The Trial

The Trial (original German title: Der Process,[1] later Der Proceß, Der Prozeß and
The Trial
Der Prozess) is a novel written by Franz Kafka between 1914 and 1915 and
published posthumously in 1925. One of his best-known works, it tells the story of
Josef K., a man arrested and prosecuted by a remote, inaccessible authority, with the
nature of his crime revealed neither to him nor to the reader. Heavily influenced by
Dostoyevsky's Crime and Punishment and The Brothers Karamazov, Kafka even
went so far as to call Dostoyevsky a blood relative.[2] Like Kafka's other novels, The
Trial was never completed, although it does include a chapter which brings the story
to an end.

After Kafka's death in 1924 his friend and literary executor Max Brod edited the text
for publication by Verlag Die Schmiede. The original manuscript is held at the
Museum of Modern Literature, Marbach am Neckar, Germany. The first English
language translation, by Willa and Edwin Muir, was published in 1937.[3] In 1999,
the book was listed inLe Monde's 100 Books of the Centuryand as No. 2 of the Best
German Novels of the Twentieth Century.

First edition dustjacket

Contents Author Franz Kafka
Plot Original title Der Process[1]
Characters Language German
Interpretation
Genre Philosophical fiction
Relations to other texts by Kafka
Individual aspects Dystopian fiction
Short text analysis
Absurdist fiction
Diversity of interpretations
A few selected aspects of interpretation Paranoid fiction

Film adaptations Publisher Verlag Die Schmiede,

Radio adaptations
Berlin

Stage adaptations Publication 1925

date
Selected publication history
References
External links

Plot
On his thirtieth birthday, the chief cashier of a bank, Josef K., is unexpectedly arrested by two unidentified agents from an
unspecified agency for an unspecified crime. The agents' boss later arrives and holds a mini-tribunal in the room of K.'s neighbor,
Fräulein Bürstner. K. is not taken away, however, but left "free" and told to await instructions from the Committee of Af
fairs. He goes
to work, and that night apologizes to Fräulein Bürstner for the intrusion into her room. At the end of the conversation he suddenly
kisses her.
K. receives a phone call summoning him to court, and the coming Sunday is arranged as the date. No time is set, but the address is
given to him. The address turns out to be a huge tenement building. K. has to explore to find the court, which turns out to be in the
attic. The room is airless, shabby and crowded, and although he has no idea what he is charged with, or what authorizes the process,
K. makes a long speech denigrating the whole process, including the agents who arrested him; during this speech an attendant's wife
and a man engage in sexual activities. K. then returns home.

K. later goes to visit the court again, although he has not been summoned, and finds that it is not in session. He instead talks with the
attendant's wife, who attempts to seduce him into taking her away, and who gives him more information about the process and offers
to help him. K. later goes with the attendant to a higher level of the attic where the shabby and airless fices
of of the court are housed.

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 and as a result of complaints K. made at court. 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 was K.'s guardian. The uncle seems distressed by K.'s predicament. At first sympathetic, he becomes
concerned that K. is underestimating the seriousness of the case. The uncle introduces K. to a lawyer, who is attended by Leni, a
nurse, whom K.'s uncle suspects is the advocate's mistress. During the discussion it becomes clear how different this process is from
regular legal proceedings: guilt is assumed, the bureaucracy running it is vast with many levels, and everything is secret, from the
charge, to the rules of the court, to the authority behind the courts – even the identity of the judges at the higher levels. The attorney
tells him that he can prepare a brief for K., but since the charge is unknown and the rules are unknown, it is difficult work. It also
never may be read, but is still very important. The lawyer says that his most important task is to deal with powerful court officials
behind the scenes. As they talk, the lawyer reveals that the Chief Clerk of the Court has been sitting hidden in the darkness of a
corner. The Chief Clerk emerges to join the conversation, but K. is called away by Leni, who takes him to the next room, where she
offers to help him and seduces him. They have a sexual encounter. Afterwards K. meets his uncle outside, who is angry, claiming that
K.'s lack of respect has hurt K.'s case.

