褔懈薪懈褌褜, 薪褍卸薪芯 胁芯斜褉邪褌褜 胁 褋械斜褟 褔械谢芯胁械泻邪. 孝邪泻 袣. 芯泻邪蟹褘胁邪械褌褋褟 褔邪褋褌褜褞 褋懈褋褌械屑芯泄, 褌械屑 胁懈薪褌懈泻芯屑, 泻芯褌芯褉褘泄 泻褉褍褌懈褌褋褟 褝薪械褉谐懈械泄 懈 胁芯谢械褞 斜褍屑邪谐. 袟邪写邪褔邪 褋懈褋褌械屑褘 鈥� 蟹邪薪褟褌褜 械械 褍褔邪褋褌薪懈泻芯胁 褝褌懈屑 斜械谐芯屑 锌芯 泻褉褍谐褍. 袣邪褎泻邪 谐械薪懈邪谢褜薪芯 芯锌懈褋邪谢 屑械褏邪薪懈蟹屑 褝褌芯泄 邪写褋泻芯泄 屑邪褕懈薪褘, 胁 泻芯褌芯褉芯泄 褋芯胁褉械屑械薪薪褘械 谢褞写懈 褌芯卸械 胁褘褋褌褍锌邪褞褌 胁懈薪褌懈泻邪屑懈, 胁 谢褞斜芯泄 褋褌褉邪薪械, 屑芯卸械褌 褍卸械 胁 褑懈褎褉芯胁懈蟹懈褉芯胁邪薪薪芯泄 褎芯褉屑械, 薪芯 褋褍褌褜 褌邪 卸械. 袣邪褎泻邪 锌芯锌褘褌邪谢褋褟 芯褋屑褘褋谢懈褌褜 邪斜褋褍褉写 褍褋褌褉芯泄褋褌胁邪 褔械谢芯胁械褔械褋泻芯谐芯 芯斜褖械褋褌胁邪, 懈蟹芯斜褉邪蟹懈胁 械谐芯 薪械芯斜褏芯写懈屑褘械 懈薪谐褉械写懈械薪褌褘 懈 屑械褏邪薪懈蟹屑, 懈 褝褌芯 械屑褍 褍写邪谢芯褋褜.
袧芯 薪械 褌芯谢褜泻芯 芦褋邪屑褘泄 薪懈褔褌芯卸薪褘泄 褔械谢芯胁械泻禄 锌芯写邪胁谢褟械褌褋褟 褝褌芯泄 胁谢邪褋褌褜褞, 邪斜褋褍褉写 褋懈褋褌械屑褘 胁 褌芯屑, 褔褌芯 谢褞写懈, 胁褘褋褌褉邪懈胁邪褞褖懈械 械褢 懈 褋谢褍卸邪褖懈械 械泄, 褋谢褍卸邪褖懈械 蟹邪屑泻邪 褌邪泻卸械 锌芯写邪胁谢褟械屑褘 械褞. 袧邪 泻邪卸写芯谐芯 薪邪褔邪谢褜薪懈泻邪 薪邪泄写械褌褋褟 褋胁芯泄, 斜芯谢械械 胁褘褕械褋褌芯褟褖懈泄 薪邪褔邪谢褜薪懈泻. 袧械蟹褘斜谢械屑芯褋褌褜 懈械褉邪褉褏懈褔薪芯泄 锌懈褉邪屑懈写褘 芯斜褍褋谢芯胁谢懈胁邪械褌褋褟 褌械屑, 褔褌芯 褋懈褋褌械屑邪 褟胁谢褟械褌褋褟 械写懈薪褋褌胁械薪薪褘屑 懈褋褌芯褔薪懈泻芯屑 蟹邪泻芯薪邪, 蟹邪泻芯薪邪 薪械褋芯胁械褉褕械薪薪芯谐芯, 薪邪锌褉邪胁谢械薪薪芯谐芯 薪邪 胁芯褋锌褉芯懈蟹胁芯写褋褌胁芯 斜褞褉芯泻褉邪褌懈懈 写芯 斜械褋泻芯薪械褔薪芯褋褌懈, 胁 褉械蟹褍谢褜褌邪褌械 褔械谐芯 蟹邪泻芯薪芯锌芯褋谢褍褕薪褘泄 褔械谢芯胁械泻 懈 褋谢褍卸邪褖懈械 褝褌芯泄 褋懈褋褌械屑褘 芯泻邪蟹褘胁邪械褌褋褟 胁芯胁谢械褔械薪薪褘泄 胁 斜械谐 锌芯 泻褉褍谐褍, 泻邪泻 斜械谢泻邪 胁 泻芯谢械褋械. 协褌芯 褏芯谢芯褋褌芯泄 褏芯写, 写械褟褌械谢褜薪芯褋褌褜 褉邪写懈 写械褟褌械谢褜薪芯褋褌懈, 芯褉懈械薪褌懈褉芯胁邪薪薪芯褋褌褜 薪邪 锌褉芯褑械褋褋, 邪 薪械 薪邪 褉械蟹褍谢褜褌邪褌. 袗斜褋褍褉写薪芯褋褌褜 斜褞褉芯泻褉邪褌懈懈 胁芯 胁褋械泄 械械 斜械褋褋屑褘褋谢械薪薪芯褋褌懈!
袩褉懈屑械褔邪褌械谢褜薪邪 褉械邪泻褑懈褟 卸懈褌械谢械泄 写械褉械胁薪懈 薪邪 褔械谢芯胁械泻邪, 锌褉懈褕械写褕械谐芯 懈蟹胁薪械, 邪, 蟹薪邪褔懈褌, 褋胁芯斜芯写薪芯谐芯 芯褌 褋懈褋褌械屑褘 鈥� 械谐芯 锌褘褌邪褞褌褋褟 褍薪懈蟹懈褌褜, 锌芯写邪胁懈褌褜. 袣. 锌褉懈褕械谢 褋胁芯斜芯写薪褘屑 褔械谢芯胁械泻芯屑, 薪芯 胁写褉褍谐 芯泻邪蟹褘胁邪械褌褋褟 锌褉懈薪褟褌褘屑 薪邪 褉邪斜芯褌褍 蟹械屑谢械屑械褉芯屑. 小懈褋褌械屑械, 褔褌芯斜褘 锌芯写褔懈薪懈褌褜, 薪褍卸薪芯 胁芯斜褉邪褌褜 胁 褋械斜褟 褔械谢芯胁械泻邪. 孝邪泻 袣. 芯泻邪蟹褘胁邪械褌褋褟 褔邪褋褌褜褞 褋懈褋褌械屑芯泄, 褌械屑 胁懈薪褌懈泻芯屑, 泻芯褌芯褉褘泄 泻褉褍褌懈褌褋褟 褝薪械褉谐懈械泄 懈 胁芯谢械褞 斜褍屑邪谐. 袟邪写邪褔邪 褋懈褋褌械屑褘 鈥� 蟹邪薪褟褌褜 械械 褍褔邪褋褌薪懈泻芯胁 褝褌懈屑 斜械谐芯屑 锌芯 泻褉褍谐褍. 袣邪褎泻邪 谐械薪懈邪谢褜薪芯 芯锌懈褋邪谢 屑械褏邪薪懈蟹屑 褝褌芯泄 邪写褋泻芯泄 屑邪褕懈薪褘, 胁 泻芯褌芯褉芯泄 褋芯胁褉械屑械薪薪褘械 谢褞写懈 褌芯卸械 胁褘褋褌褍锌邪褞褌 胁懈薪褌懈泻邪屑懈, 胁 谢褞斜芯泄 褋褌褉邪薪械, 屑芯卸械褌 褍卸械 胁 褑懈褎褉芯胁懈蟹懈褉芯胁邪薪薪芯泄 褎芯褉屑械, 薪芯 褋褍褌褜 褌邪 卸械. 袣邪褎泻邪 锌芯锌褘褌邪谢褋褟 芯褋屑褘褋谢懈褌褜 邪斜褋褍褉写 褍褋褌褉芯泄褋褌胁邪 褔械谢芯胁械褔械褋泻芯谐芯 芯斜褖械褋褌胁邪, 懈蟹芯斜褉邪蟹懈胁 械谐芯 薪械芯斜褏芯写懈屑褘械 懈薪谐褉械写懈械薪褌褘 懈 屑械褏邪薪懈蟹屑, 懈 褝褌芯 械屑褍 褍写邪谢芯褋褜.
