Between the Lines: Punctuation in English Translations of Die Marquise von O … 

Abstract

This article examines the translation of Kleist’s punctuation in the context of his novella The Marquise of O … in which one em-dash in particular is, by tradition, burdened with particular significance, and argues that the six main English translations to date have not read Kleist’s punctuation within the text as a system of punctuation that draws together relevant passages of the text, creating a network of non-verbal insinuations about the paternity of the protagonist’s child.

Keywords:

• Heinrich von Kleist
• Die Marquise von O … 
• Punctuation
• Literary translation

Notes

1 In his foundational monograph on the linguistics of punctuation, Geoffrey Nunberg calls punctuation a ‘linguistic subsystem, and hence to be considered as part of the wider system of the written language.’ It imposes ‘a certain organization on the lexical content of written texts’ yet ‘has no analogue in the spoken language (although certain of its functions overlap with those of various spoken-language devices. […] It is what follows, roughly, from setting language down.’ Thus, punctuation historically increases in use and complexity as literacy develops. Geoffrey Nunberg, The Linguistics of Punctuation (Stanford: The Centre for the Study of Language and Information, 1990), p. 7.

2 Clive Scott, The Work of Literary Translation (Cambridge: Cambridge University Press, 2018), p. 184.

3 Robert Dale, ‘The Role of Punctuation in Discourse Structure,’ in Working Notes for the AAAI Fall Symposium on Discourse Structure in Natural Language Understanding and Generation (1991), pp. 13–14, here p. 13.

4 Ibid., p. 14.

5 Scott, The Work of Literary Translation, p. 190.

6 M.A.K. Halliday, Spoken and Written Language (Oxford: OUP, 1989), p. 37.

7 Ibid.

8 Rachel May, The Translator in the Text: On Reading Russian Literature in English (Evanston: Northwestern University Press, 1994), p. 6.

9 Theodor W. Adorno, ‘Punctuation Marks’, trans. by Shierry Weber Nicholsen, in The Antioch Review 48.3 (1990), pp. 300–05, here p. 300. I deliberately cite the English translation here to make the inter(para)lingual issues apparent. Nicholsen is forced to amplify the German original, showing the reader in brackets exactly what Adorno means when he refers to quotation marks. Adorno’s text merely comments without illustration that ‘Dummschlau und selbstzufrieden lecken die Anführungszeichen sich die Lippen.’ T.W. Adorno, ‘Satzzeichen’, Akzente 6 (1956), 569–75, here p. 569.

10 May, The Translator in the Text, p. 6.

11 Scott, The Work of Literary Translation, p. 118.

12 The other mooted date of its composition is during Kleist’s imprisonment in Fort de Joux in 1807, which is possible. But the particular concatenation of constipation and conquest in his Königsberg period invites us to imagine that this was the site and occasion of his first conception of the story.

13 ‘Ich leide an Verstopfungen, Beängstigungen, schwitze und phantasiere, und muß unter drei Tagen immer zwei das Bette hüten. Mein Nervensystem ist zerstört.’ Heinrich von Kleist: Sämtliche Werke und Briefe in 2 vols, ed. by Helmut Sembdner, vol. II (Munich: dtv, 2001), p. 770. Quotations from this edition hereafter referenced as SWB, vol., page nr. Where the argument requires, other editions will be referenced too.

14 Constipation imagined as a scatological male pregnancy can be traced back to Aristophanes’ play The Assemblywomen in which Praxagora’s husband Blepyrus is costive, and conceives of his stool as something to which he is trying to give birth, invoking Ilithyia, ‘Goddess of childbirth’ to help deliver him. Aristophanes, The Knights / Peace / The Birds / The Assemblywomen / Wealth, trans. by Alan H. Sommerstein and David Barrett (London: Penguin, 1988), p. 235.