K. visits the lawyer several times. The lawyer tells him incessantly how dire his situation is and tells many stories of other hopeless
clients and of his behind-the-scenes efforts on behalf of these clients, and brags about his many connections. The brief is never
completed. K.'s work at the bank deteriorates as he is consumed with worry about his case.

K. is surprised by one of his bank clients, who tells K. that he is aware that K. is dealing with a trial. The client learned of K.'s case
from Titorelli, a painter, who has dealings with the court and told the client about K.'s case. The client advises K. to go to Titorelli for
advice. Titorelli lives in the attic of a tenement in a suburb on the opposite side of town from the court that K. visited. Three teenage
girls taunt K. on the steps and tease him sexually. Titorelli turns out to be an official painter of portraits for the court (an inherited
position), and has a deep understanding of the process. K. learns that, to Titorelli's knowledge, not a single defendant has ever been
acquitted. He sets out K.'s options and offers to help K. with either. The options are: obtain a provisional verdict of innocence from
the lower court, which can be overturned at any time by higher levels of the court, which would lead to re-initiation of the process; or
curry favor with the lower judges to keep the process moving at a glacial pace.itorelli
T has K. leave through a small back door,as the
girls are blocking the door through which K. entered. To K.'s shock, the door opens into another warren of the court's offices – again
shabby and airless.

K. decides to take control of matters himself and visits his lawyer with the intention of dismissing him. At the lawyer's office he
meets a downtrodden individual, Block, a client who of
fers K. some insight from a client's perspective. Block's case has continued for
five years and he has gone from being a successful businessman to being almost bankrupt and is virtually enslaved by his dependence
on the lawyer and Leni, with whom he appears to be sexually involved. The lawyer mocks Block in front of K. for his dog-like
subservience. This experience further poisons K.'s opinion of his lawyer
. (This chapter was left unfinished by the author
.)
K. is asked by the bank to show an Italian client around local places of cultural interest, but the Italian client, short of time, asks K. to
take him only to the cathedral, setting a time to meet there. When the client does not show up, K. explores the cathedral, which is
empty except for an old woman and a church official. K. notices a priest who seems to be preparing to give a sermon from a small
second pulpit, and K. begins to leave, lest it begin and K. be compelled to stay for its entirety. Instead of giving a sermon, the priest
calls out K.'s name. K. approaches the pulpit and the priest berates him for his attitude toward the trial and for seeking help,
especially from women. K. asks him to come down and the two men walk inside the cathedral. The priest works for the court as a
chaplain and tells K. a fable (which was published earlier as "Before the Law") that is meant to explain his situation. K. and the priest
discuss the parable. The priest tells K. that the parable is an ancient text of the court, and many generations of court officials have
interpreted it differently.

On the eve of K.'s thirty-first birthday, two men arrive at his apartment. He has been waiting for them, and he offers little resistance –
indeed the two men take direction from K. as they walk through town. K. leads them to a quarry where the two men place K's head
on a discarded block. One of the men produces a double-edged butcher knife, and as the two men pass it back and forth between
them, the narrator tells us that "K. knew then precisely, that it would have been his duty to take the knife... and thrust it into himself."
He does not take the knife. One of the men holds his shoulder and pulls him up and the other man stabs him in the heart and twists
the knife twice. K.'s last words are: "Like a dog!".

