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The Marquise of O and Other Stories

by Heinrich von Kleist, David Luke (Translator), Nigel Reeves (Translator)

3.93 of 5 stars 3.93 · rating details · 672 ratings · 50 reviews

From 'The Marquis of O--', in which a woman is made pregnant without her knowledge, to the vivid and inexplicable suffering portrayed in 'The Earthquake in Chile', his stories are those of a man swimming against the tide of the German Enlightenment, unable to believe in the idealistic humanism of his day, and who sees human nature as irrational, ambiguous and baffling. It...more

Paperback, 320 pages

Published September 28th 1978 by Penguin Classics (first published 1808)

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May 12, 2012 Proustitute rated it 5 of 5 stars

Shelves: classics, german-literature, short-stories-and-novellas, five-stars, 2012

Irreligious, perverse, and shocking even to this day. Von Kleist's discontent with the social structures of his time—most especially the church, the law, and the vagaries of community life—makes his tales perhaps more politically rich than his contemporary Hoffmann, although both are equally skillful in plumbing the depths of the human psyche when it comes to matters of love, survival, family, and even gender.

Von Kleist's style is very proto-modernist: his paragraphs run on for pages with no app...more Irreligious, perverse, and shocking even to this day. Von Kleist's discontent with the social structures of his time—most especially the church, the law, and the vagaries of community life—makes his tales perhaps more politically rich than his contemporary Hoffmann, although both are equally skillful in plumbing the depths of the human psyche when it comes to matters of love, survival, family, and even gender.

Von Kleist's style is very proto-modernist: his paragraphs run on for pages with no apparent reason for when they begin and when they end; his pacing is subjectively approached rather than objectively obsessed; and he often begins his stories by telling his reader the endings.

Absurdism runs rampant through these pieces. The title story involves a widowed Marquise who takes out an advertisement in the newspaper, searching for the man who apparently—although she has no memory of this—impregnated her. This kind of illogical and paradoxical situation is at the heart of most of von Kleist's work: "The Earthquake in Chile" turns an exiled pair of lovers into heroic figures in an apocalyptic setting ruled by no seeming authority; however, von Kleist seems to suggest that the imposing orders of the church and the law are so pervasive in their hold on mankind that mankind wreaks the same violence if left with no punitive action from high above.

This is also the case in "Michael Kohlhaas" where the protagonist takes the law into his own hands after repeated attempts to bring legal action against a man who is terrorizing the community. This kind of Kafkaesque critique of the law is also carried out to the extreme limits of surrealism, rendering reality as nightmarish in much the same way Kafka would do later. Of the shorter pieces collected here, "The Foundling" is the strongest and seems to speak to the same examination of reality versus fantasy in Hoffmann's "The Sandman." However, it is in the longer tales that von Kleist is able to enlarge his canvas and allow his oddly distorted syntax and phrasing to loop in and out of sense and nonsense most elegantly.(less)

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Dec 16, 2012 Yadel rated it 5 of 5 stars