15 According to Metternich, for example, writing of Napoleon in 1808, ‘Europa ist gejagt, vergewaltigt worden.’ Quoted in Wolfram Siemann, Metternich: Stratege und Visionär (Munich: C.H. Beck, 2016), p. 256. Similarly, Queen Luise’s unsuccessful meeting with Napoleon on 6 July 1807 during the negotiations at Tilsit to ask for leniency towards Prussia was depicted as a kind of rape. As Hagen Schulze put it, the scene of her pleading with him was ‘in Hunderten von Schilderungen zu einer Art Vergewaltigung stilisiert und tief in das preußische Selbstgefühl gesenkt.’ Hagen Schulze, ‘Napoleon,’ in Deutsche Erinnerungsorte, vol. II, ed. by Etienne François and Hagen Schulze (Munich: C.H. Beck, 2001), pp. 28–46, here p. 34. On rape as a weapon of war during the Revolutionary and Napoleonic campaigns, see Philip G. Dwyer, ‘‘It Still Makes Me Shudder’: Memories of Massacres and Atrocities during the Revolutionary and Napoleonic Wars,’ War in History 16.4 (2009), 381–405. Another interesting perspective on rape in this period is offered by Sharon Block, who looks at the propagandistic use of reports of rape during the American Revolutionary War as a rallying call against the British enemy. She notes that ‘printed versions of such rapes turned attacks on women into a call to arms that paralleled national hostilities and focused on men’s role in preventing rape.’ ‘It is easy to see why rape provided such a powerful rallying cry […]: it set innocence at the mercy of improperly seized power […]. Part of the resonance of rape in political discourse lay in the explanatory power of lust. […] [N]ewspapers frequently used lust in referring to political power wrongly seized.’ See Sharon Block, ‘Rape without Women: Print Culture and the Politicization of Rape, 1765–1815,’ The Journal of American History 89.3 (2002), 849–68, here pp. 862–63.

16 Colloquially, we use the two terms ‘hyphen’ and ‘dash’ to distinguish between short word-connecting dashes and longer excising or interrupting dashes. The more technical copyediting term for the bigger horizontal stroke is the ‘em-dash’, and it forms part of a tripartite set consisting of a short dash, a medium-length ‘en-dash’ and the lengthiest ‘em-dash’. Ordinarily, the vernacular term ‘dash’ would suffice in discussions of punctuation. However, the complexity and significance of Kleist’s idiosyncratic use of these marks requires a more specific nomenclature and taxonomy. For instance, the visual effects of Kleist’s punctuation contribute to the text’s meaning, including the size of the marks. On the technical terminology for differently sized dashes, see Amy Einsohn, The Copyeditor’s Handbook: A Guide for Book Publishing and Corporate Communications (Berkeley: University of California Press, 2000), pp. 106–10.

17 Grant Profant McAllister Jr., ‘Who’s Dad? Questions of Paternity in Kleist’s ‘Die Marquise von O,’’ Colloquia Germanica 37.1 (2004), 27–49, here p. 29.

18 Just to offer some examples, it appeared with the Hyperionverlag, Munich in 1920 as a single volume with illustrations by Marta Kandinsky, and was published as a stand-alone book in a limited run of 380 in 1928 by the Buchdruckerei Gebr. Mann, Berlin, featuring woodcuts by Hans Pape. Illustrated editions of the novella as a free-standing text are still being produced. See for example the 2005 edition by the Leipziger Bibliophilen-Abend e.V. with woodcut illustrations by Rolf Kurt. It continues to be printed as an autonomous publication, including by Klett (2001), Hofenberg (2015) and Henricus (2019). Eric Rohmer’s film led to editions such as the Insel Verlag publication of 1978, which supplemented the novella with material and stills from the film. Obviously, there are other educational editions too which present the text in scholarly and historical context such as the indispensable teaching-aid that is the 2013 Reclam edition, Die Marquise von O … : Text und Kontext.

19 Heinrich von Kleist, Erzählungen: Erster Theil (Berlin: Realschulbuchhandlung, 1810).

20 Alongside the dash in Die Marquise von O … , another interesting typographical feature that tears holes in the text is the elliptical interruption of proper nouns, including the three- or four-dot ellipsis replacing the Marquise’s surname, ostensibly to hide the identities of the people involved in this scandalous story, but presumably also to invite a prurient guessing game. The number of dots in the eponymous heroine’s name expands and contracts, both in the originals and in their English translations, ranging between 4 and none. These ellipses have, like the semicolons in the Marquise von O …  and the Sonderbare Geschichte, been the focus of less attention than the ‘rape-dash’. But the waxing and waning of the number of dots surely merits some analysis. The use of these ellipses in Turkish translation for instance, comes with a significant semantic load, ‘Denn Auslassungspunkte nach einem ‘O’ sind im Türkischen bereits semantisch besetzt, nämlich im vulgären Sprachgebrauch als Andeutung für ‘Schlampe’, ‘Luder.’’ Zehra Gülmüş, ‘Heinrich von Kleists Novelle ‘Die Marquise von O … ’ auf Türkisch: Versuche, Heinrich von Kleist dem türkischen Leser heranzuführen’, in Globalisierte Germanistik: Sprache — Literatur — Kultur. Tagungsbeiträge XI. Türkischer Internationaler Germanistikkongress 20.–22. Mai 2009, ed. by Yadigar Eğit (İzmir: Ege Üniversitesi Matbaası, 2010), pp. 437–60, here p. 443.