Characters
Josef K. – The tale's protagonist.
Fräulein Bürstner – A boarder in the same house as Josef K. She lets him kiss her one night, but then rebuf fs his
advances. K. briefly catches sight of her, or someone who looks similar to her, in the final pages of the novel.
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 .
Willem and Franz – Officers who arrest K. one morning but refuse to disclose the crime he is said to have
committed.
Inspector – Man who conducts a proceeding at Josef K.'s boardinghouse to inform K. ficially of that he is under
arrest.
Rabinsteiner, Kullich and Kaminer– Junior bank employees who attend the proceeding at the boardinghouse.
Frau Grubach – The proprietress of the lodging house in which K. lives. She holds K. in high esteem, despite his
arrest.
Woman in the Court – In her house happens the first judgment of K. She claims help from K. because she doesn't
want to be abused by the magistrates.
Student – Deformed man who acts under orders of the instruction judge. Will be a powerful man in the future.
Instruction Judge – First Judge of K. In his trial, he confuses K. with a W all Painter.
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 .
Albert – Office director at the court and a friend of Huld.
Flogger – Man who punishes Franz and Willem in the Bank after K.'s complaints against the two agents in his first
Judgement.
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 iVce-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.
Manufacturer – Person who hears about K.'s case and advises him to see a painter who knows how the court
system works.
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 of fers to help K., and manages to unload a few identical
 landscape paintings on the accused man.
Priest – Prison chaplain whom K. encounters in a church. The priest advises K. that his case is going badly and tells
him to accept his fate.
Doorkeeper and Farmer– The characters of the Chaplain's T ale.

Interpretation
The Trial can be interpreted from various different angles, and literary critics have not agreed on one clear-cut interpretation.
Generally, there are five major perspectives[4]:

biographical
historical-critical: against the background of the social tensions inAustria-Hungary prior to the outbreak ofWorld War
I
religious: especially regarding Kafka’s Jewish descent
psychoanalytical: The Trial as a symbol of the awareness and projection of an inner process (in German, the word
Prozess can refer to both a trial and a process)
political and sociological: as a criticism of an autonomous and inhumanbureaucracy and of a lack of civil rights
Concerning these categories, however, there is one important point that should not be overlooked. Although the diverse studies
theorizing about the novel provide valuable insights, they are often impeded by the critics' eagerness to squeeze these insights into a
frame which, ultimately, is beyond the novel's text.[5] This, by the way, is not a phenomenon unique to The Trial. Kafka’s novel The
Castle shows similar tendencies as well. Only later interpretations, e.g. by the German writer Martin Walser, express an increasing
demand for a strictly text-based view.[6] Current works, e.g. by the contemporary literary critic Peter-André Alt, go into the same
direction.

Relations to other texts by Kafka

The myth of guilt and judgement discussed in The Trial has its cultural roots in the Hasidic tradition, where tales of plaintiff and
defendant, heavenly judgement and punishment, unfathomable authorities and obscure char
ges are not uncommon.

First of all, there are many parallels between Kafka’s The Trial and his other major novel, The Castle. In both novels, the protagonist
wanders through a labyrinth that seems to be designed to make him fail or even seems to have no relation to him at all.[7] Ill,
bedridden men explain the system in lengthy terms. Erotically char
ged female figures turn to the protagonist in a demanding way
.

Written around the same time, in October 1914, the short story In the Penal Colony bears close resemblance to The Trial. In both
cases, the delinquent does not know what he is charged with. A single person – an officer with a gruesome machine – seems to be
accuser, judge and executioner in one.

The idea that a single executioner could be enough to arbitrarily replace the entire court is exactly what Josef K. is frightened
about.[8]

Three years later, Kafka wrote the parable The Knock at the Manor Gate, which almost appears to be an abridged version of The
Trial. An action is brought out of nowhere or without any reason and it ends in a disastrous entanglement and inevitable punishment.
Fate strikes the narrator by chance in the middle of everyday life. Kafka scholar Ralf Sudau states that "[a] sense of punishment or
perhaps an unconscious demand for punishment [...] and a tragic or absurd downfall are signalled in this context." ("Ein Vorgefühl
von Strafe oder vielleicht ein unbewußtes Strafverlangen [...] und ein tragischer oder absurder Untergang werden dabei
signalisiert.")

