Masked in Music: Hidden Meaning in Schnitzler`s Friiulein Else

Masked in Music: Hidden Meaning in Schnitzler`s Friiulein Else

Masked in Music:
Hidden Meaning in
Schnitzler's Friiulein Else
Carnv RevuoNo
I ndiana U niversity- Bloomi ngt on
Arthur Schnitzler had a cultivated relationship to music and
ognized its significance in the cultural and social landscape of fi
sidcle Viennese society. His diaries are replete with references to
and musical events which illustrate the central role music played
Schnitzler's life. In addition, Schnitzler was a skilled pianist and was
to play a wide selection of symphonies and chaffi music
for piano.t This affinity to music often reveals itself in his writing
subtle references to music and musical language. Close inspection of
references reveals the sophisticated interdependence of Schnitzler's
tural and social awareness.
Despite the abundance of musical allusions in Schnitzler's di
and writings, however, surprisingly few studies have concentrated on
role of music in Schnitzler's life and works. One of the most interesti
of these to date is Marc A. Weiner's Arthur Schnitzler and the Crisis
Musical Culture, which concentrates to a great extent on psychologi
and social implications ofmusic.2 Weiner's analysis examines Schni
relationship to music and musicians, and it illustrates how Schnr
"psychological response to musical culture exemplifies the indrvr
response to an art form charged with social tension in late
society."3 As Weiner convincingly argues, "Music for Schnitzler had
function of a psychological and social seismograph, a kind of
through which he interpreted both himself and the often complex
relations around him."a For Schnitzler music was not merely a
for social interaction, but a powerful and, more importantly,
medium for interpreting his world.
Other studies of music in Schnitzler's works have concentrated
more technical features: Jo4lQ-reen's "The Impact of Musical Theme
Structure on the Meaning and Dramatic Unity of Selected Works
Arthur Schnitzler" focuses on formal parallels between music and
Monatshefte, Vol. 85, No. 2, 1993
0026-927
t
/93
/0002/0 r 70 $0 l.s0/0
@ 1993 by The Board of Regents o[The Univcrsity of Wisconsin Systcm
zler's Frdulein Else
171
through an examination of such elements as themes and variations.5
; with Gerd Schneider, Green has been among the few critics to
ine referenEFto music in Schnitzler's novella fiauletn EIse (1924)6.
their examinations, Schneider and Green concentrate primarily on
nitzler's incorporation of musical excerpts from Schumann's CarAlthough they recognize ingenious parallels between the music and
inner conflict (taking into account such elements as dynamics and
nt/consonant harmonies), both Green and Schneider present inient and fragmentary analyses of the complex function of music in
Else. Both critics see the excerpts as a musical chart of Else's
logical state and concentrate on each quote as an isolated entity.
ile it may be true that musical features intensify the effect of Else's
chological dilemma, I am convinced that Schnitzler's use of Schuis subtler and much more complex. At first glance the musical
ts merely appear to be static indications of Else's psyche. Upon
inspection it becomes clear that the music does not stop: a conis established among Else's conflict, her psychological state, and
characters in Schumann's piece. The musical fragments serve as visual
nders ofthis connection for the reader.
In addition, the references to music in Frtiulein EIse arc numerous
diverse, ranging from the direct incorporation of musical notation
the novella to the use of ambiguous "musical language" (i.e., such
tendres as "klingen" and "Spiel") which constitutes part of a
narrative device. When examined more closely, however, these
ions to music are not in fact references to music as such: rather,
itzler uses music to evoke extra-musical issues. In this essay, I shall
ine the many functions of music in Frdulein Else as they relate to
general dynamics of the novella.
Schnitzler's novella Frtiulein.E/se presents the intricately woven tale
a young woman's psychological dilemma.? While vacationing, Else
ives word from her mother that her father is in a financially precarious
In this letter the mother pleads with Else to ask the rich art
Dorsday for 30,000 gulden (later raised to 50,000). Dorsday agrees,
the condition that he may view Else's naked body for a quarter of
hour. Torn between saving her father and preserving her own honor,
struggles with various solutions. After considerable deliberation, she
Dorsday's request and disrobes in a room full of people. Shortly
, Else takes her life by swallowing a fatal dose of Veronal.
Friiulein Elsehas offered numerous levels for interpretation. Some
for example, have chosen a Freudian reading by assigning attriof hysteria to Else's actions and thoughts or claiming that her beis the result of an Oedipal complex.s Others have focused instead
ion.
172
Raymonl
on socially critical aspects which present the dynamics of a society
by materialism and based on empty conventions, which in turn
the quality of personal interaction. William Rey discusses the
involved in such a society, and characterizes Dorsday with the
Er ist der Repriisentant nicht des Vaters, sondern der spiitb0rgerlichen
gesellschaft und ihres Marktgesetzes. Mit Dorsday tritt das Schicksal
Else heran, insofern als Kaufen und Verkaufen eine
dieser Gesellschaft darstellt.e
Rey goes on to describe Else's decision to modify Dorsday's stipu
by disrobing in a room full of people in socially critical terms:
Aber durch die Modifizierung von Dorsdays Bedingung bewahrt sich
nicht nur ihre Freiheit-sie geht auch zur Offensive gegen die Gesel
tiber. Ihre Selbstenthiillung in der Offentlichkeit ist gleichzeitig eine
htillung des Marktgesetzes. Indem sie ihre Nacktheit 6ffentlich
prangert sie die totale l(Auflichkeit als das Prinzip dieser Gesellschaft au
Reinhard Urbach also adopts a somewhat socially critical position,
ing society and its moral code responsible for Else's death.t'
The issues emphasized in the various readings of Frtiulein Else
highlighted by yet another set of indices for interpreting Schnitzler's
namely, his various references to music. The many allusions to music
Frtiulein Else act as a type of narrative filter which disguises a
of subtle and complex issues behind a socially acceptable medium of
cultural nature. Schnitzler's careful selection of double-entendres, for
ample, which possess both musical and non-musical meanings, hides
sexual and socially critical dimension behind ambiguous language.
addition, Schnitzler addresses the social function of music in Else's
lieu: through subtle narration disciplined practice often becomes lin
with notions of sexual repression, and music is also portrayed as a possi
means of association with the upper levels of society. The most obvi
use of music appears at the climax of the novella, where excerpts
Schumann's Carnaval are ingeniously incorporated into the text,
viding the background for Else's actions. Here Schnitzler establishes
direct relationship between the music and Else's thoughts and acti
the music underscores the superficiality present in Else's society by
ing her true thoughts (her desire for revenge and her confusion)
actions (her intention to disrobe) behind an acceptable representation
her dilemma (Schumann's Carnavaf with its connections to her
As the music stops, the mask which cloaks Else's internal dilemma i
removed, and she disrobes, revealing her true thoughts. The people i
the music room are then forced to acknowledge Else's state, and
music, which has served as the acceptable representation of this
becomes unnecessary.
