“The dream reveals the reality. This is the horror of life, art terrifying. ” — Kafka
Certainly for most of its existence, KAFKA-one most perplexing and important writers of the twentieth century has lived in a dangerous collusion with Orb sleep. For something Jean-Paul Sartre once said that “Kafka shows us the human life perpetually disturbed by a transcendence impossible, and this is because he believes that there is such significance. Their universe is, at par, fantastic and strictly true. ‘
Another peculiar character of Franz Kafka is the poetic essence of his prose, which has relied Hermann Hesse: “Kafka has nothing to say as a theologian or philosopher, he speaks always as a poet.”
Kafka himself even wrote: “All that is not literature disgusts me.” And something essential: never stopped looking, hard, really. ”
The dream reveals the reality “: this is the tremendous and profound truth that he came to grasp. And this knowledge led to the perception of sleep and the magnificent breadth of consciousness. This achievement earned him because it was a man with a spiritual power that allowed him to engage an intimate relationship with the inner man. Kafka was a careful observer of his mental activity. Owed nothing to study psychoanalysis or Freud texts.
For Kafka, of course, introspection was not due to a reflective process but to the pressure of his sickly feeling of guilt that it was sinking, inch by inch, into an abyss that could lead to the vortex of delirium psychopathic. The obsessive introspection was a factor in him, threw him in a swamp of torture which was slowly sinking while expanding, so, what would the distance away from the tangible world.
In 1922 (just 39 years of age) this alienation reached its critical point Kafka making uneasy about his mental health. On January 16 he wrote: “Last week I was in a state of despondency, depression, as I had never happened. Unable to sleep, unable to spend the night awake, unable to support life-or-more precisely during life. Dos disagree pendulums, the pendulum is delivered inside a diabolical persecution, inhumane, the pendulum moves outside the faltering pace of its usual place. thing that can happen is that these two worlds separate, or even is tironeen each other in a dreadful manner. There are many reasons to produce this frenetic pace of the inner life, the most obvious is the insight … that does not give rest to any idea, pursues every idea and drives up to surface before being cast, in turn, by a new phase of introspection from the moment it has become idea. ”
And on the same date Kafka adds: “Loneliness, which was largely provided in part tied-and I looked (but it would be nothing but a tie?) -, That loneliness lost any misunderstanding and will now to reach its end. Whither shall I lead? hypothesized imposing tighter is that you can drive me to madness, ”
This crisis did not lead to madness, as Kafka feared, but the disease: that same year became the first symptoms of his tuberculosis. Being aware of his illness, he wrote to his friend Max Brod: My head gave quotes my lungs behind my back. ”
Kafka wrote, through his works, but as regards the human world … the vicissitudes of his inner world. This ongoing experience arising from its internal shocks was the shaper of his writings. Kafka came to realize the dream world not by being immersed in the field of psychoanalysis of Freud but because of his intuition, his perceptive power, and all enriched by his personal suffering.
Lascivious couples copulating under the watchful eye of the law, the fight with anonymous tyrants, the intricacies of a process and endless absurd, tragicomic bureaucrats and corrupt officials, the transfiguration monster of a man in a kind of beetle: all this was designed as a symbolic representation of the time of Kafka allegorical elements but were closely related to his inner life. His novels and stories are satirical blasts that highlight the grotesque aspects of human society, and this is because the dream itself-is usually a caricature of life, and is a true allegory. “Metamorphosis” is, without doubt, one of the most shocking stories of horror and grotesque ever written. And Kafka has been projected onto us, readers, the fear and anguish of the insect become fully lucid, but because of its plain writing, direct, clear, almost conversational say, transmuting so awful that dream in reality more believable .. . despite its appearance of absurdity throbbing.
The wealth of Kafka’s literary work confirms, too, that the symbols called “universal” are not the essential matter of artistic creation, since, in themselves, are sterile elements. Only when they are animated by a personal experience and acquire the vibration emanating from the senses even creating atmospheres where there is endless ambiguity and suggestion … Ios symbols can deeply move and excite.
Referring to the dream, Kafka described himself as “a citizen of that other world.” He was not a transient visitor Sleep orb. not arise from these nebulae with a load of vague reminiscences or by circumstantial asaetado amnesia, Kafka was a lifelong resident of that ghostly universe. Her eyes glow emitted a secret that conveyed their stories-and-night vision enriched by Sleep adventures in it were palpable. Even the texts of their own dreams, which was scoring on their cards-are amazing for the accuracy of the details.
A tangible Kafka made his intimacy with the dream world, you could lose ties with what he called “the other world”, which meant a real danger. His writing was the link between the two worlds and was making it impossible to get lost in the darkness of insanity. His own writings we transcribed the sensations emanating from that danger as well as the anguish caused by failures, lack of communication between humans and the slow agonizing death motivated by the erosive action of boredom and loneliness.