21 In his otherwise superb entry on the em-dash in Kleist in his dictionary of important Kleistian concepts, László Földényi claims that Kleist is consistent in his use of ellipses in the proper names in the text. He claims that four dots for the Marquise and three for the Count is something ‘worauf Kleist sorgfältig achtet und auch in der Buchfassung von 1810 beibehält: Hinter den Namen der Marquise setzt er konsequent vier Punkte, während er den Namen des Grafen mit nur drei Punkten versieht.’ This is, however, patently not the case. Kleist’s epigram on the novella printed in the Phoebus uses three dots for the Marquise, and the table of contents of the first volume of the Erzählungen also offers three dots for her name, followed by what may be a comma at a slightly further remove from the last dot. See László Földényi, Heinrich von Kleist: Im Netz der Wörter, trans. Akos Doma (Berlin: Matthes & Seitz, 1999), p. 163. While Földényi may be correct in saying that ‘Kleist erzählt […] umsichtig und jede Einzelheit beachtend’ (p. 163) and that the dashes and other punctuation ‘gehören zum Text, sind organische Bestandteile der Handlung’ (p. 164), the consistency he avers is an illusion. Of course, the very inconsistency may very well be, as I contend, a deliberate manoeuvre by the author.

22 SWB I, p. 22.

23 Besides stoking the flames of controversy and waking the prurient interest of the public, the epigram lampoons the moral outrage with which the story met on its first publication. Dora Stock, famous for her 1789 silverpoint profile drawing of Mozart, famously wrote, for example: ‘Seine Geschichte der Marquisin von O. kann kein Frauenzimmer ohne Erröten lesen.’ Quoted in Regina Ogorek, ‘Adam Müllers Gegensatzphilosophie und die Rechtsausschweifungen des Michael Kohlhaas,’ Kleist-Jahrbuch (1988/89), 96–125, here p. 119 n. 95.

24 SWB II, 272.

25 Reinhold Steig, Heinrich von Kleists Berliner Kämpfe (Berlin: Spemann 1901), p. 550.

26 Roland Barthes, Œuvres complètes (Paris: Seuil, 1993–1995) vol. 2, p. 457.

27 SWB II, p. 143.

28 There is an obvious irony to using the crude shorthand ‘rape dash’ for the infamous em-dash in the Marquise von O … , not least because, as I will argue, it is ultimately unclear what happened at this juncture. There is also the issue of possibly triggering the reader. It is not my intention to do that. My use of the term ‘rape-dash’ is intended to do two things: to refuse to elide the violences of the text, both upon the Marquise and the reader by excising the word rape, and, second, to help the reader to distinguish one dash from another.

29 Philip B. Miller, An Abyss Deep Enough: Letters of Heinrich von Kleist, with a Selection of Essays and Anecdotes (New York: E.P. Dutton, 1982), p. 286.

30 Forty years separate the English translations of the anecdotes by Miller from those by Spencer, illustrating the relative marginalization of this aspect of his work. Matthew Spencer, Heinrich von Kleist: Anecdotes (Seattle: Sublunary, 2021), p. 48.

31 Michael Gamper, ‘Elektrische Blitze. Naturwissenschaft und unsicheres Wissen bei Kleist,’ Kleist-Jahrbuch (2007), 245–72, here p. 269.

32 Miller, An Abyss Deep Enough, p. 278. Spencer, Heinrich von Kleist: Anecdotes, p. 6.

33 Looking just at his 8 short prose fiction texts, published together during his lifetime in the two-volume Erzählungen (Berlin: Realschulbuchhandlung, 1810 and 1811), the em-dash occurs 356 times over around 580 pages: 138 times in Michael Kohlhaas; 60 times in Die Verlobung in San Domingo; 6 times in Das Erdbeben in Chili; none in Das Bettelweib von Locarno; 16 times in Der Findling; once in Die heilige Cäcilie; and 42 times in Der Zweikampf.

