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The late stories by an influential writer of singular talent
Between 1799, when he left the Prussian Army, and his suicide in 1811, Kleist developed into a writer of unprecedented and tragically isolated genius. This collection of works from the last period of his life also includes 'The Earthquake in Chile,' 'Michael Kohlhaas,' 'The Beggarwoman of Locarno,' 'St. Cecilia or The Power of Music,' 'The Betrothal in Santo Domingo,' 'The Foundling,' and 'The Duel.'
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
- Sales Rank: #159151 in Books
- Published on: 1978-09-28
- Released on: 1978-09-28
- Original language: German
- Number of items: 1
- Dimensions: 7.76" h x .76" w x 5.09" l, .55 pounds
- Binding: Paperback
- 320 pages
Language Notes
Text: English, German (translation)
About the Author
David Luke was born in 1921 and is Tutor in German at Christ Church, Oxford. He has published articles and essays on German literature and various prose and verse translations, including Goethe’s Selected Verse (1964) for the Penguin Poets, Kleist’s The Marquise of O and Other Stories (1978) for the Penguin Classics, Thomas Mann’s Tonio Kröger and Other Stories (1970) and Goethe’s Roman Elegies (1977).
Nigel Reeves was born in 1939 and graduated at Worcester College, Oxford, in 1963, taking his D.Phil. in 1970. He was an Alexander von Humboldt Fellow at the University of Tübingen and, since 1975, has been Professor of German at the University of Surrey. He is also Head of Department of Linguistic and International Studies there, and Dean of the Faculty of Human Studies. He has translated stories by Kleist and Keller for the Penguin Book of German Stories and has published monographs on Heinrich Heine and Friedrich Schiller.
Nigel Reeves was born in 1939 and graduated at Worcester College, Oxford, in 1963, taking his D.Phil. in 1970. He was an Alexander von Humboldt Fellow at the University of Tübingen and, since 1975, has been Professor of German at the University of Surrey. He is also Head of Department of Linguistic and International Studies there, and Dean of the Faculty of Human Studies. He has translated stories by Kleist and Keller for the Penguin Book of German Stories and has published monographs on Heinrich Heine and Friedrich Schiller.
Most helpful customer reviews
0 of 0 people found the following review helpful.
... to German Romantic literature and he most certainly deserves better recognition and appreciation from non-German readers
By Esteban Pirovano
Kleist is probably the most disturbing and disturbed personality to have contributed to German Romantic literature and he most certainly deserves better recognition and appreciation from non-German readers. I found these translations to be involving and enjoyable, although I am told by native German speakers as well as by those who possess a profound understanding of the language that the subtleties of Kleist's artistry are highly resistant to idiomatic translation.
23 of 23 people found the following review helpful.
From the Dark Horse of German Literature
By Flippy
Kleist is the great, dark shadow of the German literary world. Born into a military Prussian family, he chose a literary career over the glory, order and ritual of his ancestors. He became a poet instead of an officer. He wandered from city to city, in search of a home, of solitude, a place to cultivate himself and his literary talents. He worried his friends with his demonic thoughts on suicide. He had a morose character and yet he was equally passionate. Stefan Zweig suggested he suffered from being continually extreme in everything he did, "always the superlative".
This collection of stories is not to be dismissed. "Michael Kohlhaas" is perhaps the quintessential piece; a tale of revenge and the price of vengeance, it is a universal story, appealing to our earthly desire for an "eye for an eye, tooth for a tooth". Kleist creates a world of corruption of conflict. The reader wants revenge for the protagonist but how far can one man go to attain justice? What does he lose, what does he gain?
"The Earthquake in Chile" is another disturbing tale. In the wake of a natural disaster, we learn nothing changes the minds and mindsets of people. The earth shakes but the evil of humankind remains deeply rooted.
"The Betrothal in Santo Domingo" - One could see it as the companion piece to the above. In a world of war and rebellion, who can one trust?
"The Beggarwoman of Locarno" is perhaps the most subtle and haunting of ghost stories. Not only does it revel in the mysterious but it is a morality tale revealing the foibles and flaws of a darkened human spirit.
Kleist never became a high ranking officer in the Prussian military but he saw the world falling apart all around him. His stories are a reflection of the dark times he witnessed within his time and within his psyche.
17 of 17 people found the following review helpful.
Reluctant officer and suicidal gentleman
By H. Schneider
As a playwright, German classic Kleist sits on top of the Olymp, right up there with Goethe and Schiller. He also left a relatively small prose oeuvre behind when he died at 34 (in a suicide pact). An unpublished 2 volume novel is said to have disappeared. What we have is this bunch of stories and some journalism, and letters. He is a classic, but he was no classicist (hence no boredom like eg Goethe's Elective Affinities), and also no romantic. He belonged to no school but his own.
His stories take us into worlds of madness. Passions and restrictive social norms collide and cause endless havoc. A frequent motive is what we would call 'honor killings' nowadays: people, usually women, subjected to the extreme punishment for inappropriate relations.
The title story itself (set in Napoleonic times in Italy) is not quite as extreme in this regard: the Marquise 'only' gets expelled from her parents' home and ostracized, because she does not know how she got pregnant. Hard to believe, admittedly. Hardship steels her character and she attacks: she publishes an ad asking for the father to step up, she would forgive him and marry him. When he turns up it is a man whom she had had a crush on, a Russian count and officer who had saved her from rapists during the war, and had found her fainted. Well, well. Since he had been her angel, now he becomes her devil. But all in all, this is a comparatively sane story, as far as the protagonists go.
There is Kohlhaas, the horse trader who becomes a rebel and outlaw in protest against some junkers mistreating his horses and his servant. In a very German solution, he finds justice for the horses, but also for his crimes. Blind justice with her scale works both ways.
Two cases of honor killings:
A young convent woman in Chile in the 17th century gets sentenced to death for being pregnant, gets saved on the way to the scaffold by a huge earthquake, survives, meets the father of her child, believes to be safe, and goes back to Santiago. A mistake.
A noble woman in the 14th century in Germany is subjected to a Gottesurteil (God's verdict?) by duel when an accused murderer, a knight, claims her as his alibi; her admirer challenges the bad guy. A duel is set up which is supposed to decide over truth. If her friend loses, her denial is considered a lie and she will be burned.(Hard to believe, isn't it? But as Kleist wrote somewhere, probability is not always on the side of truth.)
More violence and madness: A mulatta teenage girl in Haiti during the slave rebellion after the French revolution falls in love with a French officer from Switzerland, who is a captive in the black household where she lives. She tries to save him, which would be her end by her own people. The couple makes romantic promises, but he misunderstands her tactics for liberating him (Swiss have a reputation for being slow sometimes), and kills her.
Kleist was his own world in literary matters, did not belong to anybody's school; he was also not in any political camp, definitely not in his 'own' camp, the Prussian military aristocracy that he ran away from. But also not among the freedom singers. His take on the slave rebellion is entirely unsympathetic.
What a pity the novel got lost.
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