ttzler's Frdulein Else
173
to the role of Carnaval in Schnitzler's text, it is
while to explore Schnitzler's relationship to Schumann. Although
e evidence exists that S.bgt
_r&{q.afilflylgjglumaE could parallel
admiration of Mahler and Beethoven,lt [ii-d'il-ries rweal countless
to musical eveffi!ffiffi'Gcasions which featured Schumann.r3
entry from 1884 also attests to his familiarity with Wasielewski's
phy of Schumann. In this passage, Schnitzler relates extra-musical
iations to Schumann's music, and his great admiration for the comBefore turning
is obvious:
Ich lese die Wasielewski'sche Schumannbiographie und spiele nun fast aus-
schlie8lich ihn. lch schwiirme liir ihn nun einmal ganz und gar. Jetzt spiel
ich, recht i propos den Faschingschwank aus Wien. Dies bringt mich auf
mein persOnliches kben und den ersten Ball in diesem Jahre, den ich
besuchte.. . . Fdnnchen war dort und erkldrte mir, sie werde noch an mir
zu Grunde gehen. Es spann sich impertinent lebhaft weiter zwischen uns
und schloss oben auf der Galerie um drei uhr Morgens unter sii0en, hei8en
K[ssen-"Wie ich mich gesehnt habe, dich wieder zu kiissen" sagte sie.Auch Gisela F. war dort . . . und auch mit ihr weilt' ich eine Zeit lang auf
der Galerie und auch ihre holden Lippen kiisst ich mit charakterloser In-
nigkeit . . .'o
entry illustrates a specific event ofpersonal intrigue in schnitzler's
which Schumann's music evokes for him. In a passage from 1885,
nitzler again describes a ball and a similar romantic scenario, conthat the incident would be best set to music by Schumann.15 These
indicate that literary or personal associations with Schumann's
were not uncommon for Schnitzler.
in mind, it seems fitting that Schnitzler should choose
to cloak extra-musical associations in Frtiulein EIse. Carnaval
a colleqlion of brief character Dieces whose literary associations are by /
r meaiiti-mltJd-15Jfi-e vlviaT-u!.r of a masked ball conjured up by
title. When Schumann composed this piece he was in love with Erine von Fricken from the city ASCH, and many of the pieces are
sed on these letters, which correspond to the musical notes A flat (As
J<German), C and B (H in German), or A, E flat (Es in German), C and J
The letters are also present in SCHumAnn's own name; throughout
rnavalthese notes mask musical messages of love which connect schuBearing this
val
and Ernestine.
of the character pieces are also based on real people (e.g.,
Wieck, Ernestine von Fricken, and Chopin) while others represent
from the tradition of commedia dell'arte (e.g., pierrot, Harlequin
Columbine). Two of the figures, Florestan and Eusebius, are Schu's inventions and are based on the Doppelnatur theme from Jean
: Florestan may be characterized as jealous, extroverted and proSome
zler's Frdulein Else
174
vocative, while Eusebius has a dreamy and calm nature. Schumann
self describes these figures with the following:
Florestan ist einer von jenen seltenen Musikmenschen, die alles
Neue, AuBerordentliche schon wie lange vorher geahnt haben; das
ist ihnen im andern Augenblicke nicht seltsam mehr; das U
wird im Moment ihr Eigenthum. Eusebius hingegen, so schw6rmerisch
gelassen, zieht Bliithe nach Bltithe aus; . . . dann ist auch sein
strenger und sein Vortrag im Clavierspiele besonnener, aber auch
und mechanisch vollendeter, als der Florestans.16
Florestan and Eusebius often surface in Schumann's music (e.g., as
arate character pieces in Carnaval and as associated figures in
bilndlerttinze), as well as in his essays and musical criticism. He
saw them as his own "double nature,"rT and often used them as
donyms to present his sometimes contradictory musical opinions.
to literature and literary motifs often appear in
mann's music: much of his music originated from verse or was
References
given programmatic titles. Schumann himself characterized
an unfolding literary adventure which was represented by music:
ist ein humoristischer Maskenroman, in welchem au8er dem
Gesichte des Harlekin, Pantalon, der Colombine auch bedeutenderc
Gegenwart, wie Chopin und Paganini, in fliichtigcn musikalischen
sen zum Vorscheine kommen; dazwischen sich ein Abenteuer zu entwi
scheint, wie die Namen anderer Stticke anzudeuten scheinen.'t
Es
With the above in mind,
it seems logical to assume that Schni
I
fascination with Schumann was partly literary in nature. ln Frtiulein
Schnitzler successfully applies Schumann's approach and captures "i
experience . . . in musical character."re Through his use of C
Schnitzler ingeniously capitalizes on the images of the masked ball,
well as the tale which develops in Schumann's music, to highlight
i
inner state.
175
of mind is hidden from the others in her world; trer]
literally masked in music.
This section of the novella begins as Else reaches her decision to
a modified version of Dorsday's stipulation and begins searching
him. She approaches the music salon, where the strains Jfschu-ann's
reach her ear, and the first musical excerpt is incorporated into
real state
ma is
text:
Here it is obviously important to Schnitzler to evoke not
only Schuper se' but
rper
Dut to reler
refer to this specific passage laden with extra-musical
rtions. This musical example is extracted from the character piece
stan," and is the first of three such fragments in Schnitzler's text.
sems
that this musical quote should be the first to highlight
Florestan isJh_eJnost sensuSl of Schumann's dopriel_
l1L:l^u:T;
and he represents ttrqsiCe of EGe *tictr-may not bi ex_
openly. Because sexuality is disavowed by her socilty unless it
-Else's
within official institutional norms, the apiearance of
I must be replaced by the acceptable surrogate of music.
sex-
Another subtle and significant aspect of Schnitzler's use of ..Flo" is the musical quote from "papillons" (an earlier piano work of
lann' op. 9), which is "hidden" in the first four mqlsures of ..Flo-
t
I
i
I
i
il
\
This brings us to the most obvious use of music in Frdulein
where Schumann's music is set in the text. In his novella, Schnitzler
not quote the entire Carnaval, but rather tl1rqeslort_paggggs.
the reader is only aware of three visible indications that the piece is
played, the music does not stop, nor does its relationship to Else's i
conflict and her stream of consciousness. A connection between
story and that of the figures in Schumann's musical tale is establi
with the reader directly perceiving Else's state of mind (throu$
stream of consciousness), while the people in the music room arc
knowingly exposed to her thoughts and emotions through the
while "Florestan" hints at Else's Doppernatur and her sexuality,
the
illons" quote intensifies the thematii motif of a masked bau.
