The fragmentary work The Castle was published posthumously, against Franz Kafka’s instructions, by his friend Max Brod. Critics ever since have debated all aspects of it, from the textual problems to the interpretation of the highly suggestive symbolic structure. It is typical of Kafka’s works that a final definition of his symbols is impossible; like dreams, they combine references to the everyday world with absurd fantasies and seemingly coherent mythic structure with a discontinuity that frustrates attempts to develop a rational interpretation. The images Kafka conjures are compelling, but they seem ultimately to stand for themselves and not for any symbolic message.
A knowledge of Kafka’s circumstances in 1922 is germane to an understanding of The Castle. The author’s tuberculosis was so advanced that he knew he had not long to live and also the manner of his death. Placed by disease in the position of an outsider, Kafka could for the first time view personal and professional concerns with detachment. His imminent death gave him the freedom to rise above manner and restraint and, through his novel’s main character, K., to indulge his sense of humor with outrageous observations. K., who calls himself a land surveyor, takes a sharp look at his surroundings. Like Kafka himself, K., too, suffers from those paradoxical effects of advanced disease that leave a patient at once exhausted and impatient.
K.’s main counterpart in the novel is Frieda. Her name connotes Frieden, or peace, an irony because the couple has hardly a quiet moment together. Critics have seen in Frieda the fictional representation of Milena Jesenka-Polak, one of Kafka’s translators, who professed to love Kafka but ultimately would not leave her husband. The affair in the novel also reflects Kafka’s lifelong attitude toward marriage: Although conditioned by society to feel that he should marry, he repeatedly broke off relationships when it became evident that they would interfere with his writing.
In The Castle, Kafka criticizes the roles imposed on men and women by the society of his time. Too often, women were perceived mainly as sexual objects and expected to be subservient to and dependent on men. Kafka chose to make his strongest female character in his novel a liberated woman. Set up by her parents (in a frilly blouse and garnet necklace) to attract a husband, Amalia instead repudiates the direct sexual advance of a “gentleman” from the castle. Amalia is portrayed as a capable and talented individual, a person who does not need affiliation with a man to realize her potential.
Just as Kafka criticizes the societal reduction of women to a secondary role, so, too, does he criticize the expectation that men automatically fulfill a dominant role. Using the device of satire, he represents all figures of...
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