Shelves: monsters-of-literature

Reading Kleist is an exhilarating experience that can be very unpleasant. I don’t think any stories have ever moved me the way Kleist’s do, but I’m having a hard time describing this effect in words. I’d like to say that his sentences manage to capture the beauty and anxiety of a single moment, but that makes absolutely no sense. Maybe I can get to it by thinking about something else.
Do expectations ruin our experience of the future, or do they help us tolerate it? The answer is both. Moreover,...more Reading Kleist is an exhilarating experience that can be very unpleasant. I don’t think any stories have ever moved me the way Kleist’s do, but I’m having a hard time describing this effect in words. I’d like to say that his sentences manage to capture the beauty and anxiety of a single moment, but that makes absolutely no sense. Maybe I can get to it by thinking about something else.
Do expectations ruin our experience of the future, or do they help us tolerate it? The answer is both. Moreover, expectations themselves become a sort of experience that can be both positive and negative. I’m sure I’m not the only person who feels more alive when they’re striving to achieve a goal than when they actually achieve it. Nor am I the first person who has become stressed over something that turned out to not be very bad at all.
Kleist’s style thrives on the managing of expectation. The chain of events he describes follow a natural progression so that you can guess how a story will end after reading the first page. At the same time, however, you’re afraid that it really will end that way. Reading his stories, expectations neither ruin the experience of the ending nor help you tolerate it. Every sentence carries a finality outside of the plot of the story. In the Earthquake in Chile, for example, there are no distractions. Every line shapes the story in the same way that the things you do shape the person you become which shapes the things you do in the future. Every action leads to a thought that leads to an action and so on. Every need to act leads to a need to think and after every thought there is a need to act. This is all very obscure.
Ultimately, it’s unpleasant to read Kleist stories because you want to be able to tell his characters to not get their hopes up, or to have faith, or to not go to the church, or that you support them, but you can’t because they’re not real. It’s unpleasant because it reminds you of the times you’ve wanted, in hindsight, to tell yourself to not believe something or to not do something, producing the same anxiety that comes anytime you realize you cannot change the past. It’s unpleasant because his plot, and the speed with which he writes it (and all of the transitions), mimic the thing responsible for your bad decisions. Time moves, and there’s nothing you can do to stop it, so you’re forced to act. And when we’re afraid of acting we think, and that’s the most tragic part because thinking doesn’t help anything. Doing the thing that will result in the most positive outcome is the only thing that matters.
When we’re looking at things in hindsight we accept a fatalism that makes any thought, any attempt at trying to control our destinies, to be a tragic setup for disappointment and failure.
The anxiety from Kleists’s stories comes from feeling that the character’s stories is already written, but they’re so alive (why do they feel so alive? I think it has to do with their totally believable sense of expected surprise ) that when they think they can control their future, you feel pity for them.
This is a long way of saying that Kleist is an uncomfortable, but masterful writer who everyone should at least give a try.
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Mar 17, 2012 knig rated it 5 of 5 stars

Shelves: 2012

Von Kleist is groszartig. Is it a coincidence that these shocking stories stem from the pen of what was quite likely a manic depressive who eventually committed suicide? There have been numerous studies confirming positive correlation between displays of genius and people with an overactive mental stasis.

What is shocking these days? Are there any wonders left us to marvel at? The only film that shocked me in the last ten years was ‘the Others’: for inverting the Ghost story on its head by a sim...more

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Jan 04, 2010 John rated it 4 of 5 stars

My favorite story in here was "The Foundling," a really eerie, uncanny tale. I wish some of the stories, like "Michael Kohlhaas" and "The Duel" weren't so bogged down with details and characters though.

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Apr 13, 2009 Quinn Slobodian rated it 4 of 5 stars

Like workers who bring the factory to a standstill by following every rule, Kleist's heroes stick so stubbornly to some kind of code, whether positive--of law, love, filial piety--or negative--of dogma, self-love, filial disgust--that they bring structures down around them. The outcomes of his stories are always perverse. Through the characters' belief in the law, they become outlaws, through the ferocity of their love, they sacrifice those they love, through the depth of their faith, they submi...more

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Jul 23, 2012 Arwen56 rated it 2 of 5 stars · review of another edition