Scnur based "Papillons" on the "Laryentanz"
in Jean paul's Flegeljahre,
ining to his mother in a letter, "daB die papillons diesen nfrentan,
rtlich in Tdne umsetzen sollten. . . .20 Schnitzler very cleverly
uses
section of "Floresta'" which briefly quotes "papill'ons"
u praion: Else's Doppelnatur-that is, her simultaneous desire for
", inclu-
Xl
zler's Friiulein Else
176
"92'
sion in and rejection ofher society, her desire to save her father's
while at the same tirne wanting to protect her own-reaches a crisis
this section of the novella. She can no longer repress her inner
and is forced into an Entlarvung not only of her self, but of the
conventions in her society as well.
Else's agitated state is further illuminated by the erratic
changes in the first excerpt. The "Papillons" quote itself is a lyrical
marked by Adagio, which lasts for only four measures; it is only a
a premonition of what is to come. Soon the original restless "
theme returns. Further tension arises as the right hand figure, which
constructed around the most tensionJaden and dissonant of musical
tervals-the tritone-clashes against the D in the bass.2r
As this passage continues, ElSg catches sigfit of Dorsday in the
salon. She then reflects on the musical abilities of the pianist as well
her own compromising situation and notes that Dorsday has still
seen her. At this point Schnitzler inserts the second musical
177
the pianist continues to play. As Else .,makes eyes" at Dorsday,
It may not be apparent io the reader, but
ip between Else's stream of consciousness and the music
exists. If the reader is not familiar with schumann's carnaval, s/he
not be aware of the connection to Else's inner dilemma,
iust as the
in the music room will hear the music and not be aware of the
lion to Else's thoughts. while schnitzler's text acts as the reader's
to Else's thoughts, the music transforms her conflict into an acrepresentation of it. Else herself is familiar with carnaval and
ren played the piece herself ..Schumann? Ja, Karneval . . . Hab'
ich
einmal studiert" (371). Else's familiarity with carnaval makes it
more likely that the relationship between Else's thoughts and the
r are no accident.
Else then receives a non-verbal response from Dorsday:
ette" is being performed.
Ha, er schaut auf.. .. was liir Augen er macht. Seine Lippen zittern.
Er
bohrt seine Augen in meine Stirn. Er ahnt nicht, daB ich nackt bin unter
dem Mantel. Lassen Sie mich fort, lassen Sie mich fort! seine Augen gltihen.
Seine Augen drohen. (372)
I
lr
ll
1
I
I
In this excerpt the rhythmic activity of the "Florestan" theme
more closely connected with thematic elements from "Papillons."
addresses this interplay of dissonance and lyricism:
The second more lyrical fragment begins with a sharp though
dissonance in the third beat of the first measure (an interval of a
9th) which is pleasingly resolved in the fourth measure, although the
melodic line and the dynamic markings anticipate the increasing
forthcoming in the narrative development.22
In contrast to Green, however, who claims that this passage
the accompaniment to Else's recovery from her shock and her a
that Dorsday has not seen her !€t,"zr I argue that this passage is
more to Else's increasing conflict: just as thematic elements from
restan" and "Papillons" become intertwined, so too the extremes
Doppelnatur increasingly come into conflict and she moves closer to
Entlarvung.
Schnitzler's text progresses, and Else tries to attract Dorsday's
tention by flirting with him: "Ich will ihm nur ein Zeichen mit den A
geben, dann werde ich den Mantel ein wenig ltiften, das ist genug"
Although Schnitzler does not quote the next character piece from
b musical counterpart to this, which is the next piece in the set (but
egun not quoted by Schnitzler), is "Replique." Just as this character
functions as a "reply" to'loqqqlit5 Jog-dg_D_oqday's move_
function as a j'.repry" to@th'f,-iilJyes,
conveys to Else that his request was indeed serious. Else seems
realize the implications and becomes frightened.
Throughout this entire section, Else's conflict is increasing. she
i to save her father's honor, but will not accept sacrificing hei own.
gowing conflict between pflichtgefiht and, schuldgefi)ft/ threatens
sanity; unable to resolve her dilemma, Else constructs a false reality
order to protect her honor artificially- we see this in the next moments
she notices the "Romerkop{," a representative for Else of sexuality
eroticism, sitting in the music room:
Dort im Fauteuil-Herrgott, im Fauteuil-das ist ja der Filou! . . . Er ist
wieder da, er ist wieder da! Er war nur auf einer Tour! Jetzt ist er wieder
da. Der Rdmerkopf ist wieder da. Mein Brautigam, mein Geliebt er. (372)
labeling the "Rdmerkopfl' as her "Brdutigam" and '.Geliebter," Else
socially pseudo-acceptable situation in her mind, thereby achieva false sense of security. Else's true state is also disguis.d b"ninc
earance: even though she is still "externally" morally atceptable (she
ttes a
waring only a coat, but the people in the music too- ur. oblivious
her nudity), Else is secretly enjoying her naked body: ..K<istlich rieselt
meine Haut. Wie wundervoll ist es nackt zu sein', (372). She is
v
Nd '-
178
RaymoM
attempting, as she has throughout the entire novella, to bring the tno
sides of her Doppelnatur togelher. Although Else attempts to belong
her society, she is unable to dispel thoughts of indulging in sensual
sures completely. She is attracted to a disreputable man, and enjoys
sexuality too much to repress it.
The music, too, has not yet stopped. During this time the pi
has probably been playing the character piece "Rpjllgll"zr lThis
not refer to the earlier piece by Schumann, but is rather a part of
naval.) Since this piece does not sound much like butterflies, it has
suggested that Schumann's intention may have been to evoke the i
of "people at a masked ball costumed as butterflies."2s As
mentioned, Else's actions and thoughts at this time are consistent
the image of a masked ball: she not only justifies her sexual at
for the "R6merkopf'by naming him her "Geliebter," but is also
vinced that she will be able to retain a modicum of self-respect by
robing publicly instead of only for Dorsday. The music reflects the j
tifications which Else wears as a mask.