November 30, 2016
螝伪位慰魏伪喂蟻喂谓蠈 尾喂尾位委慰, 蠈蟿喂 蟺蟻苇蟺蔚喂 纬喂伪 未喂伪魏慰蟺苇蟼 魏伪喂 纬喂伪 伪谓维纬谓蠅蟽畏 未委蟺位伪 蟽蟿畏 胃维位伪蟽蟽伪. 螡螣螣螣韦. 螣蠉蟿蔚 魏伪谓, 蟺伪委尉蟿蔚 蟻伪魏苇蟿蔚蟼 魏伪位蠉蟿蔚蟻伪, 蠂蟿委蟽蟿蔚 蟽蟿畏谓 维渭渭慰 蟺伪位维蟿喂伪, 未蔚 尉苇蟻蠅, 魏维谓蟿蔚 魏维蟿喂, 蟽蟿畏谓 蔚尉慰蠂萎 蔚委蟽蟿蔚 蟺慰蠀 谓伪 蟺维蟻蔚喂. 螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蠈蟿喂 未蔚谓 蔚委谓伪喂 蟿蠈蟽慰 魏伪魏蠈, 伪位位维 畏 蟽蟿喂纬渭萎 蟺慰蠀 蔚蟺苇位蔚尉伪 谓伪 蟿慰 未喂伪尾维蟽蠅 萎蟿伪谓. 螘蟺委蟽畏蟼 伪魏蠈渭伪 蟺喂慰 位维胃慰蟼 蔚蟺喂位慰纬萎 萎蟿伪谓 谓伪 伪谓蟿喂魏伪蟿伪蟽蟿萎蟽蠅 蟿慰谓 蟽蔚位喂未慰未蔚委魏蟿畏 渭慰蠀 渭蔚 苇谓伪 魏慰渭渭维蟿喂 渭蟺苇喂魏慰谓. 螣 萎蟻蠅伪蟼 渭伪蟼 位慰喂蟺蠈谓, 慰 "螝", 伪蟺慰蠁伪蟽委味蔚喂 谓伪 蔚蟺喂蟽魏蔚蠁蟿蔚委 蟿慰谓 螤蠉蟻纬慰 "伪蠁慰蠉". 螖蔚 渭蟺慰蟻蔚委 蠈渭蠅蟼 谓伪 蠁蟿维蟽蔚喂 蟽蔚 伪蠀蟿蠈谓 位蠈纬蠅 纬蟻伪蠁蔚喂慰魏蟻伪蟿委伪蟼 魏伪喂 伪蟺慰蠁伪蟽委味蔚喂 谓伪 渭蔚委谓蔚喂 蟽蟿慰 蠂蠅蟻喂蠈 魏维蟿蠅 伪蟺蠈 蟿慰谓 螤蠉蟻纬慰. 螣喂 魏维蟿慰喂魏慰喂 蟿慰蠀 蠈渭蠅蟼 蔚委谓伪喂 渭蔚纬维位伪 纬伪蠆未慰蠉蟻喂伪 蟺慰蠀 谓慰渭委味慰蠀谓 蟺蠅蟼 畏 位苇尉畏 "蠁喂位慰尉蔚谓委伪" 蔚委谓伪喂 蠂蠅蟻喂蠈 蟽蟿畏谓 螒谓未伪位慰蠀蟽委伪. 螘魏蔚委, 慰 "螝" 纬谓蠅蟻委味蔚喂 蟿畏谓 桅蟻委谓蟿伪 (蔚委谓伪喂 伪蟺蠈 蟿慰 蠂蠅蟻喂蠈 未蔚 蟿畏谓 尉苇蟻蔚蟿蔚) 魏伪喂 魏伪蟿蠈蟺喂谓 蠅蟻委渭慰蠀 蟽魏苇蠄蔚蠅蟼 蔚谓蠈蟼 谓伪谓慰未蔚蠉蟿蔚蟻慰蠀 蟿畏 味畏蟿维蔚喂 蟽蔚 纬维渭慰 纬喂伪蟿委 蟿畏谓 伪纬伪蟺维蔚喂 (蟺蠁蠁). 螒蠀蟿蠈 渭苇蠂蟻喂 蟿喂蟼 蟺蟻蠋蟿蔚蟼 蔚魏伪蟿蠈 蟽蔚位委未蔚蟼, 蠈慰位慰 蟿慰 蠀蟺蠈位慰喂蟺慰 尾喂尾位委慰 蟺蔚蟻喂蟽蟿蟻苇蠁蔚蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟿慰 -胃伪 渭蟺蠅, 未蔚 胃伪 渭蟺蠅- 蟿慰蠀 萎蟻蠅伪 渭伪蟼 蟽蟿慰谓 螤蠉蟻纬慰. 韦慰 蟿苇位慰蟼 (蟿慰 蟺慰喂慰;) 蟿慰蠀 尾喂尾位委慰蠀 伪谓蠉蟺伪蟻魏蟿慰, 畏 喂蟽蟿慰蟻委伪 渭伪蟼 蟿蔚位蔚喂蠋谓蔚喂 蟺喂慰 伪蟺蠈蟿慰渭伪 魏伪喂 伪蟺蠈 蠂伪蟻维未蟻伪 蟽蟿慰 Grand Canyon, 蔚委蠂蔚 魏伪蟿维胃位喂蠄畏 魏伪喂 蠁蠀渭伪蟿委蠅蟽畏 慰 Kafka 蠈蟿伪谓 蟿慰 苇纬蟻伪蠁蔚 魏伪喂 未蔚谓 蟿慰 慰位慰魏位萎蟻蠅蟽蔚 蟺慰蟿苇. Thanks for nothing Franz, 渭伪蟼 蠀蟺慰蠂蟻苇蠅蟽蔚蟼.