Individual aspects

Short text analysis

For Josef K., the court is an anonymous and unfamiliar power. Unlike the courthouse in the Palace of Justice, this court is
characterized by widely branched, impenetrable hierarchies. There seems to be an infinite number of instances and K. only gets in
contact with the lowest ones. In spite of his efforts, K. is unable to discover the court's nature. The clergyman’s words in the cathedral
(“The court doesn’t want anything from you. It takes you in when you come and sets you free when you leave”) don’t provide any
help. Could K. simply evade the court? His reality looks dif
ferent. For K., the court remains mysterious and not really explicable.

Josef K. has to confront a cold world that puts him of

f. While the main character in Kafka’s parable Before the Law is asking flees for
help, Josef K. turns to women, a painter and advocates to help him. However
, they only feign their influence and keep him waiting. In
this way, the people K. is asking for help act like the door-keeper in said parable. They all accept presents from the main character,
but only to put him off and to not disillusion himin believing that acting in this way will help his cause.

Diversity of interpretations
Like in Kafka's novel The Castle, the range of manifold interpretations may only be covered selectively and not conclusively
.

One possible interpretative approach is to read the novel autobiographically. This claim is supported by the similarities in the initials
of Fräulein Bürstner and Felice Bauer. Elias Canetti points out that the intensely detailed description of the court system hints at
Kafka’s work as an insurance lawyer.[9]

Theodor W. Adorno takes the opposite view. According to him, The Trial does not tell the story of an individual fate but rather
.[10]
contains wide-reaching political and visionary aspects and can be read as a vision predicting the Nazi terror

German scholar Claus Hebell offers a synthesis of these two positions and demonstrates that the negotiating strategy used by the
bureaucratic court system during the process to demoralize Kafka is reminiscent of the deficiencies in the
Austro-Hungarian Empire’s
judicial system.[11]

A few selected aspects of interpretation

Over the course of the novel, it becomes evident that K. and the court do not face each other as distinct separate entities but that they
are interweaved. This interweaving between K. and the court system increasingly intensifies throughout the novel. Towards the end
of The Trial, K. realizes that everything that is happening stems from his inner self[12] and is the result of feelings of guilt and
fantasies of punishment.

Worth mentioning is also the dreamlike component of the events: Like in a dream, K.'s interior and exterior world intermingle.[13] A
transition from the fantastic-realistic to the allegorical-psychological level can be made out. Even K.’s working environment is
increasingly undermined by the fantastic, dreamlike world. It is, for example, a work order that leads to K.’s encounter with the
priest.

Sexual references

The protagonist's feelings of guilt are likely to be rooted in the views on sexuality that prevailed at the beginning of the 20th century
and are mirrored in the works of Sigmund Freud. According to Peter-André Alt, "sexuality and K.'s trial are connected in remarkable
ways." Women are portrayed as sirens, the representatives of the court as lecherous. K. himself cannot control his lust for Fräulein
Bürstner.

Furthermore, critics identified homoerotic elements in the text, for instance K.'s ironic and almost loving view of his director. Elegant
or tight-fitting clothes on men are mentioned several times throughout the novel. The half-naked flogger punishing the officers
Willem and Franz, who are naked as well, resemblessadomasochism.

The Trial as a humorous story

According to Kafka's friends, he laughed out loud several times while reading from his book.[14] It is thus reasonable to look for
humorous aspects in The Trial despite its dark and serious essence.
This phenomenon is also addressed by Kafka biographer Reiner Stach: The Trial "is gruesome in its entirety, but comical in its
details."[15] The judges read porn magazines instead of law books and send for women as if they were ordering a splendid meal on a
tray. The executioners look like ageing tenors. Due to a hole in the floor of one of the courtrooms, an advocate's leg protrudes into the
room below from time to time.