The next piece in the cycle, which is reflected in Schnitzler's
but is not qrrntcd di"cctly, is entitled "LrlEgr dansantes,"
and plays
I
the letters A S C H which constitute the basic construction of C
This character piece, as well as the next which Schnitzler does q
could be seen as an ironic gesture on Schnitzler's part. In "kttres
santes" Schumann playfully hides messages of love in a musical
Else's and Dorsday's masked messages to each other at this point
anything but true love; sexuality for them is only a bargaining tool:
Verstehen Sie meinen Blick? Sein Auge spricht zu mir: komm! Sein
spricht: ich will dich nackt sehen. Nun, du Schuft, ich bin ja nackt.
willst du denn noch? Schick die Depesche ab . . . (372)
The next character piece which Schnitzler quotes is "Reconnais
sance":26
&hnitzler's Friiulein Else
179
Here Schnitzler seems again to want to stress the irony of Else's
Schumann himself referred to "Reconnaissance" as "a lovrl€€ting."zz Else has no lover. Her sexuality has been reduced to a
ity which she can at best glorify in her fantasies of the .'Filou"
images of the "Marmorstufen am Meer." The use of ..Lettres dan" as well as "Reconnaissance," highlights Else's dilemma and exher society. Else's mask and the mask of her society are a sham;
is no true love here, only sexual bargaining.
In contrast to my argument, some critics see "Reconnaissance" as
descriptive, rather than ironic gesture on Schnitzler's part. Where I
the characterization of "Reconnaissance" as "a lover's meeting,"
concentrate instead on parallels between the musical polarity (a
melody contrasted by a staccato accompaniment pattern), and a
ing polar tension in Else (between her feelings of shame and senity) which leads to her "Demaskierungsbestreben."2r Although techil features play an important role in the portrayal of Else's state, they
not the most significant aspect of this excerpt. By recognizing neither
continuation of music, nor its eventual absence at the shocking coniion of this scene, some critics interpret "Reconnaissance" as an acpaniment to Else's "Demaskierungsbestreben." This is, however, pre-
4
The significance of this excerpt lies not primarily in musical
to Else's "Enthtillungsakt," but rather in the irony of her claim
the Filou is her lover. Else's act is accompanied not by ..Reconnce," but rather by the absence of music itself, One critic even
the textual passage of Dorsday's and Else's "visual dialogue,"
I have paralleled with the character pieces "Coquette" and..Rep"2e If one were to accept this argument, it would imply that the
ic is not played continually, but rather only at those times when it
in Schnitzler's text. This would not only make Else's frequent
to the music (even where there is no excerpt in the text) inible, it would also underestimate the subtlety of Schnitzler's
rative use of Carnaval.
"Warum ist denn keine Musik mehr?" (373) Else asks. Once sfrel Z
bes, the music is no longer necessary. Until this point, the peopleJ
the music room have been provided with a culturally acceptable rep.
entation of Else's internal state; once Else publicly reveals her psyical dilemma (by disrobing), the necessity for this external symbol
removed. The audience of listeners is forced to acknowledge Else's
ition, while the audience of readers must acknowledge the materiitislic nature of a society in which everything, including sexuality, has
reduced to a commodity. Had Else been able to accept the convenof her society, she would have disrobed for Dorsday alone. In an
dtempt to retain an element of freedom within the boundaries of their
's
180
"pact," Else undresses publicly, revealing not only herself, but
sequences involved in a society driven by materialism.
Friiulein Else
r8I
her father's predicament and notes "wie
merkwrirdig meine
die da
.
.
.
rch
habe
ge*iril"i,i'"".r,
}|t1:j:"":'^_li:-,"1,,
To"u
ganz anderes
Gesicht ars sonsr"-(34r).
rs
the
ll
th;;;;;#on-J.liir1r"r,
As
the same observation--oinoirOuvJ, .,roi.", ..Wie
seine u'rrrrrr€
Stimme
' ' rv evr'w
l. panz anders, merkwrirdig- (343).
carapurteb inio the compromising predicament
: makes
I'
While references to Carnaval provide a dramatic dimension in
narrative, they are not the only examples of Schnitzler's use of music
the novella. The same issues explicated in the discussion of Schu
reemerge on another, linguistic level-that of the double-entendre.
zler employs ambiguous words which possess both musical and
musical meanings and act as clues to the reader; through them, a
dimension is evoked even as language masks it through socially
able attributes. In turn, the tension between sex and culture is
in the ambiguity of Schnitzler's language.
One example is the word "klingen," which is first introduced
Else asks Dorsday for financial assistance. In the course of the
sation Dorsday explains the terms of his conditional acceptance, and
verb "klingen" enhances the sexual tension which arises at this
Although he does not directly link Schnitzler's use of "klingen" to
growing tension between Else and Dorsday, Jon Green also senses
connection between "eroticism" and "sound" in Schnitzler's la
ii
*::*::ll.::.911
in a financia'y ;p'i"; p"ri#;'#ilH,3il:T:fiil",1rj
suoaii ir unabf e to scape acti ns n
l'"',1"::#;,T:.::y:,:::ll::
superficiat manner of which sr,e is
so critir"il Ei..jr"r"iJJaffililT
il;
d;ar eith er her or Dorsday,s
f€ lil'"T",::lT
"klingt," she I'1*:YT*
"
asking a man
e
also notes either un
designs toward Else. This seductive power of voice tone suggests an
type of extra-verbal meaning that has "musical" overtones.3o
I
agree with the basic premise behind Green's argument, but want
expand on it. "Klingen" is used as a description of the "tone" of
which Else attributes both to Dorsday as well as to herself. While it
be a common verb choice for description of a response, Schnitzler
cleverly chooses an ambiguous verb possessing both musical and
musical meaning, which in this context takes on symbolic
Its use coincides with Else's expression of resentment towards her
ety's materialism and the position of power which monetarily
persons occupy. I also argue that Else possesses a level ofcritical
towards her society's methods of interaction. Schnitzler's choice
gen" is part of his technique to use music symbolically; his use of
musical verb signifies not only eroticism, but also a level of awa
on Else's part towards the strategic interplay which occurs between
and Dorsday.