July 20, 2022
鬲亘丿賵 丕賱丨賷丕丞 賮賷 賰鬲丕亘丕鬲 賰丕賮賰丕 賰丕賱爻乇丕亘..丕賱丕賳爻丕賳 賱丕 賷賳丕賱 賲購乇丕丿賴 賲賳賴丕 賲賴賲丕 亘賱睾 爻毓賷賴 賮賷賴丕
賰丕賮賰丕 亘丕乇毓 賮賷 丕禺鬲賷丕乇 兀賮賰丕乇 乇賵丕賷丕鬲賴 丨鬲賶 賵賱賵 賱賲 賷賰賲賱賴丕 賱賱賳賴丕賷丞
兀亘丿毓 賴賳丕 賮賷 鬲氐賵賷乇 丨丕賱丞 丕賱丨賷乇丞 賵丕賱睾囟亘 賵丕賱丕睾鬲乇丕亘 賱丿賶 亘胤賱 乇賵丕賷鬲賴 賰
賮賷 賲丨丕賵賱丕鬲賴 賱廿丿乇丕賰 賵廿氐賱丕丨 禺胤兀 賲丕 禺丕氐 亘毓賲賱賴 賵賯亘賵賱賴 賮賷 兀乇囟 丕賱賯賱毓丞
賰 賷賵丕噩賴 賯賵丞 賵爻賱胤丞 丕賱賯賱毓丞 丕賱鬲賷 鬲鬲丨賰賲 賮賷 賵噩賵丿賴 賵賲氐賷乇賴
賵兀賴丕賱賷 丕賱賯乇賷丞 賵賲丕 賷賲孬賱賵賳賴 賲賳 禺囟賵毓 賵賱丕 賲亘丕賱丕丞 賵毓亘孬 賵亘賷乇賵賯乇丕胤賷丞
賷丿賵乇 賮賷 丿丕卅乇丞 賲賳 丕賱睾賲賵囟 賵丕賱賱丕噩丿賵賶 賲賳 兀噩賱 丕賱賵氐賵賱 廿賱賶 賲胤丕賱亘賴
賵丨丕噩丕鬲賴 丕賱丕賳爻丕賳賷丞 丕賱亘爻賷胤丞 賱賰賳賴 賮賷 丕賱賳賴丕賷丞 賯丿 賱丕 賷氐賱 廿賱賶 卮賷亍
賳氐 賷丨鬲賲賱 丕賱鬲兀賵賷賱 亘毓囟 賲卮丕賴丿賴 賲賲鬲毓丞 亘乇睾賲 丕賱廿胤丕賱丞 賮賷 丕賱丨賵丕乇丕鬲 賵丕賱鬲賮丕氐賷賱
賰丕賮賰丕 亘丕乇毓 賮賷 丕禺鬲賷丕乇 兀賮賰丕乇 乇賵丕賷丕鬲賴 丨鬲賶 賵賱賵 賱賲 賷賰賲賱賴丕 賱賱賳賴丕賷丞
兀亘丿毓 賴賳丕 賮賷 鬲氐賵賷乇 丨丕賱丞 丕賱丨賷乇丞 賵丕賱睾囟亘 賵丕賱丕睾鬲乇丕亘 賱丿賶 亘胤賱 乇賵丕賷鬲賴 賰
賮賷 賲丨丕賵賱丕鬲賴 賱廿丿乇丕賰 賵廿氐賱丕丨 禺胤兀 賲丕 禺丕氐 亘毓賲賱賴 賵賯亘賵賱賴 賮賷 兀乇囟 丕賱賯賱毓丞
賰 賷賵丕噩賴 賯賵丞 賵爻賱胤丞 丕賱賯賱毓丞 丕賱鬲賷 鬲鬲丨賰賲 賮賷 賵噩賵丿賴 賵賲氐賷乇賴
賵兀賴丕賱賷 丕賱賯乇賷丞 賵賲丕 賷賲孬賱賵賳賴 賲賳 禺囟賵毓 賵賱丕 賲亘丕賱丕丞 賵毓亘孬 賵亘賷乇賵賯乇丕胤賷丞
賷丿賵乇 賮賷 丿丕卅乇丞 賲賳 丕賱睾賲賵囟 賵丕賱賱丕噩丿賵賶 賲賳 兀噩賱 丕賱賵氐賵賱 廿賱賶 賲胤丕賱亘賴
賵丨丕噩丕鬲賴 丕賱丕賳爻丕賳賷丞 丕賱亘爻賷胤丞 賱賰賳賴 賮賷 丕賱賳賴丕賷丞 賯丿 賱丕 賷氐賱 廿賱賶 卮賷亍
賳氐 賷丨鬲賲賱 丕賱鬲兀賵賷賱 亘毓囟 賲卮丕賴丿賴 賲賲鬲毓丞 亘乇睾賲 丕賱廿胤丕賱丞 賮賷 丕賱丨賵丕乇丕鬲 賵丕賱鬲賮丕氐賷賱
December 27, 2016
噩賴丕賳 乇賲丕賳 賯氐乇貙 禺賵丕賳賳丿賴 乇丕 亘賴鈥屬呚з嗁嗀� 卮禺氐蹖鬲 丕氐賱蹖鈥屫ж� 芦讴禄 爻乇诏乇丿丕賳 賲蹖鈥屭┵嗀�. 賯氐乇 亘乇丕蹖 賲賳 賳賲丕丿蹖 丕夭 蹖讴 爻蹖爻鬲賲 賳丕讴丕乇丌賲丿 賵 丌卮賮鬲賴 丕爻鬲 賵 芦讴禄 賴乇趩賴 亘乇丕蹖 賳馗賲 丿丕丿賳 賵 賲乇夭亘賳丿蹖鈥� 讴乇丿賳 丌賳 鬲賱丕卮 讴賳丿貙 亘蹖鈥屫呚� 丕爻鬲. 丿賳蹖丕蹖 丕蹖賳 乇賲丕賳貙 丿賵乇 亘丕胤賱蹖 丕爻鬲 讴賴 亘賴 賴蹖趩 賳賯胤賴 孬丕亘鬲 賵 丕賲賳蹖 賳賲蹖鈥屫必池�. 賵 趩賴 賲賴丕乇鬲蹖 丿丕乇丿 讴丕賮讴丕 亘乇丕蹖 爻丕禺鬲賳 賵 賳賲丕蹖卮 丕蹖賳 噩賴丕賳 丕賳亘丕卮鬲賴 丕夭 爻乇诏乇丿丕賳蹖. 賴乇亘丕乇 讴鬲丕亘 賲毓乇讴賴鈥屫й� 賲蹖鈥屫堌з嗁� 亘賴 匕賴賳 賳賵蹖爻賳丿賴鈥屫ж� 賮讴乇 賲蹖鈥屭┵嗁� 賵 丿賱賲 賲蹖鈥屫堌з囏� 賲蹖鈥屫堌з嗀池� 匕賴賳 讴丕賮讴丕 乇丕 亘亘蹖賳賲 讴賴 賴乇趩賳丿 賲賲讴賳 丕爻鬲 丌賳鈥屭嗁嗀з� 鬲丕乇蹖讴蹖 睾賱蹖馗蹖 賮乇丕诏乇賮鬲賴 亘丕卮丿卮 丕賲丕 亘乇丕蹖 賲賳 亘爻蹖丕乇 鬲賲丕卮丕蹖蹖 丕爻鬲.
