The necessity of speaking of dancers with exclamation marks. Because in that way one imitates their motion, because one remains in the rhythm and the thought does not then interfere with the enjoyment, because then the action always comes at the end of the sentence and prolongs its effect better.
From Franz Kafka’s diary entry, 16 March 1912.
30 October. In the afternoon to the theatre, Pallenberg.
The possibilities within me, I won’t say to act or write The Miser, but to be the miser himself. It would need only a sudden determined movement of my hands, the entire orchestra gazes in fascination at the spot above the conductor’s stand where the baton will rise.
Feeling of complete helplessness.
What is it that binds you more intimately to these impenetrable, talking, eye-blinking bodies than to any other thing, the penholder in your hand, for example? Because you belong to the same species? But you don’t belong to the same species, that’s the very reason why you raised this question.
The impenetrable outline of human bodies is horrible.
The wonder, the riddle of my not having perished already, of the silent power guiding me. It forces one to this absurdity: ‘Left to my own resources, I should have long ago been lost.’ My own resources.
From Franz Kafka’s diary entry of October 30, 1921.