Film adaptations
In the 1962 film adaptation by Orson Welles, Josef K. is played by Anthony Perkins and The Advocate by Welles
himself.
Martin Scorsese's 1985 film After Hours contains a scene adapted from "Before the Law", in which the protagonist is
trying to get into a nightclub called Club Berlin.
The 1993 film of The Trial was based on Harold Pinter's screenplay adaptation and starredKyle MacLachlan as
Josef K and Anthony Hopkins as The Priest.
The 2017 science fiction filmBlade Runner 2049 features a protagonist named Agent K, who is also referred to as
"Joe" .[16]

Radio adaptations
On May 19, 1946, Columbia Workshop broadcast an adaptation ofThe Trial by Davidson Taylor with an original
musical score by Bernard Herrmann and starring Karl Swenson as Joseph K.[17]
In 1982, Mike Gwilym starred as Josef K withMiriam Margolyes as Leni in an adaptation onBBC Radio 4
dramatised for radio byHanif Kureishi.[18]
Sam Troughton starred as Joseph Kay in a new adaptation byMark Ravenhill titled The Process directed by Polly
Thomas and broadcast on 10 May 2015 onBBC Radio 3's Drama on 3 program.[19]

Stage adaptations
The writer and directorSteven Berkoff adapted several of Kafka's novels into plays and directed them for stage. His
version of The Trial was first performed in 1970 in London and published in 1981. [20]

Israeli director Rina Yerushalmi adapted The Trial (paired with Samuel Beckett's Malone Dies) for a production called
Ta, Ta, Tatata presented in June 1970 atLa MaMa Experimental Theatre Club.
Chicago based writer, Greg Allen, wrote anddirected K., based on The Trial. It was produced by The Hypocrites and
ran for several months in 2010 at The Chopin Theater in Chicago. [21]

Joseph K, written by Tom Basden and based on The Trial, takes place in modern-day London, with the protagonist
cast as a City banker. It ran at the Gate Theatre, Notting Hill, London, in late 2010.[22]
Gottfried von Einem wrote an opera, Der Prozeß, based on the novel. Its American debut was directed byOtto
Preminger.
The writer Serge Lamothe adapted The Trial for the stage. Directed byFrançois Girard, his version of The Trial was
first performed in 2004 in Montreal and Ottawa, Canada, and published in 2005.
Between June and August 2015The Young Vic theatre in London staged a version ofThe Trial adapted by Nick Gill
and starring Rory Kinnear as K.[23]

Selected publication history

Everyman's Library, 30 June 1992, Translation: Willa and Edwin Muir, ISBN 978-0-679-40994-6
Schocken Books, 25 May 1999, Translation: Breon Mitchell,ISBN 978-0-8052-0999-0 Translator's preface is
available online[24]
Dover Thrift Editions, 22 July 2009, Translation: David Wyllie, ISBN 978-0-486-47061-0
Oxford World's Classics, 4 October 2009, Translation: Mike Mitchell,ISBN 978-0-19-923829-3
Penguin Modern Classics, 29 June 2000, Translation: Idris Parry, ISBN 978-0-14-118290-2
Vitalis-Verlag, 15 September 2012, Translation: Susanne Lück and Maureen Fitzgibbons,ISBN 978-80-7253-298-8