Else's awareness of this social superficiality causes her to be
reflective in her personal dealings. Despite her moral protests,
Else is part of this society and is forced to "play along" in orderto
her father. In introducing her request for money, for example, Else
otr"*utional detachment frSJ
o:vn or an.element of playacting.
wrren-a-uoic"
:::ry,lt:
conforming to social
," it is i.^_h:l
,hulro*ness and the
"*p".tutioll'of
r"_"1:.*uti""
tr,"i'rie must have ..ein ganz
res:if::iT":','::l::,
Gesicht als sonst- furrher
in"T'l,iJ'il
is perhapssuie#"iar euu
and
foreign
rursrErr
to
ru'cr'
her,
Hr."ll
i,T::i::X1,:h
tg_tagta,in her.dealings with Dorriuv.-'-"'vrsr
r nls oDservation causes
Else to become serf-critical, and
she atto modify her behavior:
u"d;;;;;;;';;*
Ich
mu' mich wiirdiger benehmen. ..Nun, Herr
von Dorsday, jetzt
Sie Geregenheit, Ihre Freundschaft
A frequently recurring motif which relates eroticism to sound is the
alteration in Dorsday's voice inflection when he begins to betray
ii
i
sei
ti. -.i*n
Dank, ich habe meine alte Srimme
haften
vater zu beweisen.,' Gott
*i"O"r.i:+Zt
!s
voice "klingt nicht mehr." She realizes
that she has been exhibiting
i"
plaicament and attempts
nprs
*1,iltil,":,Y::::1,9:T
modify
her superficiarity "
t'*
anif'fo:
d".r *iirt'6olsday more directry.
his.position oi.up"riority and exploits
,n"o;i*il:r"il::
lhe fullest exrenr."X11of
The- firsr time
;";;;",#"ffi:Hi,:'il:Jit
'se
r,1:":1",i:1,^.^,-?::*lr";;;*;;;qiio*",andbecomesappreve. As rheir conversation progresses,
ir
lay
1ry
lpo""*
will deliver rhe money *itil.ri..-priil,l".'
{i."
_
"-n
hly, however,
il # ; #,"i'iliriff:Tfi'
i
in the tone of his
*fri"i
i;#;'#;"ff;
;;;.;:.H."'l^';:.
::*1 ::ffi f,ti }1?
makec hcr
r\^-^
"oia" ,YJ;:}ffi:?if 'nooo.,
il':#'ff
;l;Til;i,?T;
li::..1""T::t-']1d,'f
be: "seine Stimme 'kringt;
metrr.^b.".
;
-"
anders! wie sierrt 3J
"icrrr
denn an? Er solt acht geben!!,,
(3tjt.---'
Schnitzler does not only carefuli'..i*,
the verb..klingen,,; he also
p"i"l,
r".ir,e.'"rnpr,asiring
'Bodil
its hidden
91"
L:,L': *^":11:1,
plcatrons'
In a repry to 1t,
a retter from
Bech asking for crarification
ti
e o vel Ia, sctr n i tr ter h i
m sel f expla ined Et se,s
:"1i*1:t::l T.tj,t
.n
of this verb: "Erse
i,l
-"int oa-ii' Jr.r'
lnehmen, wohl durch dic sinnriche
seiner Stimme.,'3r
L.*r,,#"il#,1'i,H:;'it;:
g,,"gi"g o"rsdays zu
erkl'renden
j,82
Raymond
Two further double-entendres which Schnitzler employs are "Ba.
gatelle" and "Spiel." As with his choice of "klingen," Schnitzler
makes use of ambiguous words which act as clues to the reader.
two words first appear in a letter Else receives from her mother. In
context reference is made to an earlier debt of Else's father, which
day also paid, as a "Bagatelle"-a "ldcherliche Summe." Else's
makes light of the amount of money needed to clear the father's
Although seemingly critical of her mother and her demands, Else
utilizes this word strategically when speaking with Dorsday. In her req
for money, Else explains to Dorsday that it is "wirklich nur . .. ei
Bagatelle . . ." (341). By verbally minimizing the amount needed as
"Bagatelle," Else hopes to convince Dorsday simply to hand her a
As she and her mother are also both aware, "[alles steht] auf
Spiel" (341). If Else does not "play" the game correctly, she could
danger her chances of receiving money from Dorsday. In her request
money, Else begins by telling Dorsday her father needs a million gu
rather than the real sum of 30,000. Although it is not immediately
to her why she exaggerates the amount to this extent, it does not
long for her to realize that it is a tactic similar to her mention of
"Bagatelle":
".
Million." Warum sag' ich das? Es ist doch jetzt nicht der
zum Spassen? Aber wenn ich ihm dann sage, um wieviel weniger es
Wirklichkeit ist, wird er sich freuen. (342)
. . Eine
Like her verbal minimization of the quantity necessary to save her
Else now exaggerates the sum with the hopes that the actual amount
seem a "trifling matter."
Dorsday is also aware of the importance of the "Spiel" and
not remain oblivious to Else's verbal tricks. He even uses Else's
tactics at one point, underscoring his advantage. In presenting Else
his counter-demand, Dorsday too exaggerates the amount, expressing
Else his desire for sexual union. As he senses Else's repulsion and rejecti
of his offer, Dorsday modifies his request, just as Else had modified
Verzeihen Sie mir, Else. Auch ich habe einen Scherz gemacht, geradeso
Sie vorher mit der Million. Auch meine Forderung stelle ich nicht so
als Sie gefiirchtet haben, wie ich leider sagen mu0,-so daB die geri
Sie vielleicht angenehm tiberraschen wird. (346)
As the novella progresses, Else refers time and again to the necessity
her playacting to obtain money from Dorsday. Else, however, is not
to accept readily the unwritten rules of interaction in her society. In
attempt to fulfill Dorsday's stipulation in her own tcrms, she chooses
expose herself publicly.
Schnitzler's Fr?iulein Else
183
Just prior to what Else herself refers to as her "groBe vorstellung"
, Schnitzler sets up yet another reminder of the necessity of Else's
ning "performance.n' Shortly before entering the music room, she
the curtain: ". . . Da ist ja das Spielzimmer. Grtiner Vorhang vor
Tiir" (371). The color of the curtain reminds the reader of an eirlier
ge, where Else expresses resentment ofher family's
insecure financial
"Da hiingen die Kleider im Kasten! Ist das grtine Loden tiberhaupt
bezahlt, Mama? Ich glaube nur eine Anzahlung,' (334). Even Else's
dress has not yet been paid for and the color ofthe curtain to the
ielzimmer" reminds her of her family's financial predicament. The
Ilment of Dorsday's stipulation remains Else's oniy chance to save
father's honor.
This "Spielzimmer" is itself not only a music room, but also a game
; there are tables where one can play whist, cards and
guirbl".
lhe "spielzimmer" all the elements of Else's dilemma".rr.n
are Lrought
ether: not only has Else been forced to "play" verbal games with
y, the "playing" of Schumann's carnavarin this "Musiksalon"
the background and external symbol of Else's internal dilemma.