34 Helmut Sembdner, ‘Kleists Interpunktion: Zur Neuausgabe seiner Werke,’ Jahrbuch der Deutschen Schillergesellschaft 6 (1962), 229–52. Reprinted as ‘Kleists Interpunktion’ in Helmut Sembdner, In Sachen Kleist: Beiträge zur Forschung (Munich: Hanser, 1974), pp. 149–71.

35 Ibid., p. 150.

36 Reinhard Meyer-Kalkus, ‘Heinrich von Kleist und Heinrich August Kerndörffer: Zur Poetik von Vorlesen und Deklamation,’ Kleist-Jahrbuch (2001), 55–88.

37 In a letter to his sister Ulrike of 13–14 March 1803, he mentions taking lessons with Kerndörffer: ‘Ich lerne meine eigene Tragödie bei ihm deklamieren.’ SWB II, letter 72, 730.

38 In letters to his sister Ulrike and cousin by marriage Marie von Kleist in autumn 1807, he mentions public readings of his plays (2 comedies and his Penthesilea), and that he reads on some occasion from printed versions and on others from manuscripts. SWB II, letters 111 and 116, 790 and 796 respectively.

39 Scott, The Work of Literary Translation, p. 234.

40 Thomas Wichmann, Heinrich von Kleist (Stuttgart: Metzler, 1988), p. 122. Wichmann does not provide the source.

41 Jochen Schmitt, Heinrich von Kleist: Die Dramen und Erzählungen in ihrer Epoche (Darmstadt: Wissenschaftliche Buchgesellschaft, 2003), p. 198.

42 Richarda Schmidt, ‘The Swan and the Moped: Shifts in the Presentation of Violence from Kleist’s ‘Die Marquise von O … ’ to Christoph Stark’s Julietta’, in Processes of Transposition: German Literature and Film, eds. by Christiane Schönefeld and Hermann Rasche (Leiden: Brill, 2007), pp. 39–58, here p. 46.

43 Günter Blamberger, Heinrich von Kleist: Biographie (Frankfurt a. M.: Fischer, 2011), p. 299. Tobias Krüger, ‘Mit dem Strich gelesen: Zur Verwendung und Funktion des Gedankenstrichs in Kleists ‘Über die allmählige Verfertigung der Gedanken beim Reden’’, Kleist-Jahrbuch (2021), 267–78, here p. 267.

44 eKGWB/NF-1885,34[65]: Nachgelassene Fragmente April-Juni 1885. http://www.nietzschesource.org/#eKGWB/NF-1885,34[65], last accessed 12.10.2022.

45 Max Kommerell, ‘Die Sprache und das Unaussprechliche: Eine Betractung über Heinrich von Kleist’ in Jost Schillemeit ed., Interpretationen: Deutsche Dramen von Gryphius bis Brecht, vol. 2 (Frankfurt a. M.: Fischer, 1976), pp. 185–222, here p. 185.

46 Ibid., p. 216.

47 SWB II, p. 105. The term ‘sprachlos’ occurs twice in the novella, once when the Marquise loses her faculty for speech after the sexual assault by the group of Russian soldiers, and a second time, linking the incidents, when the Count, her rapist saviour is announced as an unexpected visitor, who then just as unexpectedly asks to marry the widowed Marquise who has vowed never to remarry. ‘Der Graf F … ! sagte der Vater und die Tochter zugleich; und das Erstaunen machte alle sprachlos.’ SWB II, p. 109.

48 Letter to Ulrike 13–14 March 1803. SWB II, letter 72, pp. 729–30.

49 John Ellis, Heinrich von Kleist: Studies in the Character and Meaning of his Writings (Chapel Hill: University of North Carolina Press, 1979), p. 150.

50 Paradigmatic for this line of Kleist interpretation is Dieter Heimböckel, Emphatische Unaussprechlichkeit: Sprachkritik im Werk Heinrich von Kleists; ein Beitrag zur literarischen Sprachskepsistradition der Moderne (Göttingen: Vandenhoeck & Ruprecht, 2003).