References
Notes

1. Kafka himself always used the spellingProcess; Max Brod, and later other publishers, changed it. SeeFaksimile
Edition (http://www.textkritik.de/fka/dokumente/process.htm).
2. Bridgwater, Patrick (2003). Kafka: Gothic andFairytale. Rodopi. p. 9.ISBN 978-90-420-1194-6.
3. Coetzee, J. M. (1998-05-14). "Kafka: Translators on Trial" (http://www.nybooks.com/articles/archives/1998/may/14/k
afka-translators-on-trial/). The New York Review of Books. Retrieved 2015-05-22.
4. Krieschel, p. 108–110
5. M.Müller /von Jagow p. 528
6. Krieschel p. 111
7. Louis Begley p. 297
8. Cerstin Urban p. 43.
9. von Jagow/Jahrhaus/Hiebel reference to Canetti:Der andere Prozess. p. 458.
10. von Jagow/Jahrhaus/Hiebel reference to Adorno:Aufzeichnungen zu Kafka.p. 459.
11. Claus Hebell: Rechtstheoretische und geistesgeschichtliche V
oraussetzungen für das Werk Franz Kafkas, analysiert
an dem Roman „Der Prozeß“.Doctoral thesis, Munich 1981,ISBN 978-3-631-43393-5, (Online (http://uni-coach-und-
texter.de/der-roman-der-prozess-von-franz-kafka-umsetzung-konkreter-strafjustiz-in-die-romanstruktur-von-claus-he
bell/))
12. Peter-André Alt, p. 417.
13. von Jagow/Jahrhaus/Hiebel, p. 462.
14. Max Brod's Franz Kafka. Eine Biographie(1974 edition Über Franz Kafka)
15. Reiner Stach/Entscheidungen p. 554
16. https://medium.com/@_tomchristie/inside-the-kaleidoscope-mirrored-heart-of-blade-runner-2049-62ee229acc14
17. http://www.digitaldeliftp.com/DigitalDeliToo/dd2jb-Columbia-Workshop.html
18. "BBC Radio 4 Extra – Franz Kafka –The Trial" (http://www.bbc.co.uk/programmes/b04k6p4c). BBC.
19. "BBC Radio 3 – Drama on 3,The Process" (http://www.bbc.co.uk/programmes/b05tpnkk). BBC.
20. Berkoff, Steven. "The Trial, Metamorphosis, In the Penal Colony. Three theatre adaptions from Franz Kafka." Oxford:
Amber Lane Press, 1981.
21. "'K.' by The Hypocrites: Greg Allen's 'K.' can be unfeeling, but it showed the way"
(http://leisureblogs.chicagotribune.
com/the_theater_loop/2010/10/k-by-the-hypocrites-greg-allens-k-can-be-unfeeling-but-it-showed-the-way .html) by
Chris Jones, Chicago Tribune (26 October 2010)
22. "Joseph K – review" (https://www.theguardian.com/stage/2010/nov/17/joseph-k-review) by Lynn Gardner, The
Guardian (17 November 2010)
23. Billington, Michael (28 June 2015). "The Trial review – a punishing Kafkaesque experience" (https://www.theguardia
n.com/stage/2015/jun/28/the-trial-review-a-punishing-kafkaesque-experience) . The Guardian. Retrieved 1 April
2016.
24. "Afterword: Breon Mitchell"(https://web.archive.org/web/20141225182218/http://www .conjunctions.com/archives/c30
-fk.htm). Conjunctions.com. Archived fromthe original (http://www.conjunctions.com/archives/c30-fk.htm) on 25
December 2014. Retrieved 27 November 2014.

Bibliography

Engel, Manfred: "Der Process". In: Manfred Engel, Bernd Auerochs (eds.):Kafka-Handbuch. Leben – Werk –
Wirkung. Stuttgart, Weimar: Metzler 2010, 192–207.ISBN 978-3-476-02167-0
Jirsa, Tomáš: "Reading Kafka Visually: Gothic Ornament and the Motion of Writing in Kafka's Der Process". Central
Europe, vol. 13, no. 1–2, 36–50.doi:10.1080/14790963.2015.1107322
Schuman, Rebecca. "“Unerschütterlich”: Kafka's Proceß, Wittgenstein's T
ractatus, and the Law of Logic." The
German Quarterly. Volume 85, Issue 2, Spring 2012, Pages 156-172. 1 May 2012. DOI10.1111/j.1756-
1183.2012.00143.x.

External links
 The Trial: A Study Guide
The Trial at Literapedia

The Trial at Project Gutenberg

The Trial movie at liketelevision.com
Der Prozeß, original text in German
Le Procès (1962) on IMDb
The Trial (1993) on IMDb
SparkNotes
Kafka's parable "Before the Law"
The Trial map

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