The Trial is a novel by Franz Kafka about a character named Josef K., who awakens one morning and, for reasons never revealed, is arrested and subjected to the rigours of the judicial process for an unspecified crime.
Like Kafka's other novels, The Trial was left unfinished at his death, and was never intended to be published. Its manuscript was rescued by his friend Max Brod. It was first published in German in 1925 as Der Prozeß.
Easton Press editions
The Trial - Library of Famous Editions - 1992
The Trial - Great Books of The Twentieth Century - 1995
Franklin Library editions
The Trial - Greatest Books of the Twentieth Century - 1978
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The Trial is a chilling story that maintains a constant, relentless atmosphere of unease, right up to the brutal ending. Superficially the subject matter is political, as an illustration of a totalitarian and arbitrarily harsh government. However, the power of the novel is in its description of the effect of these circumstances on the life and mind of Josef K. If it were published today it might be described as a paranoid thriller, but it is unusually uncompromising and depressing by modern standards.
The novel with the most obvious resemblance to The Trial is George Orwell's Nineteen Eighty-Four. Both tales describe the struggle of an ordinary man against a faceless bureaucracy.
The Trial Summary
As the novel was never completed, certain inconsistencies exist within the novel, such as disparities in timing in addition to other flaws in narration.)
On his thirtieth birthday, a senior bank clerk, Josef K., who lives in lodgings, is unexpectedly arrested by two unidentified agents for an unspecified crime. The agents do not name the authority for which they are acting. He is not taken away, however, but left at home to await instructions from the Committee of Affairs.
K. goes to visit the magistrate, but instead is forced to have a meeting with an attendant's wife. Looking at the Magistrate's books, he discovers a cache of pornography.
K. returns home to find Fräulein Montag, a lodger from another room, moving in with Fräulein Bürstner. He suspects that this is to prevent him from pursuing his affair with the latter woman. Yet another lodger, Captain Lanz, appears to be in league with Montag.
Later, in a store room at his own bank, K. discovers the two agents who arrested him being whipped by a flogger for asking K. for bribes, as a result of complaints K. previously made about them to the Magistrate. K. tries to argue with the flogger, saying that the men need not be whipped, but the flogger cannot be swayed. The next day he returns to the store room and is shocked to find everything as he had found it the day before, including the Whipper and the two agents.
K. is visited by his uncle, who is a friend of a lawyer. The lawyer was with the Clerk of the Court. The uncle seems distressed by K.'s predicament. At first sympathetic, he becomes concerned K. is underestimating the seriousness of the case. The uncle introduces K. to an advocate, who is attended by Leni, a nurse, who K.'s uncle suspects is the advocate's mistress. K. has a sexual encounter with Leni, whilst his uncle is talking with the Advocate and the Chief Clerk of the Court, much to his uncle's anger, and to the detriment of his case.
K. visits the advocate and finds him to be a capricious and unhelpful character. K. returns to his bank but finds that his colleagues are trying to undermine him.
K. is advised by one of his bank clients to visit Titorelli, a court painter, for advice. Titorelli has no official connections, yet seems to have a deep understanding of the process. K. learns that, to Titorelli's knowledge, not a single defendant has ever been acquitted. He sets out what K.'s options are, but the consequences of all of them are unpleasant: they consist of different delay tactics to stretch out his case as long as possible before the inevitable "Guilty" verdict. Titorelli instructs K. that there's not much he can do since he doesn't know of what crime he has been accused.
K. decides to take control of his own life and visits his advocate with the intention of dismissing him. At the advocate's office he meets a downtrodden individual, Block, a client who offers K. some insight from a client's perspective. Block's case has continued for five years and he appears to have been virtually enslaved by his dependence on the advocate's meaningless and circular advice. The advocate mocks Block in front of K. for his dog-like subservience. This experience further poisons K.'s opinion of his advocate, and K is bemused as to why his advocate would think that seeing such a client, in such a state, could change his mind. (This chapter was left unfinished by the author.)