Shelves: racconti

L’avevo già letto, in precedenza, ma, debbo confessare, l’ho maggiormente apprezzato in questa seconda lettura. Gli scrittori romantici non sono mai stati tra i miei preferiti, tuttavia questo racconto presenta diverse notevoli particolarità. In primo luogo il ritmo, che è incalzante e veloce, tanto che, quando si arriva alla fine, si ha l’impressione di aver fatto una lunga corsa e di avere il fiato corto. I fatti, le considerazioni e gli stessi dialoghi vengono presentati al lettore con una ra...more L’avevo già letto, in precedenza, ma, debbo confessare, l’ho maggiormente apprezzato in questa seconda lettura. Gli scrittori romantici non sono mai stati tra i miei preferiti, tuttavia questo racconto presenta diverse notevoli particolarità. In primo luogo il ritmo, che è incalzante e veloce, tanto che, quando si arriva alla fine, si ha l’impressione di aver fatto una lunga corsa e di avere il fiato corto. I fatti, le considerazioni e gli stessi dialoghi vengono presentati al lettore con una rapidità che poco spazio lascia alla riflessione. E’ solo dopo averlo letto tutto che si riesce a soffermarsi sulle non poche incongruenze e sulla straordinaria modernità di certe scelte.

Ed è proprio la modernità, che, per certi versi, ci offre il comportamento della marchesa di O…, il secondo aspetto che colpisce, ovviamente in relazione all’epoca in cui è stato scritto, ovvero il 1808. Questa donna sfida il perbenismo ed il conformismo allora imperanti, mettendo un annuncio su un giornale in cui si dichiara disposta a sposare il padre del bambino che sta aspettando, chiunque egli sia, anche se non sa proprio come abbia potuto restare incinta, perché lei potrebbe giurare di non aver avuto rapporti sessuali con chicchessia. Non solo. Quando il padre la allontana dalla sua casa, proprio a seguito del “disonore” che ella vi ha portato, la marchesa trova il coraggio di alzare la testa e rivendicare il proprio diritto a condurre con sé i figli nati dalle nozze con l’ormai da anni defunto marito. Niente male, come coraggio, per una donna di inizio ‘800, non vi pare?

Vi è poi un passaggio, quello della riconciliazione col padre, che è davvero insolito. Ed ha infatti non poco scandalizzato i contemporanei di Kleist. La riporto in forma integrale, poiché è breve: “ …la figlia che giaceva quieta, la nuca piegata all’indietro, gli occhi immobili e chiusi, tra le braccia del padre; e quello intanto, seduto nella poltrona, gli occhi gonfi e luccicanti di lacrime, premeva sulla sua bocca lunghi, ardenti, avidi baci: proprio come un amante. La figlia non parlava; lui non parlava; sedeva con il viso chino su di lei, come sulla fanciulla del suo primo amore e le accostava la bocca e la baciava. […] con dita e labbra, con indicibile piacere, sfiorava tutto proteso la bocca della figlia.”

Sembra quasi la scena di un incesto. Ed è infatti, in questo modo, ribadisco, estremamente moderno, che Kleist fa irrompere in scena quello che, sin dall’inizio, è stato il “grande innominato”, ovvero la non mai abbastanza repressa sessualità femminile, grande spauracchio dell’ottocento. Quel che abbiamo visto accadere ora è, in realtà, quel che è accaduto assai prima, con l’ufficiale russo e che la marchesa ha inconsciamente rimosso. Dunque, prima di Freud, si ha una perfetta descrizione di alcuni meccanismi difensivi della mente, che solo più tardi verranno ampiamente descritti. Di nuovo niente male per i tempi.

Naturalmente, non tutto il tenore del racconto è tanto lucido e vicino a noi contemporanei. Alcune parti rispecchiano in pieno il pomposo e decadente stile dell’epoca. Ma, nel complesso, ha, sicuramente, il pregio di una certa originalità.
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Nov 30, 2012 Mel rated it 4 of 5 stars

Shelves: 19th-century-fiction, german, translation

Where this not German literature I would say this book very much falls into the Gothic category. The stories were full of evil catholics, unwed mothers and unspeakable activities by the church. The style (in translation) seems half way between a William Morris style re-creation of medivael stories and the gothic novels of the 18th and 19th centuries. Some of the short stories are a little odd in places, the timing seemed strange, stories seemed to end abruptly of go on too long in places. Michae...more

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Dec 15, 2010 Terence rated it 4 of 5 stars

Recommended to Terence by: Francine Prose

Shelves: short-story-collections

I originally gave The Marquise of O - three stars (“I liked it”) but upon reflection I feel I have to round it up to four. There are no clunkers in the collection of Heinrich von Kleist’s short prose work (he was also a poet, playwright, and wrote operas) and the translations are excellent, retaining the robust, Teutonic sentences of the original German without sacrificing readability.