March 21, 2020
Das Schloss ist f眉r mich ein Roman, der nicht von der Handlung, sondern von der Atmosph盲re lebt. Diese ist durchweg beklemmend, phobisch und d眉ster. Der Landvermesser K. taucht in einem Dorf auf, das von einem Schloss beherrscht wird. Dabei ist es kein aristokratischer Herrscher, der die Angst bei den Dorfbewohnern hervorruft, sondern das Schloss als Institution, als undurchdringlicher Verwaltungsapparat. Es gelingt K. nicht, zum Schloss vorzudringen. Die Dorfbewohner stehen ihm feindlich gegen眉ber, und K. ist auch kein Sympathietr盲ger, der Vertrauen erwecken kann.
Das Buch hat kein Ende. Es h枚rt mittendrin als Fragment auf und so bleiben die vielen Fragen ungel枚st. Ist K. wirklich ein Landvermesser? Hat er seinen Beruf nur vorget盲uscht und das Schloss spielt letztlich nur das Spiel mit, bedankt sich sogar in einer v枚llig abstrusen Szene f眉r die geleisteten Landvermessungsarbeiten, die K. gar nicht durchgef眉hrt hat. Das Schloss schickt ihm sogar zwei Gehilfen, die in ihrer Absurdit盲t an Estragon und Wladimir erinnern. K. will es nicht wahrhaben, dass es keinen Zugang zum Schloss gibt. Er will diese devote Ehrfurcht der Dorfbewohner nicht 眉bernehmen. Die Regeln, die in diesem Mikrokosmos Dorf-Schloss gelten, bleiben das ganze Buch 眉ber unklar und r盲tselhaft. Letztlich muss sich K. damit abfinden, dass er einer 脺bermacht gegen眉bersteht, gegen die er nicht ankommt. K. betrachtet die Auseinandersetzung von Beginn an als einen Kampf mit der Schlossbeh枚rde. Er ist ein Don Quixote, der gegen die Windm眉hlen anrennt.
Es macht nicht immer Freude, dieses Buch zu lesen. Sprachlich ist es ein Genuss, aber die schier endlosen Gedankenstr枚me des Protagonisten und Monologe der Dorfbewohner steigerten meine Aggressivit盲t. Man m枚chte die Figuren sch眉tteln und zur Besinnung bringen. Was K. mit dem Roman aussagen wollte, ist unklar. Die aufgeworfenen Fragen im Buch muss jeder Leser selbst f眉r sich beantworten. Man sollte beim Lesen mehr auf das eigene Empfinden als auf die Interpretationsm枚glichkeiten achten. Was bewirkt es in einem, wenn man gegen眉ber einer Institution so hilflos ist wie K. gegen眉ber dem Schloss? F眉hlt man sich da nicht selbst daran erinnert, in welchen Situation man auch keine Anerkennung der eigenen Personen, der eigenen W眉nsche und Bed眉rfnisse erfahren hat. Literatur kann schon weh tun, insbesondere bei Kafka.
Das Buch hat kein Ende. Es h枚rt mittendrin als Fragment auf und so bleiben die vielen Fragen ungel枚st. Ist K. wirklich ein Landvermesser? Hat er seinen Beruf nur vorget盲uscht und das Schloss spielt letztlich nur das Spiel mit, bedankt sich sogar in einer v枚llig abstrusen Szene f眉r die geleisteten Landvermessungsarbeiten, die K. gar nicht durchgef眉hrt hat. Das Schloss schickt ihm sogar zwei Gehilfen, die in ihrer Absurdit盲t an Estragon und Wladimir erinnern. K. will es nicht wahrhaben, dass es keinen Zugang zum Schloss gibt. Er will diese devote Ehrfurcht der Dorfbewohner nicht 眉bernehmen. Die Regeln, die in diesem Mikrokosmos Dorf-Schloss gelten, bleiben das ganze Buch 眉ber unklar und r盲tselhaft. Letztlich muss sich K. damit abfinden, dass er einer 脺bermacht gegen眉bersteht, gegen die er nicht ankommt. K. betrachtet die Auseinandersetzung von Beginn an als einen Kampf mit der Schlossbeh枚rde. Er ist ein Don Quixote, der gegen die Windm眉hlen anrennt.
Es macht nicht immer Freude, dieses Buch zu lesen. Sprachlich ist es ein Genuss, aber die schier endlosen Gedankenstr枚me des Protagonisten und Monologe der Dorfbewohner steigerten meine Aggressivit盲t. Man m枚chte die Figuren sch眉tteln und zur Besinnung bringen. Was K. mit dem Roman aussagen wollte, ist unklar. Die aufgeworfenen Fragen im Buch muss jeder Leser selbst f眉r sich beantworten. Man sollte beim Lesen mehr auf das eigene Empfinden als auf die Interpretationsm枚glichkeiten achten. Was bewirkt es in einem, wenn man gegen眉ber einer Institution so hilflos ist wie K. gegen眉ber dem Schloss? F眉hlt man sich da nicht selbst daran erinnert, in welchen Situation man auch keine Anerkennung der eigenen Personen, der eigenen W眉nsche und Bed眉rfnisse erfahren hat. Literatur kann schon weh tun, insbesondere bei Kafka.
February 24, 2016
Four stars to keep the Kafka cartel from adopting me to their ranks and slapping me with their theses on the role of Klamm as 眉bermensch and Olga as 眉berwench. Franz transfers The Trial to a small village, where K. struggles to receive an appointment at the department for deportment in the castle, and sets about seducing a barmaid on the floor of the bar (no one told me Kafka was so erotic!), and making wrong utterances to every person encountered. The fact this novel breaks off mid-sentence proves apt: one suspects K. to remain trapped in the village, never to receive an appointment with Klamm until the moment of death, and fortunately, by the time the final sentence comes around, one is begging for release following Pepi鈥檚 rambling free indirect monologue (one of many overlong interactions in the novel). Otherwise, a brilliant beach read.
March 5, 2024
This is simultaneously one of the most boring and insufferable books I've ever read, but also one of the most impressive and perfectly crafted books I've ever read. I hated this book so much, but that's also why I loved it.
Regardless of how much I hated reading this book (in the end), it is still one of my forever favourites. And the dread of reading it and how annoying it was to get through towards the end also felt perfect. It felt like that was exactly how the book intended to make you feel.