Frtiulein EIse also deals with the social function of music in Else's
In her society, the ability to play the piano is viewed as a social
bute; the cultivarion of this skill through practice implies discipline
isstrongly encouraged. When examined more closely, ho*arrar, ,ra-_
lnnocent comments regarding such "expected skills" are subtly
i with notions of sexual repression and the superficiality
of fin-deviennese society. The people in Else's society do not h"u" u.,n"ry
understanding of each other and even the most serious topics are
:d_ with extreme levity. Else recognizes this
in the implicaiions of
playing:
.. . zu Hause lernt man Klavier . . . Aber was in mir vorgeht und was in
mir wtihlt und Angst hat, habt ihr euch darum je gektimriert? (356)
This theme emerges again in the climax of the novella: as Else's
her resentment of the woman at the piano as
rne.who has adopted the conventions of her society: ..Die Dame
weiter, sie wei8 nicht, was hier geschieht" (372-7i). The pianist
rdutifully learned proper social behavior, and in doing so is obiivious
the problems which surround her.
A further example of Schnitzler's use of the piano to evoke nonal issues may be seen in Else's stream of consciousness after taking
veronal. "Sie solhen mehr Skalen riben, Else. Ein Miidel mit dreizehn
sollte flei8iger sein" (380). Else's sexuality was developing while
ict increases, so does
Raymont
r84
as
she was thirteen years old, and this comment functions not only
shou
Else
that
warning
a
as
also
but
reprimand for bad practice habits,
in
,"i..., her developing sexuality. Further evidence of this is givenspeak
she
that
requesting
mother
her
leiter which Else receives from
Dorsday. Here Else's mother makes reference to Dorsday's attraction
Else and her blossoming sexualitY:
t
"Dich hat er [Dorsday] ja immer besonders gern gehabt" -!ub t
dauon gemerti. pie Wuttg. hat er mir gestreichelt, wie ich zwdlf oder
zehn Jahre alt war. "Schon ein ganzes FrAulein'" (330)
Dorsday is aware of Else's sexuality, and as her sexuality develops' I
A.-u"dr for repression emerge from her society. This repression is
sically characterized by disciplined practice'
Music is also an alsthetic emblem ofa frustrated bourgeoisie
association with the upper levels of society through culture; Else
mentions music in conjunction with her attendance of lectures on
history and her study of French. As Else hears Schumann's music
from itre salon, she successfully identifies it and remarks that she has
studied Schumann's Carnaval. At this time Else briefly associates
with the pianist who she assumes is a woman, possibly even a
(371). Th; connection between Else and the pianist is quickly
iro*i't.t, when Else realizes how well the woman plays:
gut'
Ich habe nicht gewuBt, da0 sie so sch6n Klavier spielt' Sie hat es
(3'71-'72)
verdammt
bin
ich
gut
nur
.
.'
'
es
"
haben
Menschen
an association betu
Here Else appears resentful of the pianist, drawing
musical aUijity and social prestige. This female pianist has achieved
status of virtuoso, a level of proficiency which allows her access lo
superior social status. Marc weiner's comments regarding the role oftl
female virtuoso in Schnitzler's works are enlightening:
As virtuoso, she embodies the desires of the bourgeoisie for indivi
and is thus freed from the ideological compulsion to succumb as the
do. usually the social and sexual victim of convention, the womaF|
virtuoso bilongs to the sphere of upper society; her social assimilatiol.
completed as ideology diciates, and she assumes the powerful role oth
reserved for the men of her society. Musical prestige brings with it
and sexual power, regardless ofthe sex ofits bearer'32
In contrast to the pianist, Else's repeated references to her own
mul
abilities, which she considers mediocre, highlight her frustration that
is no virtuoso and thus doomed to a limited association with the
levels of society. Despite her own belief that she possesses no "1
(i.e., the means to assoiiate with the upper levels of society), Else
z/erb Fr?iulein Else
occasion
185
to utilize her strategic "education" as a tool to achieve fi-
success:
Also ich werde mich in die Halle setzen, groBartig in einen Fauteuil, schau
mir die Illustrated News an und die Vie parisienne, schlage die Beine iibereinander,-den RiB unter dem Knie wird man nicht sehen. Vielleicht ist
gerade ein Milliardiir angekommen. (336)
displays herself as a sales item, exhibiting her education (she can
English and French) which allows her access to socially superior
and hopefully waits for a billionaire to arrive. She assumes, of
that no one will see that she is an imposter ("den Ri0 unter dem
waiting for her chance to join ranks with the financially endowed.
lhis context, her remarks regarding her impoverished music-making
particularly enlightening.
Else also believes that an injustice has been done. She believes she
have been born into a higher class, or even into the nobility: "[Ich
auf die Welt [als sporting Girl, in England, oder als Griifin] komsollen" (334). Else, however, is part ofthe bourgeoisie, enjoying little
advantage, and cannot escape her inferior position. She is locked
this position by her father's perpetual financial insecurity. As they
the opera, her father's blank expression highlights the family's into associate with the upper levels of society. Finding himself in a
ion which only underscores the fact that he is out ofhis social sphere,
lather temporarily loses his "mask":
Und der Papa ist dabei immer gut aufgelegt. Immer? Nein. O nein. In der
Oper neulich bei Figaro sein Blick,-pl0tzlich ganz leer-ich bin erschrokken. Da war er wie ein ganz anderer Mensch. (332)
's last reference to music appears at the end of the novella as
approaches her death. This music is no longer associated with a
composer: it is a music of the spheres, which refers to a religious
harmony in which everyone has a logical, consonant place. It
a bitter irony that Else is only able to achieve this "harmony"
her death. Only with the taking of her own life is she able to
along":
ist denn das ? Ein ganzer Chor? Und Orgel auch? Ich singe mit. Was
ist es denn fiir ein Lied? Alle singen mit. Die Wiilder auch und die Berge
und die Sterne. Nie habe ich etwas so Schdnes gehdrt. (381)
Was
Here Else is released from the tribulations of her life, but only
her own death. Schnitzler seems to refer to "music of the spheres"
y, rather than seriously: the utopian counterpart ofElse's ethically
186
Raymorul
s Frdulein Else
impoverished and cacophonous world is only accessible to her throu$
the renunciation of life itself.
lo mv altenrioi loo rate to incorporate it inro
my articre: Martin Huber,
,P"y:":!:!{f::!!:,_,1f
.?.:,:h:n,^nouoti,ii-iii'iaeaosiscnenFunktionszusam_
ausgewtihtter Erztihttexte
aes zo.
tiniiiiiritiiiii"iif,;i";:.ifrIi;tr;'i;:rH, tr-
'Arlhur schnitzrer' Gesammeile werke, Die erztihrenden schrifren (Frankfurt
', 196l) 2: 324-81 . Ail refen
a.M.:
rsee rnr evamnra -,^^,^_.,119"r^ lo Frdyleiy plle are parenrheiicattito ir,is eiitior.
w. erexanaer,';.e i;"r.iiriiir"#:itT'grt:,ftt:r"it#l:
'See, for exampre, rheodor
o ni,ori r d+ r ; vicror A. oswa,d, rr. and
#,
:: :r""schnirzrer
k:
ica pinrer Mindess,
',:::'
s
Ei[
Arthur Schnitzler recognized music's central role in
Viennese culture: his sensitivity to the social implications of this art
and familiarity with music presented him with the ideal metaphor
interpreting complex issues. His writing is filled with references to
which sometimes serve to cloak difficult subjects in an acceptable
;(:# !!:
,;Yllfil
rolbid.