Von Kleist is another one of those fortuitous discoveries that I wish I had made before entering my twilight yea...more

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John I *almost* skimmed over this review, but then went back to peruse it and now I'm going to have to add it to my list.

Also, I was struck by your charac...more
Dec 16, 2010 06:44am

Terence John wrote: "I *almost* skimmed over this review, but then went back to peruse it and now I'm going to have to add it to my list.

Also, I was struck b...more
Dec 16, 2010 11:09am

John Getting back to Germans, though, I would think Nietzsche would be right up your alley: I've always thought of him in this mold, of being positioned so...more
Dec 17, 2010 07:54am

Feb 14, 2009 Jeff rated it 4 of 5 stars

Recommended to Jeff by: Thomas Foster's <i>How to Read Novels Like a Professor</i>

Shelves: prof-foster-recommends

#1: SPOILER WARNING: DO NOT READ THE INTRODUCTION FIRST, unless you want to know virtually the entirety of every story in the book before you read it yourself.

#2: If you're knowledgable about late 18th and early 19th century European culture and politics, you'll understand the writer's vantage point much better than i do.

I read this book because Thomas Foster spoke so highly of the title story, "The Marquise of O--." His praise began effusively with discussion and dissection of the first senten...more

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Jan 04, 2010 Dan rated it 3 of 5 stars

Recommended to Dan by: Stanton de v. H.

Shelves: short-stories

Representing events that can be explained equally well as natural or as supernatural, some of Kleist’s stories are instances of fantastic literature. Moreover, while Kleist’s employment of the uncanny and the unexpected may reflect a Romantic interest in gothic conventions, it can be argued that in these stories he was not so much attempting to exploit the sensationalism of such devices as bizarre coincidences and pathological obsession (as writers like Edgar Allen Poe and H.P. Lovecraft would l...more

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Jan 08, 2008 Mason Fake Name Here added it Recommends it for: people who enjoy pre-20th century German and Prussian fiction.

Recommended to Mason by: Alexander Gelley

Shelves: german-prussian-fic-pre-20th

This review has been hidden because it contains spoilers. To view it, click here. What Kleist is doing in these short stories is leaps and bounds ahead of what English contemporaries were doing. These narratives can be deceptively simple--Kleist's reworking of known narratives adds elements of profound literary interest, even in translation.

Upon rereading or writing upon, it would be worth dwelling on the uncanny--especially in the stories like "The Music of St Cecilia's Day", and other stories where an unnatural, or even ambiguous, event occurs (in the case of "The Earthquak...more

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Jul 26, 2007 Fiona rated it 4 of 5 stars

There is a dichotomy of the good/evil rapist and an ultimate happy ending CAN be achieved if one is using senses.

What a great quandary- almost like a sitcom in its farcical simplicity- yet its extremely daring and controversial topic could never be televised for today‚s prudish audiences. For its bold controversial risks, I loved the opening scene with the newspaper advertisement requesting the anonymous father of her child to respond and marry her. This reader is hooked in to watch the unfoldi...more There is a dichotomy of the good/evil rapist and an ultimate happy ending CAN be achieved if one is using senses.

What a great quandary- almost like a sitcom in its farcical simplicity- yet its extremely daring and controversial topic could never be televised for today‚s prudish audiences. For its bold controversial risks, I loved the opening scene with the newspaper advertisement requesting the anonymous father of her child to respond and marry her. This reader is hooked in to watch the unfolding of the Marquise‚s predicament.

