Heinrich von Kleist

Heinrich von Kleist (born October 18, 1777, Frankfurt an der Oder, Brandenburg [now in Germany]—died November 21, 1811, Wannsee, near Berlin) was a German dramatist, among the greatest of the 19th century. Poets of the Realist, Expressionist, Nationalist, and Existentialist movements in France and Germany saw their prototype in Kleist, a poet whose demonic genius had foreseen modern problems of life and literature.

Having grown up in military surroundings, Kleist became dissatisfied with the career of an army officer, which had been chosen for him, and resigned his commission after “the loss of seven valuable years.” For a time he studied law and mathematics, but his reading of the philosophy of Immanuel Kant destroyed his faith in the value of knowledge. Despairing of reason, he decided to place his trust in emotion. The unresolved conflict between them lies at the heart of his work.

After Kleist had abandoned his studies, he went first to Paris and then to Switzerland. There he wrote his first work, the tragedy Die Familie Schroffenstein (1803; “The Schroffenstein Family”), which depicts pathological states with ruthless clarity. Underlying this drama of error is Kleist’s recurring theme, the fallibility of human perception and the inability of the human intellect by itself to apprehend truth. At this time he was also working on the play Robert Guiskard, an ambitious work in which he attempted to unite ancient Sophoclean tragedy and the Shakespearean drama of character, but it would remain a fragment. He set out on a new journey and in Paris, overcome by despair, burned his manuscript of Guiskard (though he partially rewrote it later) and tried to volunteer for the French army. Expelled from France, he traveled to East Prussia and applied for a civil-service post in Königsberg. He resigned during training, however, and left for Dresden, where he hoped to continue writing, but was arrested by the French and imprisoned for six months as a spy.

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German literature: Jean Paul, Friedrich Hölderlin, and Heinrich von Kleist

In Dresden (1807–09) he became a member of a large circle of writers, painters, and patrons and, with the political philosopher Adam Müller, published the periodical Phöbus, which lasted only a few months. While he was in prison his adaptation of Molière’s Amphitryon (published 1807) attracted some attention, and in 1808 he published Penthesilia, a tragic drama about the passionate love of the queen of the Amazons for Achilles. Although this play received little acclaim, it is now thought to contain some of Kleist’s most powerful poetry, with the grimness of plot and intensity of feeling that have made his place unique among German poets. In March 1808 Kleist’s one-act comedy in verse, Der zerbrochene Krug (The Broken Pitcher), was unsuccessfully produced by Johann Wolfgang von Goethe in Weimar. The play employs vividly portrayed rustic characters, skillful dialogue, earthy humour, and subtle realism in its depiction of the fallibility of human feeling and the flaws inherent in human justice. It ranks among the masterpieces of German dramatic comedy. Toward the end of 1808, inspired by a threatened rising against Napoleon, Kleist wrote some savage war poems and a political and patriotic tragedy, Die Hermannsschlacht (1821; “Hermann’s Battle”), and in 1809 attempted to found a political periodical that would call all Germany to arms. Between 1810 and 1811 his Das Käthchen von Heilbronn (1810; Katherine of Heilbronn), a drama set in Swabia during the Middle Ages, was performed in Vienna, Graz, and Bamberg. But the Berlin stage remained closed to him.

Kleist also wrote eight masterly novellas, collected in Erzählungen (1810–11), of which “Das Erdbeben in Chili” (“The Earthquake in Chile”), “Michael Kohlhaas,” and “Die Marquise von O…” have become well-known as tales of violence and mystery. They are all characterized by an extraordinary economy, power, and vividness and by a tragic subject matter in which men are driven to the limits of their endurance by the violence of other men or of nature. Kleist’s last drama, Prinz Friedrich von Homburg (published posthumously in 1821 by Ludwig Tieck), is a brilliant psychological drama. The play’s problematical hero is Kleist’s finest figure, reflecting Kleist’s own conflicts between heroism and cowardice, dreaming and action.

For six months Kleist had edited the daily newspaper Berliner Abendblätter, and, when it ceased publication, he lost his means of livelihood. Disappointed in life and embittered by the lack of recognition accorded him by his contemporaries, particularly Goethe, he came to know an incurably sick woman, Henriette Vogel, who begged him to kill her. This gave Kleist the final incentive to end his life, and on November 21, 1811, he shot Henriette and himself on the shore of the Wannsee.