The atmosphere is incredible 鈥� so dreamlike and intriguing. The Castle is also a surprisingly funny book because of how absurd everything is. Nothing makes sense but at the same time it all makes perfect sense.
The Castle also contains my absolute favourite quote of all time:
鈥淚 can鈥檛 think of any greater happiness than to be with you all the time, without interruption, endlessly, even though I feel that here in this world there鈥檚 no undisturbed place for our love, neither in the village nor anywhere else; and I dream of a grave, deep and narrow, where we could clasp each other in our arms as with clamps, and I would hide my face in you and you would hide your face in me, and nobody would ever see us any more.鈥�
Regardless of how much I hated reading this book (in the end), it is still one of my forever favourites. And the dread of reading it and how annoying it was to get through towards the end also felt perfect. It felt like that was exactly how the book intended to make you feel.
The atmosphere is incredible 鈥� so dreamlike and intriguing. The Castle is also a surprisingly funny book because of how absurd everything is. Nothing makes sense but at the same time it all makes perfect sense.
The Castle also contains my absolute favourite quote of all time:
鈥淚 can鈥檛 think of any greater happiness than to be with you all the time, without interruption, endlessly, even though I feel that here in this world there鈥檚 no undisturbed place for our love, neither in the village nor anywhere else; and I dream of a grave, deep and narrow, where we could clasp each other in our arms as with clamps, and I would hide my face in you and you would hide your face in me, and nobody would ever see us any more.鈥�
Read
May 8, 2019It struck me round about page 200 that there was no particular reason for this novel to end, or for it to have been this long, rather it could have progressed near infinitely, a continuing unfolding of enigmatic conversations and meetings with assistant secretaries and children of under castellians, the promise of revelation growing balanced by the necessity of accepting the fundamental absurdity of the situation.
I found I had to read this novel slowly, partly because of Kafka caused insanity, partly because the situation described is so enveloping ,that the idea of escaping the Castle by finishing the book became in some way a thought crime, and semi-consciously, or even demi-consciously, I read slower and slower, just as K. walked all day but never got closer to the Castle so I read but barely progressed.
I liked the alternative beginning and the rejected fragments many of which I read as I went like footnotes, I fantasied about an insane edition of The Castle with two versions of the text printed not in succession, but back to front so the book had two front covers and one could flip the book over to read the other version like an A and B side of a record.
We know that in the graveyard of the nineteenth century two graves lie side by side: God and the author. Who wrote The Castle, Franz Kafka? K.? Max Brod? The reader? Any of these acting in collusion and conspiracy together?
I read a Broderised edition. Kafka and Brod are for me like Mussgorsky and Rimsky-Korsakov, one man asserting himself over the creativity of the other. It may in principle be possible to read Kafka without Brod but without Brod would we even know Kafka today? Would his strangeness left him forgotten?
I was compelled of my own free will to read this, freely submitting to the gravitational pull of a friend reading . That was insane. Kafka is not K. K. is Kafka, Milena is not Frieda, and yet...
At first the experience of K. in the story reminded me of telephoning a large organisation, you don't have the direct number of the person you need to talk to, from the switchboard you are transfered through the system, put on hold, transfer from number to number, ultimately to be connected to nothingness, a dull tone only in the receiver.
Traditionally I would fall back on the social and cultural context, you know Kafka had lived through the experience of going to bed one night a citizen of the Austro-Hungarian dual monarchy, waking up feeling a bit strange, and not quite one's self, and then in the evening realising that he was now a Czechoslovak.
Reading further the setting of The castle reminded me of Melvyn Peake's Gormendghast, but told from the point of view of Steerpike, Peake's trilogy began to be published in 1946, the first translation into English of The castle was published in 1941. The setting seems curiously similar particularly the relationship between village/outertown and the fortress, also how both places appear both isolated from the wider world and yet of this world too.
The Muirs' translation in its word choice was influenced by Max Brod's understanding of the religious nature of the text, this was not wildly unreasonable, Brod lays out this reading in the
First Afterword with particular attention as the Sortini/Sordini episode as a parallel to Kierkegaard's interpretation of the Abraham and Isaac story in . Well. The problem is that a good parallel is not a straight forward thing to appreciate, does it indicate agreement or criticism or nuance of the original story - more complex in this case as it touches on the relationship between God and people! Here the water is very deep, the story of The Castle does not suggest an uncritical relationship to the Castle and its administration, if it represents Divinity in any way it suggests that at the heart of the Temple, in the Holy of Holies, one finds only the , or as it says in the story - you don't know if the person you are speaking to on the telephone is really the person you think you are talking to, indeed you can't even know if the person you meet face to face is the person they say they are. Deep water since I know too little about Kafka and his religious views, or his attitudes generally. Was Brod right? Letters have emerged in which the two discuss their fears of contracting syphilis so they were comfortable discussing certain intimate issues with each other, on the other hand my impression reading the sections removed by Kafka was that he was attempting to polish the text into a mirror. The reader approaches the Castle and finds their own preoccupations and vital concerns. It could be bureaucracy - perfectly insane, or Capitalist society, or the modern condition in a post-Enlightenment world or a vision of life as a struggle for power or as resistance against the attempts of others to dominate us, or about the relationship, here dysfunctional, between sex and intimacy, or indeed Kafka knows what. The reader reads and finds themself at the centre of the text. The Author is dead. Long live the Reader !
Indeed it was the Muir translation which I first read half a lifetime ago, the Muirs were, once upon a time, a young Scottish couple (she a teacher, he a drifter and refugee Orcadian) who rumgebumelt about Europe in the interwar period working for the British Council here and there. They spent some time in Prague and Dresden among other places, learnt themselves some German and produced the early translations into English of Kafka, rather like the great plant collectors of the eighteenth century brought back exotic blooms to European glasshouses, so they transplanted, no doubt not as subtly as others since the work of this middle European writer to the English speaking world.
And also I mentioned . I was struck her by the sudden force of feeling in this for example: jeder Angriff gegen Frieda gleichzeitig ein Angriff gegen meine Existenz ist. Ich bin aus eigenem Willen hierhergekommen, und aus eigenem Willen habe ich mich hier festgehakt (p168) and here the quotes from those letters popping up in my feed made a new sense of the story, if Frieda is a Milena, and if Klamm is a Milena's husband, then K.'s belief and acceptance of Frieda's feelings for Klamm continuing and respected even in the context of their own intimacy make a different sense. An attack against his existence? Here then I wondered not novel as masked biography but maybe the novel as a poetisisation of his own life and experience - this is what life feels like to me - Franz Kafka - read and despair, mere reader! And there is in this an acceptance of an insane situation as an opportunity for the assertion of identity and values.
As a bonus since we read Kafka we understand the world through his eyes - Kafka creates our Weltanschauung. We understood what a Kafkaesque situation is because we have read Kafka.