After a sexual assault by soldiers who overtook the Italian citadel, her father the Commandant has lost at war, a gallant French-speaking Russian Count saved the Marquise. The family is, of course, grateful for this civility during the hostile takeover. When they catch wind that the savior‚s been shot, the Marquise is moderately upset she never got to personally thank him in her faint condition.

Months later, the Russian Count, appears at their door having survived and proposes marriage. She, widowed with two kids, had vowed to herself never to remarry. Yet, the count has fallen hard for the Marquise. No one in her family can understand his romantic urge towards her. Yet I questioned them not him.

A frequently recurring theme is doubt. Regarding the Counts‚ insistence, her brother wondered, „What on earth∑ could be the motive of this post-haste wooing?‰ and her father, the Commandant said, „The whole thing was beyond his comprehension∑‰ Regarding her being with child, neither Giulietta nor her mother believed the doctor‚s diagnosis of her, even though Giulietta has had two children and recognized the symptoms. Finally when they do accept her pregnancy after a midwife confirms it, no one in her family believes Giulietta‚s innocence. Even though her mother is initially moved by Giulietta‚s passionate and solemn declarations, she changes her mind and demands a confession. Receiving none, her family banishes her from home and they try to trick her to reveal her deceit. Upon learning she was truly innocent, she was asked back to her family‚s home and everyone was forgiven. Throughout all this, the Count‚s love remains consistent and non-conditional.

There were two issues I had with this story. When the Marquise returned home after her proven innocence, the Marquise and her father sit as lovers. Her head was back, she sat on his lap and he kissed her mouth ardently. I wanted to think her own father impregnated her without her knowing!

I read and reread this story and could not make myself write a reaction because I was annoyed at the last line. Giulietta had not wanted to marry Count F when he showed up on the day her newspaper ad requested the anonymous father‚s presence. She thought him a devil because she had originally thought him an angel. I didn‚t truly believe he‚d had his way with her in the citadel- it was left to my imagination and I didn‚t believe that was his underlying reason to marry her. I believed in his passion.
How ironic that this story is full of people who don‚t trust another and yet that is the feeling I come away with at the end!
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Jun 02, 2012 Elise rated it 4 of 5 stars

I read this collection around 15 years ago and remember nothing about the stories other than the title one except that I enjoyed them. However, only a few years ago, one Xmas soon after my grandfather died, I happened to watch Rohmer's film of "The Marquise of O" back-to-back with Sturges's "The Miracle of Morgan's Creek," and this proved, all around, a highly emotional and illuminating conjunction.

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Apr 07, 2010 Lucia rated it 4 of 5 stars

This book is slow going for me...I can't seem to read it before bed without falling asleep, and have even put it into my bathroom so that I'll be forced to read it while I'm on the can.

For some reason, it doesn't seem to take.

Perhaps I should familiarize myself with him as well as the time frame he's operating in, and give it another go.

Michael Kohlhaas had me hooked though. Need to read it again.

I feel like this book is a workout for my brain, which can be good if you're in the mood for it, a...more

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Nov 09, 2012 Cristi rated it 2 of 5 stars · review of another edition

to journalistic view of the stories. few dialogs for the amount of facts, the author was everywhere ex: and he did that and than he said that and than,and than,and than).

the only thing i thought was original was the reaction of the people or majority towards few individuals not commonly accepted by society, perfect example was "earthquake in chile"

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Aug 22, 2009 Dylan Alford rated it 4 of 5 stars

The plots in the stories are really complicated, and involve coincidences...kind of like Cohen brothers movies, and the characters are usually doomed. Kleist spends a lot of time giving concrete examples explaining what makes a character act a certain way...lots of back history. There's a subtle, morbid humor...the narrative is a little awkward because of translation issues, but the prose is very easy to understand.

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Sep 13, 2011 Abby rated it 5 of 5 stars

Shelves: short-stories, fiction, german-lit, francine-prose

Francine Prose raved about The Marquise of O in Reading Like a Writer and I was on the hunt for a copy for months, until I finally found a weathered paperback in a Southern Pines, NC, book store. These stories are unlike any I have ever read. They are suspenseful and simultaneously understated. He'll leave your mind reeling.