H.
.Rev'
Arthur scnnitzri,
biiiiiiib7";';i,E;;i,i',ii7i,'i,,nof,ns
(Berrin:
rfReinhard urbach.
Schnirzrer-Kommenrcu zu den erzdhrenden
schriften und dra_
hen lVerken (Munchen: Winkler, tsjii
rzFor more
informarion
s;iliri;i;'uri"nitv to Mahrer and Beethoven, see weiner
""
i;.
rrSee,
for example' Arthur Schnitzr er,
IgTg-rgg2,ed. werner welzie et ar.
1987) ss,
n_
w;i;; ii a r. wi en : verrag der osterrei.
n: Verlag der Osrerreichischen.Akademi;.Tagebuch
d';w;;r;;;haften,
ne,ih;
e er e .d. w;;;;
ffi\l*:;#
: ":der
:: U,e.o
n Akademie
wissenschSlt*, rssil 18; ffi: ii;, ,ei.-iiolW"rTr:;:rWi
1
1
Schnitzler, Tagebuch I9I j_I916,'ed.
yji;:ii;f
W;;; \i;i.;;.1
trigtiiy'ii:Ct*:rre83)85,_,03,,d,,!?!,!%::;Iillif
lf :
rerT-tets.ea.
wernii-w#i;;;iiiir#,V;fi?.,,"d,i1,Lff;?rl';llTiL':
"fJ..ff
de der wissenschafren. l e85)
35,
eo;'b):'#d, s2,,102, ttl, t8o, 277.
t.Schnirzler, Tagebuch
^2q,^1q,
ragebuch
ISTg_ I Sg2' 167.
ulbid.176.
'Quoted in F. Gustav Jansen, Die Davidsbilndrer. Aus Robert schumann,s
sturm(tripzig: Breirkopi und
ffi3; r;.
-r;te'
ffi;i,
Drangperiode
;;,i;;;! ij'
"Quored in Thomas nhn siown,
noorn schuma nn (New york:
rphical Library, 1968) 59.
rfRobert schum
ann' Gesammeile s-c!rtften riber Musik
und Musiker 2(leipzig: Breirund Hiirtel, l9l4) 436 emphasis aOOeOl -'feEdward
A' Lippman. "r.neory-anq
,ff'flm:lffiihil,
in Schumann,s
*"
Aesthetics,,' Journar of
-Fractice "^
it tilo+y;6
t,ii,it,iiii il,n"iliu,,
American Musicological Society
sc hu man n, 3rd ed.
(rripzig: Breir-
oll*fi^1t-Tgjcd excerpr as a represenrarion orEtse,s
-fffii:t1?1.::"-Jr-l3ufv'r
.i,1.:,T?i.1,il[T,"""|:lil;
,1.*l;S'::l;_Ii.^If
::l;til;;id.,iii"'i1'r',fr
and the volatile harmonic
rt-"t"r.. t"'""*i;i;-,;:':.:'''"' sEEs tnrs .accented
,s
sudden shock ar _,^",.]TllTlJ".^,:ailel j[ numose or.uri"uiii a.a-]
j#:::'iF lia$:,'-*Fii!:ii i5#ry'i""1'T"'i'j3liJ.iT#;
, ?:id#i,iT,;: ".:l
:X."",,',r^1,1":T"g-f
as a direcr reflecri,on
of Erse's
"The Impacr of Musical
]]9t:",
xlbid.
13.
und Schriftsprache in Schnitzler's Frdulein,lllle und Schumann's Carnat'a|," Modern
trian Lircrature 2.2 (1969): l7-20. The most recent analysis ol music in Frdulein
;J",'t tffi ;#;T'hil.il",
65.
tArthur Schnitzler: Sein Leben, sein lVerk, seine Zeit, eds. Heinrich Schnitzler,
stian Brandstiitter, and Reinhard Urbach (Frankfurr a.M.: Fischer, l98l) 94-95. See
'?Marc A. Weiner, Arthur Schnitzler and the Crisis o-f lllusical Culture (
Winter, 1986). See esp. l9-23.
3lbid. 12.
4lbid. 16.
sJon Green, "The Impact of Musical Thcmc and Structure on the Meaning
Dramatic
Itrc Unity
diss. Syracuse U,1972.
U, I
Unlty ot
of Selected Works by Arthur Schnrtzler,"
Schnitzler," dlss.
6lbid. 157-66. More recently by Green, "Music in Literature: Arthur
Frtiulein Else," New l'ork Literary Fontm l}-l I (1983): l4l-52; Gerd Schneider,
:: :'::i':.::
i^rriii'
-T;",$flfff11 ,!f:l:y,?!^!)2s I I' zzs-C8; n. ;;";nil, ..Arrhur Schnitzrer,s trdutetn
: A Freudian Novera?"
Liteiature.and ptwiitisyli.i'(ril;;iir":#ttzrcr's Fraitein
dium.
The significance of musicin Frtiulein Else is undeniable: ladenwitl
extra-aesthetic associations, music acts as a mirror which reflects
plicated social and psychological tensions. Perhaps the most difficult
sical reference to comprehend, the excerpts from Schumann's C
are intricately connected to Else's unfolding drama. The music and
thoughts are inextricably linked and serve as parallel indices of
growing struggle. The musical excerpts provide the people in the
room with the illustrative and, more importantly, continuous a
iment to Else's growing struggle, which the reader experiences by way
her thoughts.