K. is asked to tour an Italian client around local places of cultural interest, but the Italian client short of time asks K. to tour him around only the cathedral, setting a time to meet there. When the client doesn't show up, K. explores the cathedral which is empty except for an old woman and a church official. K. decides to leave as a priest K. notices seems to be preparing to give a sermon from a small second pulpit, lest it begin and K. be compelled to stay for its entirety. Instead of giving a sermon, the priest calls out K.'s name, although K. has never known the priest. The priest works for the court, and tells K. a fable, (which has been published separately as Before the Law) that is meant to explain his situation, but instead causes confusion, and implies that K.'s fate is hopeless. Before the Law begins as a parable, then continues with several pages of interpretation between the Priest and K. The gravity of the priest's words prepares the reader for an unpleasant ending.
Over the course of the year, the stress of the case weighs on K. He begins a gradual decline from confident to a nervous state similar to that of the client, Block, and those of other broken defendants K. meets in the explosively hot law offices. At the bank, he is humiliated by his inability to handle an important client as he is constantly exhausted from worry.
On the last day of K.'s thirtieth year, two men arrive to execute him. He offers little resistance, suggesting that he has realised this as being inevitable for some time. They lead him to a quarry where he is expected to kill himself, but he cannot. The two men then execute him. His last words describe his own death: "Like a dog!"
The Trial Characters
The protagonist Josef K. - The chief clerk of a bank who is arrested and prosecuted by an inaccessible authority, without the nature of the crime of which he is accused revealed to him.
Fräulein Bürstner - A boarder in the same house as Josef K. She lets him kiss her one night, but then rebuffs his advances. She makes a brief reappearance in the novel's final pages.
Fräulein Montag - Friend of Fräulein Bürstner, she talks to K. about ending his relationship with Fräulein Bürstner after his arrest. She claims she can bring him insight, because she is an objective third party.
Frau Grubach - The proprietress of the lodging house in which K. lives. She holds K. in high esteem, despite his arrest.
Uncle Karl - K.'s impetuous uncle from the country, formerly his guardian. Upon learning about the trial, Karl insists that K. hire Herr Huld, the lawyer.
Herr Huld, the Lawyer - K.'s pompous and pretentious advocate who provides precious little in the way of action and far too much in the way of anecdote.
Leni - Herr Huld's nurse, she has feelings for Josef K. and soon becomes his lover. She shows him her webbed hand, yet another reference to the motif of the hand throughout the book. Apparently, she finds accused men extremely attractive—the fact of their indictment makes them irresistible to her.
Vice-President - K.'s unctuous rival at the Bank, only too willing to catch K. in a compromising situation. He repeatedly takes advantage of K.'s preoccupation with the trial to advance his own ambitions.
President - Manager of the Bank. A sickly figure, whose position the Vice-President is trying to assume. Gets on well with K., inviting him to various engagements.
Rudi Block, the Merchant - Block is another accused man and client of Huld. His case is five years old, and he is but a shadow of the prosperous grain dealer he once was. All his time, energy, and resources are now devoted to his case, to the point of detriment to his own life. Although he has hired five additional lawyers on the side, he is completely and pathetically subservient to Huld.
Titorelli, the Painter - Titorelli inherited the position of Court Painter from his father. He knows a great deal about the comings and goings of the Court's lowest level. He offers to help K., and manages to unload a few identical landscape paintings on the accused man.
The Trial analysis
Kafka intentionally set out to write parables, not just novels, about the human condition. The Trial is a parable that includes the smaller parable Before the Law. There is clearly a relationship between the two but the exact meaning of either parable is left up to the individual reader. K. and the Priest discuss the many possible readings. Both the short parable and their discussion seem to indicate that the reader is much like the man at the gate; there is a meaning in the story for everyone just as there is one gate to the Law for each person.
The parable within Kafka's masterpiece highlights perfectly the essence of his philosophy. Assigned unique roles in life, individuals must search deep within the apparent absurdity of existence to achieve spiritual self-realisation. The old man, therefore, is the symbol of this universal search inherent to mankind. 'The Trial' is not simply a novel about the potential disaster of over-bureaucratisation in society; it is an exploration of the personal and, particularly, spiritual, needs of human beings.