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Aug 09, 2011 Micaela added it · review of another edition

Los cuentos de Von Kleist recuerdan un poco a los de Gustavo Adolfo Becquer y a Horace Walpole. Son muy interesantes, con ciertos componentes sobrenaturales y siempre una moraleja al final. Mis preferidos: "Los desposorios de Santo Domingo" y "El desafio".

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Aug 02, 2011 Stephen rated it 4 of 5 stars

What a strange, troubled man Kleist was -- and it show here on the page. (He ended his life and that of a terminally ill actress in 1811 after the two agreed to a suicide pact.) Earthquake in Chile is worth the price of admission alone.

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Mar 10, 2009 Michael rated it 4 of 5 stars

Kleist was in many ways the antithesis to the gentleman of the enlightenment. His stories are filled with uncertainty, violence, and a haunting sense of unsease. In each piece a deep distrust of human psychology, both the collective and the individual, is prevalent.

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Dec 27, 2012 Rachel rated it 2 of 5 stars

I really wanted to like von Kleist--a crazy German Romantic who committed suicide, a writer cited so lovingly by so many others I've read--but no. He's like that friend who takes five hours to tell you what he ate for dinner last night. I don't get it.

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Apr 29, 2012 Edward Wakefield rated it 5 of 5 stars

These tales are magical, steeped in tragedy, darkness and acumen. Michael Koelhaas is a favourite. This will cast a long shadow over your thoughts.

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Aug 16, 2011 John rated it 4 of 5 stars

Shelves: fiction

The novella Michael Kohlhaas, contained in this book, inspired the Coalhouse Walker scenes in Doctorow's Ragtime. All stories are worth reading.

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Jul 10, 2010 Richard rated it 4 of 5 stars

On 2nd read, I found a grand array of intriguing turns in the long, Germanic sentences and paragraphs here, though I must admit that I found the title story the least interesting of the bunch. Among the aforementioned turns I would also include the turns of justice, for though Kleist at times seems to be lacking in any, and in "The Earthquake in Chile" and even "The Betrothal in Santo Domingo," a story like "The Duel" shows that Kleist's justice was simply indirect, possibly more for the grander...more

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May 13, 2011 Alex marked it as to-read

Suggested by Hesper. German anti-Enlightenment smackdown. So that's an interesting point of view.

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Dec 26, 2012 Emily Lovitch rated it 2 of 5 stars

According to Wikipedia his plays are apparently far more lively. Reading his short stories, they came off as detached, listless. It was like reading police reports about people who littered.

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Apr 16, 2010 martin rated it 3 of 5 stars

This review has been hidden because it contains spoilers. To view it, click here.

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Jan 04, 2009 Alice rated it 3 of 5 stars

Every word perfectly chosen!

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Jun 30, 2012 Dennis rated it 5 of 5 stars

Some of the best short fiction I've ever read.

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Mar 17, 2010 Austin Alter rated it 5 of 5 stars

Confounding and beautiful.

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About Heinrich von Kleist

The dramatist, writer, lyricist, and publicist Heinrich von Kleist was born in Frankfurt an der Oder in 1777. Upon his father's early death in 1788 when he was ten, he was sent to the house of the preacher S. Cartel and attended the French Gymnasium. In 1792, Kleist entered the guard regiment in Potsdam and took part in the Rhein campaign against France in 1796. Kleist voluntarily resigned from ar...more

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“In M---, an important town in northern Italy, the widowed Marquise of O---, a lady of unblemished reputation and the mother of several well-brought-up children, inserted the following announcement in the newspapers: that she had, without knowledge of the cause, come to find herself in a certain situation; that she would like the father of the child she was expecting to disclose his identity to her; that she was resolved, out of consideration to her family, to marry him.” — 2 people liked it

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