Then there is the dreaminess of the whole thing, the way I at least, maybe you too recognise and understand things in dreams in a direct way, for example I dreamt I was in Australia and saw a downtrodden Sumatran tiger walking alongside a road. I can't in this waking life distinguish a Sumatran from a non-Sumatran tiger, but in the dream if was a fact beyond question. So with the two assistants K. recognises them and doesn't know them either then follows eventually the delightful exchange:"Er hat dein Dienst verlassen. Du warst aber auch ein wenig grob und hart zu uns. Die zarte Seele hat es nicht ertragen. er ist ins Schloss zur眉ckgekehrt und f眉hrt Klage 眉ber dich..."
"Wor眉ber klagt ihr denn?"
"Dar眉ber...dass du keinen Spa脽 verstehst..." (p.195)
The assistants have been detailed to K. they protest they know nothing of surveying, they are told it is not important: Das wichtigste ist aber, dass ihr ihn ein wenig erheitert. Wie man mir berichtet, nimmt er alles sehr schwer. Er ist jetzt ins Dorf gekommen, und gleich ist ihm das ein gro脽es Ereignis, w盲hrend es doch in Wirklichkeit gar nichts ist. Das sollt ihr ihm beibringen (ibid.)
He must be cheered up, he takes things to heart. In the end a kiss is just a kiss and a novel is just a novel?
Delightfully insane, deliberately mysterious, it brought to mind , in one episode, questing knights arrive at a Castle, the Lady of the Castle has leprosy and can only be cured by bathing in the blood of a maiden of noble birth. What luck, the knights happen to have their virgin sister with them - how much blood is needed? Eight and a half pints. She has just such an amount. Sister dies, the Lady is cured - don't try this at home. This what happens when you start rereading Kafka. He gets everywhere, like sand at the beach.
I found I had to read this novel slowly, partly because of Kafka caused insanity, partly because the situation described is so enveloping ,that the idea of escaping the Castle by finishing the book became in some way a thought crime, and semi-consciously, or even demi-consciously, I read slower and slower, just as K. walked all day but never got closer to the Castle so I read but barely progressed.
I liked the alternative beginning and the rejected fragments many of which I read as I went like footnotes, I fantasied about an insane edition of The Castle with two versions of the text printed not in succession, but back to front so the book had two front covers and one could flip the book over to read the other version like an A and B side of a record.
We know that in the graveyard of the nineteenth century two graves lie side by side: God and the author. Who wrote The Castle, Franz Kafka? K.? Max Brod? The reader? Any of these acting in collusion and conspiracy together?
I read a Broderised edition. Kafka and Brod are for me like Mussgorsky and Rimsky-Korsakov, one man asserting himself over the creativity of the other. It may in principle be possible to read Kafka without Brod but without Brod would we even know Kafka today? Would his strangeness left him forgotten?
I was compelled of my own free will to read this, freely submitting to the gravitational pull of a friend reading . That was insane. Kafka is not K. K. is Kafka, Milena is not Frieda, and yet...
At first the experience of K. in the story reminded me of telephoning a large organisation, you don't have the direct number of the person you need to talk to, from the switchboard you are transfered through the system, put on hold, transfer from number to number, ultimately to be connected to nothingness, a dull tone only in the receiver.
Traditionally I would fall back on the social and cultural context, you know Kafka had lived through the experience of going to bed one night a citizen of the Austro-Hungarian dual monarchy, waking up feeling a bit strange, and not quite one's self, and then in the evening realising that he was now a Czechoslovak.
Reading further the setting of The castle reminded me of Melvyn Peake's Gormendghast, but told from the point of view of Steerpike, Peake's trilogy began to be published in 1946, the first translation into English of The castle was published in 1941. The setting seems curiously similar particularly the relationship between village/outertown and the fortress, also how both places appear both isolated from the wider world and yet of this world too.
The Muirs' translation in its word choice was influenced by Max Brod's understanding of the religious nature of the text, this was not wildly unreasonable, Brod lays out this reading in the
First Afterword with particular attention as the Sortini/Sordini episode as a parallel to Kierkegaard's interpretation of the Abraham and Isaac story in . Well. The problem is that a good parallel is not a straight forward thing to appreciate, does it indicate agreement or criticism or nuance of the original story - more complex in this case as it touches on the relationship between God and people! Here the water is very deep, the story of The Castle does not suggest an uncritical relationship to the Castle and its administration, if it represents Divinity in any way it suggests that at the heart of the Temple, in the Holy of Holies, one finds only the , or as it says in the story - you don't know if the person you are speaking to on the telephone is really the person you think you are talking to, indeed you can't even know if the person you meet face to face is the person they say they are. Deep water since I know too little about Kafka and his religious views, or his attitudes generally. Was Brod right? Letters have emerged in which the two discuss their fears of contracting syphilis so they were comfortable discussing certain intimate issues with each other, on the other hand my impression reading the sections removed by Kafka was that he was attempting to polish the text into a mirror. The reader approaches the Castle and finds their own preoccupations and vital concerns. It could be bureaucracy - perfectly insane, or Capitalist society, or the modern condition in a post-Enlightenment world or a vision of life as a struggle for power or as resistance against the attempts of others to dominate us, or about the relationship, here dysfunctional, between sex and intimacy, or indeed Kafka knows what. The reader reads and finds themself at the centre of the text. The Author is dead. Long live the Reader !
Indeed it was the Muir translation which I first read half a lifetime ago, the Muirs were, once upon a time, a young Scottish couple (she a teacher, he a drifter and refugee Orcadian) who rumgebumelt about Europe in the interwar period working for the British Council here and there. They spent some time in Prague and Dresden among other places, learnt themselves some German and produced the early translations into English of Kafka, rather like the great plant collectors of the eighteenth century brought back exotic blooms to European glasshouses, so they transplanted, no doubt not as subtly as others since the work of this middle European writer to the English speaking world.
And also I mentioned . I was struck her by the sudden force of feeling in this for example: jeder Angriff gegen Frieda gleichzeitig ein Angriff gegen meine Existenz ist. Ich bin aus eigenem Willen hierhergekommen, und aus eigenem Willen habe ich mich hier festgehakt (p168) and here the quotes from those letters popping up in my feed made a new sense of the story, if Frieda is a Milena, and if Klamm is a Milena's husband, then K.'s belief and acceptance of Frieda's feelings for Klamm continuing and respected even in the context of their own intimacy make a different sense. An attack against his existence? Here then I wondered not novel as masked biography but maybe the novel as a poetisisation of his own life and experience - this is what life feels like to me - Franz Kafka - read and despair, mere reader! And there is in this an acceptance of an insane situation as an opportunity for the assertion of identity and values.
As a bonus since we read Kafka we understand the world through his eyes - Kafka creates our Weltanschauung. We understood what a Kafkaesque situation is because we have read Kafka.