Bureaucracy
The Trial is both a chilling and blackly amusing tale that maintains a constant, relentless atmosphere of disorientation and quirkiness, right up to the surreal ending. Superficially the subject matter is bureaucracy: an illustration of a truly twisted yet realistic brand of law and church. However, one of the strengths of the novel is in its description of the effects of these circumstances on the life and mind of Josef K. It presents the absurdity of "normal" human nature, of acting upon one manic thought after another and chasing along with surprise after surprise, yet without direction and without result.
Humanity
When analyzing The Trial, it is useful to note that the end of the novel, the death scene, was the first part written by Kafka. K. is never told what he is on trial for, and he maintains his innocence almost to the end. Upon declaring his innocence, he is immediately questioned "innocent of what?" Is it that Josef K. is on trial for his innocence? By confessing his guilt as a human being, perhaps Josef K. could have freed himself from the proceedings. Perhaps the trial against K. was set up because he was incapable of admitting his guilt, and, by extension, his humanity? This theme of not being human, of there not being anything to point to as the "human race", is a theme that Kafka explores throughout his works, one that keeps the book fresh, prompting a questioning of the arbitrary customs and beliefs of life which can appear, in a certain light, just as bizarre as the occurrences in K's life.
Marriage and Social Relations
Another interpretation is offered by Kafka's diary around the time he began to write the novel. In 1914, he entered into an engagement with Felice Bauer. In a letter to Felice, he compared their nuptial to a couple who, during the terror after the French Revolution, had been tied together upon the scaffold for execution. He visited Felice in Berlin a few times during that year. On the last occasion, that of the official engagement ceremony, he notes in his diary that it was like trial-and-judgement, in which others decided upon the course his life took while he himself was kept aside. A subsequent visit to Felice involved much disputation during which he was again sidelined. Eventually, it was decided that the engagement should be broken off. Kafka described his letter of farewell written on the eve of the first World War as his "speech from the gallows." He himself, it seems, found the prospect of marriage a threat to the sustenance he received from writing. His writing was mainly done at night, a time at which he would have been expected to sleep with his wife.
In this biographical interpretation it would seem that The Trial parallels Kafka's engagement, and his entering into serious social relations. Such a reading accounts for Josef K's willingness to partake in his own execution, since it mirrors the end of the engagement; that is, the end of Kafka as a "human", as a familial member of society and an ancestor. It also accounts for the bizarre, subdued sexual tension of "The Trial", with the scattered sexual interludes reflecting his private encounters with Felice on his visits to Berlin for the aforementioned family meetings. Such an interpretation accounts for the correspondence between the book and Kafka's life at the time, though the themes explored reach beyond this superficial similarity to Kafka's broader thoughts on society, family, and writing, which must have arisen at such a cross-roads in Kafka's life. The Koanic story related by the prison chaplain, of the man waiting for admittance by a stern doorman to the Court, is especially relevant to this.
K's execution is seemingly his triumph, in that he realised the constant deferment implicit in his desire for "admittance to the Law" and instead accepted his fate without withering like the old man waiting his whole life at the door of the Court in the chaplain's story. Kafka too at this time accepted the execution or closure upon himself as a "human", deciding he would not lead the life chosen for him but one in his own strange world.
Jewish Identity
Another way to interpret The Trial is to consider what Jean-Paul Sartre has to say about it in his book Anti-Semite and Jew: An Exploration of the Etimology of Hate. As the title suggests, the book relates the way Jews receive a world marred with anti-Semitism. Jewish life in such a world, Sartre argues, is similar to the way K. experienced it, and the way Kafka may have experienced it as well. According to Sartre:
"This is perhaps one of the meanings of The Trial by the Jewish Kafka. Like the hero of that novel, the Jewish person is engaged in a long trial. He does not know his judges, scarcely even his lawyers; he does not know what he is charged with, yet he knows that he is considered guilty; judgment is continually put off for a week, two weeks he takes advantage of these delays to improve his position in a thousand ways, but every precaution taken at random pushes him a little deeper into guilt. His external situation may appear brilliant, but the interminable trial invisibly wastes him away, and it happens eventually ... that men seize him, carry him off on the pretense that he has lost his case, and murder him in some vague area of the suburbs."
Source and additional information: The Trial
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