Michael Kolhaas
jan. 2000 · Siglo XXI
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Sus tempranas lecturas filosóficas, mientras hacía la carrera militar, lo condujeron al escepticismo más pesimista. En prosa escribió ocho magistrales relatos, entre ellos Michael Kolhaas, una joya poco conocida de la novelística del siglo XIX. Allí plasma angustiosamente la ansiedad de justicia frente a los señores feudales y el paroxismo de la venganza. A los 33 años, Kleist conoció a una bella mujer enferma incurable que le propuso el pacto suicida que lo llevó a la muerte
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The plays and stories of Heinrich von Kleist seem particularly modern, in that they show a world in which the individual can no longer rely on the institutions of society, the discoveries of science, or the revelations of religion. Instead, his characters can trust only in their intuition of some higher, though unknowable, providential purpose. At a time when the writers of German classicism counseled moderation and restraint, Kleist excelled in depicting elemental passions. He differed, however, from the writers of both Storm and Stress and romanticism in the austere character of his language and the almost clinical detachment of his narrative prose. Kleist was born into a distinguished though impoverished Prussian family. In 1799, he broke with family tradition by refusing to pursue a military career. For a while he wished to study natural science, but, in 1801, a reading of Kant precipitated a crisis by convincing him that knowledge was impossible. The rest of his tempestuous life was marked by generally unsuccessful attempts to establish himself in various vocations, including journalism and politics. He achieved some moderate success with his play Katchen von Heilbronn in 1810, but most of his work remained unappreciated. Prince Friedrich von Homburg, now his most celebrated play, was not to be discovered and published until 1821, a decade after the author's death by suicide. The suicide of Kleist brought him the attention that had been denied him in life. He was, almost immediately afterward, recognized as a significant writer, and his reputation has grown steadily ever since. David Luke and Nigel Reeves have written, "It is precisely Kleist's vulnerability and disequilibrium, his desperate challenge to established values and beliefs, that carry him further than Goethe and Schiller across the gap between the eighteenth century and our own age." Despite the great attention now given to the work of Kleist in Germany, he remains largely unknown to the American public. In Japan and Korea, however, in part because of cultural affinities, he is extremely popular.
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