Then there is the dreaminess of the whole thing, the way I at least, maybe you too recognise and understand things in dreams in a direct way, for example I dreamt I was in Australia and saw a downtrodden Sumatran tiger walking alongside a road. I can't in this waking life distinguish a Sumatran from a non-Sumatran tiger, but in the dream if was a fact beyond question. So with the two assistants K. recognises them and doesn't know them either then follows eventually the delightful exchange:"Er hat dein Dienst verlassen. Du warst aber auch ein wenig grob und hart zu uns. Die zarte Seele hat es nicht ertragen. er ist ins Schloss zur眉ckgekehrt und f眉hrt Klage 眉ber dich..."
"Wor眉ber klagt ihr denn?"
"Dar眉ber...dass du keinen Spa脽 verstehst..." (p.195)
The assistants have been detailed to K. they protest they know nothing of surveying, they are told it is not important: Das wichtigste ist aber, dass ihr ihn ein wenig erheitert. Wie man mir berichtet, nimmt er alles sehr schwer. Er ist jetzt ins Dorf gekommen, und gleich ist ihm das ein gro脽es Ereignis, w盲hrend es doch in Wirklichkeit gar nichts ist. Das sollt ihr ihm beibringen (ibid.)
He must be cheered up, he takes things to heart. In the end a kiss is just a kiss and a novel is just a novel?
Delightfully insane, deliberately mysterious, it brought to mind , in one episode, questing knights arrive at a Castle, the Lady of the Castle has leprosy and can only be cured by bathing in the blood of a maiden of noble birth. What luck, the knights happen to have their virgin sister with them - how much blood is needed? Eight and a half pints. She has just such an amount. Sister dies, the Lady is cured - don't try this at home. This what happens when you start rereading Kafka. He gets everywhere, like sand at the beach.
November 29, 2015
丕賱賯賱毓丞 賱賮乇丕賳鬲爻 賰丕賮賰丕
亘毓丿 賵賮丕鬲賴 鬲乇賰 賰丕賮賰丕 乇爻丕賱丞 賱氐丿賷賯賴 賲丕賰爻 亘乇賵丿 賷胤賱亘 賮賷賴丕
兀賳 鬲丨乇賯 賰賱 兀毓賲丕賱賴 丕賱賲賳卮賵乇丞 賵丕賱鬲賷 賱賲 鬲賳卮乇 亘毓丿 賲賳 匕賱賰 賴匕賴
丕賱乇賵丕賷丞. 丕賱丕 兀賳 丕賱丕禺賷乇 賱賲 賷賯鬲乇賮 賴匕賴 丕賱噩乇賷賲丞 丕賱兀丿亘賷丞 亘賱 賯丕賲 亘噩賲毓
.賲爻賵丿丕鬲 賰丕賮賰丕 賵 丕毓丕丿 鬲乇鬲賷亘賴丕 賵丨乇氐 兀賳 鬲噩丿 胤乇賷賯賴丕 賱賱毓賱賳
賵賱兀賳 丕賮毓丕賱丕" 亘爻賷胤丞" 賯丿 鬲睾賷乇 賵噩賴 丕賱鬲丕乇賷禺 賮丕賳 賲丕 賯丕賲 亘賴 亘乇賵丿
睾賷乇 賵噩賴 丕賱鬲丕乇賷禺 丕賱兀丿亘賷 毓賱賶 丕賱丕賯賱 丕匕 賷賰賮賷 丕賳 賳毓乇賮 賯賷賲丞
丕賱兀爻賲丕亍 丕賱鬲賷 鬲兀孬乇鬲 亘賰鬲丕亘丕鬲 賰丕賮賰丕 丨鬲賶 賳丿乇賰 丨噩賲 丕賱禺爻丕乇丞 丕賱鬲賷
賰丕賳鬲 爻鬲丨賱 亘丕賱賮賰乇 丕賱丕賳爻丕賳賷 賵賲賳 匕賱賰 賳匕賰乇 賲丕乇賰賷夭 賰丕賲賵 爻丕乇鬲乇
賵丕賱賯丕卅賲丞 鬲胤賵賱
________________________________
鬲鬲賲丨賵乇 賴匕賴 丕賱乇賵丕賷丞 丨賵賱 賰.丕賱睾乇賷亘 丕賱匕賷 賷兀鬲賷 丕賱賶 丕賱賯乇賷丞
賱賱毓賲賱 賰賲丕爻丨 賱賱丕乇丕囟賷 賱賰賳賴 胤賵丕賱 丕賱乇賵丕賷丞 賱賲 賷賯賲 亘兀賷 毓賲賱
"賷賲鬲 賱賵馗賷賮鬲賴 丕賱賲夭毓賵賲丞 亘氐賱丞 賮賷亘丿兀 亘丕賱亘丨孬 毓賳 爻亘亘 "賵噩賵丿賴
賮賷 匕賱賰 丕賱賲賰丕賳 賲丨丕賵賱丕 丕賱鬲賵丕氐賱 賲毓 丕賱賯賱毓丞 丕賱鬲賷 鬲賯賵賲
亘丕丿丕乇丞 卮丐賵賳 丕賱賯乇賷丞 賲賳 禺賱丕賱 卮亘賰丞 賲毓賯丿丞 賲賳 丕賱賲賵馗賮賷賳
禺賱丕賱 賴匕丕 丕賱亘丨孬 賷賱鬲賯賷 賰. 亘毓丿丞 卮禺氐賷丕鬲 賲賳 匕賱賰 毓卮賷賯鬲賴 賮乇賷丿丕
乇爻賵賱賴 亘乇賳丕亘丕 兀賵賱睾丕 丕賲賷賱賷丕 賵睾賷乇賴賲 .
賷亘鬲毓丿 賰丕賮賰丕 鬲賲丕賲丕 毓賳 賵氐賮 丕賱丨丕賱丞 丕賱賳賮爻賷丞 賱賴丐賵賱丕亍 賵 賷賲毓賳
賮賷 丕胤丕賱丞 丕賱丨賵乇丕鬲 丕賱丿丕卅乇丞 亘賷賳賴賲 禺丕氐丞 丕賱賲鬲毓賱賯丞 亘賵氐賮 丕賱賷丞
. 毓賲賱 丕賱賲賵馗賮賷賳 賲賲丕 噩毓賱賴丕 鬲賰鬲爻賷 胤丕亘毓丕 賰乇鬲賵賳賷丕 丕賳 氐丨 丕賱鬲毓亘賷乇
胤亘賷毓丞 丕賱卮禺氐賷丕鬲 睾賷乇 賵丕囟丨丞 丕匕 賱丕 賳毓乇賮 丕賱賲鬲丨賷賱 賲賳 丕賱賲丨鬲丕賱
毓賱賷賴 兀賵 丕賱賲鬲丨賰賲 賵 丕賱賲鬲丨賰賲 亘賴
丕賱睾賲賵囟 賷丨賷胤 亘賰賱 噩賵丕賳亘賴丕 丕賳賳丕 賱丕 賳毓乇賮 丨鬲賶 丕賱丕爻賲 丕賱賰丕賲賱
!賱賱卮禺氐賷丞 丕賱乇卅賷爻賷丞
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賵噩丿鬲 毓丿丞 鬲兀賵賷賱丕鬲 賱賴匕丕 丕賱毓賲賱 賲賳 匕賱賰 丕賱鬲賮爻賷乇 匕賵 丕賱胤丕亘毓
丕賱丿賷賳賷 賵丕賱匕賷 賷乇賶 賮賷 丕賱賯賱毓丞 乇賲夭丕 賱賱賯丿爻賷丞 賵 爻毓賷 丕賱丕賳爻丕賳
丕賱賲鬲賵丕氐賱 賱賱馗賮乇 亘丕噩賵亘丞 丨賵賱 兀爻卅賱鬲賴 丕賱賵噩賵丿賷丞 丕賵 亘亘爻丕胤丞 爻毓賷賴
丕賱賶 "丕賱禺賱丕氐"賵賲賲丕 賷丿毓賲 賴匕丕 賱乇兀賷 賵噩賵丿 毓丿丞 丕丨丕亍丕鬲 賲賳 丕賱毓賴丿
丕賱賯丿賷賲 丕匕 兀賳 乇爻賵賱 賰.賰丕賳 賷丿毓賶 亘乇賳丕亘丕 賵賴賵 賳賮爻 丕爻賲 賲爻丕毓丿
丕賱賯丿賷爻 亘賵賱爻...