In order to understand Frdulein.E/se fully, the reader must be
of the complicated interdependence of Else's drama and the
absence of music. Unlike the reader of Schnitzler's text, however,
is at least equipped with Else's thoughts as an indication of her
logical state, the characters in the music room are at a greater disad
tage: they are made aware of the developing drama only throtgh
music. As if the truth of Else's struggle would be too much for the
acters in her milieu to bear, the music veils her dilemma in an
form. As Else disrobes, this representation of Else's state is no
necessary: the people in the music room are forced to acknowledge
state when the mask of music is removed.
note
187
lunarery came
t#
T':1",i-."i.,i""1i'r","11,:i,iill;#il"[.ff
T"i
,"*;;;;;if";;
iffi;".'#Ji,TT,Jril,ti,ili.il
Theme and Srrucrure,, 163.
"Arthough the next characler. piece in the cycre is spHINX, it_is not
customary to
thi;t;;';'n;;e'i
ii'li;;f:":itlTxf:"
lfumAnn rn nnnrro"r ,^
in'1.''.,,,n s'c A,
(Asch), as well as to Sctrumaini-iurn.
"'"ri"e'i.i",.n""
..^,-^Igl"I.icken
rest orthe pi"".l in ril
;d, ;";:;,i"ifil1?i"ti,fi3fri
lili;tJ^llliX':j:'n'
rJBrown 176.
',
t6The three
characler oieces in Carnavar which fotow ..lrttres
dansanres,, (..chiar_
"Chopin", and "Esrreia") are also
il'i.nninr.r,
";ft;;l"d
rhimsetf claimed rhar rhe "uau.niui.;i.;$ft;iil
rhese pieces draw lo
ir wourd be sare to omir rhem
l;*':::;i*1,1*"1:-*L^::yi,gi;"iiriili"r
anv discussion of pararer rerarions to
Err."r i;;.; *n;ril;. i"rH.tr"TJ,"rT"lsltJffil
the orher character pieces.
s Search
188
;3:..#:.:+r?'il;.t1';,
ilH:-il;
for Truth in
hungen eines Hundes'o
164; Schncider l?-18.
Musical rheme and !1ruc1ure"
164'
Structure"
a"d
ffi;;i "ril;;i;;iin"-e
Frcrrnr
Michael Braunwarth et al''
rzrer,Briefe 1913'1931'ed'Peter
a.M.: Fischer' 1984) 609-10'
s2Weiner 84-
ilf,lt,L'J;ntt
University
Of Kafka's last three stories, "Der Bau," "Josefine, die Siingerin,
Volk der Miuse," and "Forschungen eines Hundes," the latter
been, in the opulence of Kafka criticism, rather neglected. A likely
,anation for this tendency to slight the work can be found in the
of its didactic tone and its propensity to be allegorical.tHowever,
factors which lend significance to the other, more extensively disstories, their exposition of the theme of the artist and his work
with the density of their socio-philosophic ramifications, appear
well and with equal subtlety in "Forschungen eines Hundes." Indeed,
an explication of KaIka's concept of the writer's societal and personal
ions, this discursive narrative deserves particular attention.
Two aspects of the story, prefigured in the title, have clear anteDas
in Kafka's fiction. The 'investigations' (this translation of ,Foris inept-'research' or'experiments' would be apter) undertaken
protagonist are linked linguistically to the'report' (Bericht'1
the canine
in Mittelalter und Friiher Neuzeit
"Aufiiihrung" und "schrift"
istdasrhema.i.,",int"*-"ii"ryg1ry":'-"li'^9?iln:{i':1..t$
i:*H"ff.;ffiilH;i;; ii. ui. rb. Sipremuer ree4 im KrosterSeeon
s;#;6
i:l .l:"J,:i--:l::'g#]"I:
San
ffitiiffijtr;;;J;i,"("* s.i';i"r der.h,6nschen Lied- und
tung).I-eitune:christoprr';::yliryl::lt]illii'l"1tlii"Y,:3
(3)
une,' rio"t wenzer, Essen.
|iffi'; if [Ll,ts,;;:'iiil1';"J Hoi r'itit*
e y,t]tjt"'*l1rs, : lff l
v o n Gesell scr,urt-nitu ai-iit
staunnden son. Das
;lt:J:"
i
""J
;n':'T:lff l'11;#:;;;;i;;;;:i;.teinKorpernLeitung:Erich
Vetreter tty"ll P.lt:t:::tl"Ti:"::1[ti1
"
schmidt, K6ln. Eingelai"n"'ina
Kunst- und Musikwts
Mittelalter und Fr0her Neu'"it' Theater-'
storiker, v olkskundle',' io'i oioe"" Tlill".{11'-^t"ll1";'?li"",l'
iit-r'"-p-"tistischer Perspektive' I
:
lt.'':::llL'
iiilXJil'#ili,a;;
;;,pai"'"*ui.1qi5erl:?l:'::*"TT{,::'"'l-'11,}'::'lH
;ffi
ixll:l'illT:H:l"J:i:;e;v;i;s:y+:i$:"#:11':1T';'"i.::3"
schragen, wer eingerade' ;:iqi: :: + *:;:t:::*::tl*$ff
f,fi:
zusesandti wird'
;"*l?:;?ff:;.,ffiffiJ;fiiil;;J airen reitnetrmern
dasSymposionfi irpitr"*i""'t""tv"tr"t""9tf
:li"1*?'i;r^:[::!!;,
tM
r
tr;it#Xf;;:|,':;, #' r;;'; ; ic i e p oI s ii' . u (2375);
Fax 089-218
sr
t
straJse
3,
8000
hit
o
Mtinch"'" ftiif"'-o[9''2rcgljj6g
nive s
itd
it n c h e n',,
by Kafka's humanized ape for a group of scientists and to the
ion(s)' (Betrachtung) elicited from the fledgling author Kalka
the title of his first publication, has been given the misleading trans'meditation'). Thus Kafka has begun and ended his career as a
by implying that his intent will be and has been simply to record
than adjudge or elaborate on his experiences. Paradoxically, this
to keep his prose under the restraint of rationality is made in "For" by a lowly animal, a dog. Once again, precedence is involved
use of animal symbolism, specifically the symbol of the monin creating a self-portrait. The protagonist in Der ProzeJS dies like a
and has seen his destiny foreshadowed in the brutish life led by the
Block and the brutish treatment to which he must submit. In
der Strafkolonie" the soldier condemned to death is also such a
ity. Kafka gave his predisposition to use the frame of the animal
for his fiction full reign in "Forschungen eines Hundes." Notwith-
; Vol. 85, No. 2,
1993
89 $0 l. 50/0
by The Board of Regents of The University of Wisconsin System
t
/ 93
/ 0002 / 0r
r89