Kafka’s talent led him to not worry about the difficulties associated with how to enter the Sleep orb. For it never was a language problem, how to express in writing all that which was shaking inside. His prose is not distorted ever, it had a logic, a naturalness, an argument so clear and true in the real or imagined events that we had … that rendered even more delusional and seemingly absurd in an irrefutable truth. This is why Thomas Mann once said of the prose style of Kafka: “His style is thorough, curiously explicit goal net and correct.”
By taking the dream as a model for their own accounts, what did: nothing less than to create, remarkably, the conditions of the forms of representation of the experience of what is almost unknowable, that is … the unconscious. Thus, Kafka-uniting the particular signs of the structure of their dreams to the narrative technique that is inherently able to produce their stories more wonderful effects of sleep itself.
The pure quality of sleep that conveys Kafka in most of his stories and novels, where the infinite and the labyrinthine play a leading role (the prime examples are his three novels: “the process and” The Castle “and” the Chinese Wall ) – is due in large part to the effectiveness of its procedures that fuse narrative-and-disappear once the reader sensory contact with reality … taking him to meet primitive forms of thought. Kafka removes the barriers between reality sleep since for him (we must insist on this) sleep is a facet of reality. Kafka goes from one state to another with the same imperceptibility with which transitions from wakefulness to the numbness.
In his stories, Kafka takes us abruptly, without interval, joint action (entering the office, hang a coat or hat) to the shocking sight of a monster. We go well with the character Kafkaesque dream in Orb, without realizing it, just as we never know at what time I fell asleep. We lose our self by Sleep. And the same thing can happen to us that some of his characters to cast us out of bed, terrified, in a long-flight-by empty corridors, through endless galleries mazes leading to end.
With an unusual narrative mastery, Kafka takes the reader, without transition. towards the core of the dream and the irrational.
Kafka makes us grasp and feel the reality of events and fantastic beings, in the same way that what happens in our dreams we find something really lived. In the story “The Metamorphosis” that he felt no “seems” is an insect but endowed with the consciousness of a man who reasons, analyzes, understands what is absolutely unprotected, defenseless, alone, unable to communicate with anyone. And how awful (and remarkable) is that we identify with the monster almost suffer the same afflictions. This dream is a true representation of the most successful metaphors of world literature and reveals the magnitude of the creative faculties of Kafka in terms of what we can call good, just his “dream technique.” The study of the relationship between the artistic, literary and poetic and dream … has led me to this conclusion: the narrator-whether it is a true demiurge, a creator is undoubtedly an artist, a poet, and, as Lamb said: “The poet daydreams.’s not possessed by his issue, it dominates. ”
Kafka feared sleep with horror brought about by his nightmares. But when he did sleep, on many nights the appearances presented to him. … waking re-emerged and became ghosts that haunted-similar to sleep-which were the very source of several of his stories, including “The Verdict”. When asked what was the meaning of “The Verdict” and he said: “It is the specter of a night. It’s just-verification and therefore a full-spectrum exorcism.” Thus, by creating literary-used as ritual and magical operation-attenuated Kafka torture of his hallucinations.
If there is a unique document to analyze the relationship between dreams, the projection of the same in the brain of the dreamer in the waking state and literary transfiguration, that document is the Journal of Kafka, where the writer reveals his true alchemy of the word by which transmutes the disturbing vibration of your dreams in the precious metal, shocking, their narratives.
The characters who wander through Kafka’s stories and novels are a true reflection of their marginalization of affectivity suffered since childhood, particularly due to misunderstanding and despotism of his father. This led to an introversion that, in turn, threw him into isolation extremely harmful. The character of Kafka’s works are more than living beings … mimic the living. They are a sort of: human heartbeat abstractions, somewhat like the characters ghostly dreams.
Tuberculosis, which in the last years of his life brought him down to the annihilation, also influenced his creative process because their psyche is altered not only by his nightmares but also by the fear of death. Its pages cause us great sadness and he manages to identify with their trouble drawing us into the deepest regions of his ego … where we see reflected, as in a mirror, our own self. Kafka does not speak much of the world around us, it makes us become aware of the strange world we inhabit.
Kafka’s uniqueness lies-by extension-in-perceptible us through his writing-piercing anguish of everyday life, the horrible claws of the routine, stupidity and triviality always threatening, the mystery hidden seemingly simple things and properties Sleep endless. Therefore was admired and celebrated by Sartre and the existentialists, Camus (philosopher of the absurd), by André Breton and the Surrealists, by Borges (Walker that other labyrinthine paths, and even filmmakers like John Cassavetes and Orson WeIles.
Franz Kafka has been the recipient of disappointments insomniac, the sculptor of shadows shocking. His voice came out of the abyss of subjectivity creepy, product and existential experience strange and sensitive spirit.
Kafka has transferred-through his thought and his literary style-the highest of the fundamental principles that make a humanist worthy of the name: the certainty of being alive. And this message full of pain, loneliness, anxiety, meditation emerges focally towards existential harmony … that is what every human being should aspire.