賴賳丕賰 兀賷囟丕 鬲賮爻賷乇 丕禺乇 匕賵 亘毓丿 爻賷丕爻賷 賷乇賶 賮賷 賴匕丕 丕賱毓賲賱
鬲賳亘丐丕 亘賲卮賰賱丞 丕賱丕賳爻丕賳 丕賱賲毓丕氐乇 賲毓 丕賱亘賷乇賵賯乇丕胤賷丞 賵丕賱爻賱胤丞
丕賱丨丕賰賲丞 丕賱鬲賷 亘丕鬲鬲 鬲丨丿丿 賴賵賷鬲賴 賵賲氐賷乇賴.亘賱 賷匕賴亘 丕賱亘毓囟 丕賱賶
丕賱賯賵賱 亘丕賳 丕賱乇賵丕賷丞 賰丕賳鬲 賵氐賮丕 賱賱賲賳丕禺 丕賱賲賳丕賴囟 賱賱爻丕賲賷丞 賮賷
鬲賱賰 丕賱賮鬲乇丞 賲賳 禺賱丕賱 丕賱馗賱賲 丕賱匕賷 賵賯毓 毓賱賶 毓丕卅賱丞 亘乇賳丕亘丕
賵丕賱賵賱丕亍 丕賱賱丕賲卮乇賵胤 賱賲賵馗賮賷 丕賱賯賱毓丞
賮賷賲丕 賷馗賳 卮賯 孬丕賱孬 兀賳賴丕 鬲噩爻賷丿 賱賱賲毓丕賳丕丞 賲賳 丕賱賵丨丿丞 賵丕賱丕賳毓夭丕賱
賵乇睾亘丞 賮賷 丕賱鬲賵丕氐賱 賵丕賱丕賳鬲賲丕亍
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賴賵 毓賲賱 賱賷爻 亘丕賱賴賷賳 丕匕賳 賵賰賵賳賴 賲賳 丕賱丕毓賲丕賱 睾賷乇 丕賱賲賳鬲賴賷丞 賷賮鬲丨
丕賱亘丕亘 賱賲夭賷丿 賲賳 丕賱鬲兀賵賷賱丕鬲.賱賲 鬲賰賳 亘丕賱賯乇丕亍丞 丕賱爻賴賱丞 亘賱 賰丕賳鬲 賮毓賱丕 賲乇賴賯丞.丕賱丨賵丕乇丕鬲 賲孬賷乇丞 賱賱兀毓氐丕亘 兀丨賷丕賳丕 賵賰兀賳 賰丕賮賰丕
賷爻毓賶 賱丕賳 賷卮毓乇賳丕 亘賵胤兀丞 "丕賱噩丨賷賲 "丕賱匕賷 賷毓賷卮賴 賰.賱賰賳賳賷 賮賷 丕賱賲賯丕亘賱 賱賳 丕鬲乇丿丿 賮賷 賯乇丕亍鬲賴丕 賲乇丞 兀禺乇賶 乇亘賲丕 亘鬲乇噩賲丞 毓乇亘賷丞
亘亘爻丕胤丞 賱兀賳 賯乇丕亍丞 賵丕丨丿丞 賮賷 賴匕 丕賱丨丕賱丞 賱丕 鬲賰賮賷
賯丿 鬲爻兀賱 丕禺賷乇丕 賱丕賷 丕賱鬲丨賱賷賱丕鬲 兀賲賷賱 兀賰孬乇責 毓丕胤賮賷丕 兀賲賷賱 賱賱孬丕賱孬
!毓賯賱丕賳賷丕責 乇亘賲丕 孬賱丕鬲孬賴丕 賲噩鬲賲毓丞
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"廿賳 賰丕賮賰丕 賱賲 賷賰鬲亘 廿胤賱丕賯丕賸 丕賱賮氐賱 丕賱禺鬲丕賲賷貙 賱賰賳賴 兀禺亘乇賳賷 亘賴 匕丕鬲 賷賵賲 毓賳丿賲丕 爻兀賱鬲賴 賰賷賮 爻鬲賳鬲賴賷 丕賱乇賵丕賷丞貙 賵兀賳 賲丕爻丨 丕賱兀乇丕囟賷 丕賱賲夭毓賵賲 賰丕賳 毓賱賷賴 兀賳 賷噩丿 丕賱乇囟丕 丕賱噩夭卅賷 賮賷 丕賱賳賴丕賷丞. 賱賲 賷賰賳 毓賱賷賴 兀賳 賷噩丿 丕賱乇丕丨丞 賮賷 氐乇丕毓賴貙 亘賱 毓賱賷賴 兀賳 賷賲賵鬲 賵賯丿 賲夭賯賴 丕賱氐乇丕毓. 賵賰丕賳 毓賱賶 丕賱賯乇賵賷賷賳 兀賳 賷鬲丨賱賾賯賵丕 丨賵賱 爻乇賷乇 賲賵鬲賴貙 賱鬲兀鬲賷 賰賱賲丞 賲賳 丕賱賯賱毓丞 鬲賯賵賱 兀賳賴 亘丕賱乇睾賲 賲賳 夭毓賲 賰. 丕賱賯丕賳賵賳賷 賱賱毓賷卮 賮賷 丕賱賯乇賷丞貙 賱賲 賷賰賳 氐丕丿賯丕賸貙 廿賱丕 兀賳賴貙 賲毓 廿丿禺丕賱 丕賱馗乇賵賮 丕賱廿爻鬲孬賳丕卅賷丞 丕賱賲禺賮賾賮丞貙 賲爻賲賵丨 賱賴 兀賳 賷毓賷卮 賵兀賳 賷毓賲賱 賴賳丕賰"
_賲丕賰爻 亘乇賵丿_
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