Critical Essays Kafka's Jewish Influence

Prague was steeped in the atmosphere of Jewish learning and writing until the social and political turmoil of the collapsing Austrian Empire put an end to its traditional character. The first Jews had come to Prague in the tenth century, and the earliest written document about what the city looked like was by a Jewish traveler. According to him, Prague was a cultural crossroads even then. Pulsating with life, the city produced many a lingering myth during the subsequent centuries, and they, in turn, added to its cultural fertility. The myth of the golem is probably its most well known: golem ("clay" in Hebrew) was the first chunk of inanimate matter that the famed Rabbi Loew, known for his learnedness as well as his alchernistic pursuits, supposedly awakened to actual life in the late sixteenth century. This myth fathered a whole genre of literature written in the haunting, semi-mystical atmosphere of Prague's Jewish ghetto. It is this background, medieval originally, but with several layers of subsequent cultural impulses superimposed on it, that pervades the world of Franz Kafka, supplying it with a very "real" setting of what is generally and misleadingly known as "Kafkaesque unrealness."

One of the unresolved tensions that is characteristic of Kafka's work occurs between his early (and growing) awareness of his Jewish heritage and the realization that modern Central European Jewry had become almost wholly assimilated. This tension remained alive in him quite apart from his situation as a prominent member of the Jewish-German intelligentsia of Prague. The problem concerned him all the more directly because his family clung to Jewish traditions only in a superficial way. Although perhaps of a more orthodox background than her husband — and therefore not quite so eager to attain total assimilation into gentile society — even Kafka's mother made no great effort to cherish Jewish ways. On one level, then, Kafka's animosity toward his father and his entire family may be explained by his mounting interest in his Jewish heritage which they did not share.

Kafka felt drawn to Jews who had maintained their cultural identity, among them the leader of a Yiddish acting group from Poland. He attended their performances in 1911, organized evenings of reading Yiddish literature, and was drawn into fierce arguments about this subject with his father, who despised traveling actors, as did the Jewish establishment of Prague. It was at that time that Kafka began to study Hebrew. As late as 1921, however, he still complained about having no firm knowledge of Jewish history and religion.

What fascinated Kafka about the various members of this group was their firmness of faith and their resistance to being absorbed into the culture of their gentile environment. There are numerous letters and diary entries which point to Kafka's awareness of the essential difference between Western and Eastern Jews concerning this matter. Kafka felt a great affinity with the Chassidic tradition (Chassidic means "pious" in Hebrew; it was an old conservative movement within Judaism which came to flower again in the eighteenth century in eastern Europe). Kafka admired very much their ardent, this-worldly faith, their veneration of ancestry, and their cherishing of native customs. He developed a powerful contempt for Jewish artists who, in his estimation, too willingly succumbed to assimilation and secularization.

Kafka was particularly interested in Zionism, the movement founded by Theodor Herzl (The Jewish State, 1890) to terminate the dissemination of Jews all over the world by promoting their settlement in Palestine. Zionism preached the ancient Jewish belief that the Messiah would arrive with the re-establishment of the Jewish state, and Kafka's desire for such a Jewish state and his willingness to emigrate should be noted. Kafka published in a Zionist magazine, planned several trips to Palestine (which never materialized because of his deteriorating health), and was most enthusiastic about the solidarity, the sense of community, and the simplicity of the new kibbuzim.

While it is true that Kafka's friend Max Brod influenced him in supporting the ideals of Zionism, it is incorrect to say that without Brod's influence Kafka would never have developed an interest in the movement. His Hebrew teacher Thieberger, a friend and student of Martin Buber, was also a major influence on Kafka. Thieberger emphasized Jewish responsibility for the whole world and believed that everybody is witness to everybody else. Oddly enough, Kafka's father's steady exhortations to "lead an active life" may have added to his growing esteem for the Jewish pioneer ideal. Another source of Kafka's growing interest in Jewish tradition was, of course, his sickness, the very sickness that kept him from carrying out his plans to emigrate to Palestine and live there as a simple artisan. The more Kafka became aware of his approaching end, the more he delved into the study of his identity. A year before his death, he started attending the Berlin Academy of Jewish Studies, and it was during that same year, 1923, that he met Dora Dymant, who was of Chassidic background and further accented his search and love for his Jewish roots.

It is clear that Kafka's interest and love for the various aspects of Jewry are not merely an attempt on his part to make up for past omissions in this matter. They are, above all, the result of his religious concerns — "religious" in the wider sense of the word — that is, religious by temperament, religious in the sense of ceaselessly searching and longing for grace.

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