51 See for example, Hans-Jochen Marquardt: ‘‘Ich bin dir wohl ein Rätsel?’ Anmerkungen zu Kleists Sprache’, in Wolfgang Bartel ed., Heinrich von Kleist 1777–1811: Leben — Werk — Wirkung — Blickpunkte (Frankfurt a. Oder: Kleist Museum, 2000), pp. 121–40.

52 Eva Fricke, Heinrich von Kleist und die Auflösung der Ordnung: Poetologische Strategien (Marburg: Tectum, 2010), pp. 123–24.

53 Michel Chaouli, ‘Irresistible Rape: The Lure of Closure in ‘The Marquise of O … .,’’ The Yale Journal of Criticism 17.1 (2004), 51–81, here p. 71.

54 Various critics have made a connection between pregnancy and maieutics and the interpretative process in relation to the Marquise von O … , describing its interpretation in terms of a Hebammekunst (midwifery). See, for example, John H. Smith, ‘Dialogic Midwifery in Kleist's Marquise von O and the Hermeneutics of Telling the Untold in Kant and Plato,’ PMLA 100.2 (1985), 203–19, here p. 208. The earliest punning description of a text that is ‘pregnant with meaning’ seems to be a review of Eric Rohmer’s 1975 film adaptation of the Marquise von O … , Harlow Robinson, ‘A ‘Marquise’ that’s pregnant with meaning,’ Daily Californian, January 14, 1977. Two years before, Dorrit Cohn had referred to the famously meaning-bearing gap as ‘surely the most pregnant graphic in German literature.’ Dorrit Cohn, ‘Kleist’s ‘Marquise von O … ’: The Problem of Knowledge’, Monatshefte 67.2 (1975), 129–44, here p. 129.

55 Curtis Bentzel, ‘Knowledge in Narrative: The Significance of the Swan in Kleist’s ‘Die Marquise von O … ’’ The German Quarterly 64.3 (1991), 296–303, here p. 296.

56 Robert Wechsler, Performing Without a Stage: The Art of Literary Translation (North Haven, CT: Catbird Press, 1998), p. 108.

57 Ibid., p. 110.

58 Ibid., p. 121.

59 M.B. Parkes, Pause and Effect: An Introduction to the History of Punctuation in the West [1992] (Abingdon: Routledge, 2016), p. 94. Like Scott after him, Parkes valorizes punctuation, seeing in it the unique ability to reach where language cannot. Punctuation can ‘resolve structural uncertainties in a text, and […] signal nuances of semantic significance which might otherwise not be conveyed at all.’ Parkes, Pause and Effect, p. 1.

60 Ibid., p. 93.

61 A monograph on punctuation in Kleist by the same author, with a short final chapter specifically on the Marquise von O …  appeared in 2012. Thomas Nehrlich, ‘Es hat mehr Sinn und Deutung, als du glaubst.’ Zu Funktion und Bedeutung typographischer Textmerkmale in Kleists Prosa (Hildesheim: Olms, 2012).

62 Thomas Nehrlich, ‘Der Gedankenstrich in der Marquise von O … . (1810) und sein schrifthistorischer Kontext,’ Gedankenstriche: Ein Journal des Kleist-Museums 1 (2011), 10–24.

63 Nor does he note the sly resurfacing of the rape dash during the semi-sexualized reconciliation scene to which it is so crucial.

64 Nehrlich, ‘Es hat mehr Sinn und Deutung, als du glaubst.’, p. 20.

65 Ibid., p. 24.

66 The term Bankert (which equates to the offensive English term ‘bastard’) is referred to obliquely in the Sonderbare Geschichte when a coat of arms is sent to Franzeska and her child ‘welches die Ecke einer Bank darstellte, unter welcher ein Kind lag.’ SWB II, p. 274.

67 SWB II, p. 106.

68 Nehrlich, ‘Es hat mehr Sinn und Deutung, als du glaubst.’, p. 21. Long before Nehrlich, Thomas Dutoit had argued the inconsistent meaning of all punctuation in Kleist, but like Nehrlich, saw it, despite its inconsistent usage as vitally important: ‘[T]he reader cannot trust in any consistent use of colons in Kleist's text, there is no single function of the dash. Sometimes the dashes occupy the place of what is to be suppressed. At other times they serve the purpose of punctuation in the grammatical sense. Sometimes they serve no function other than purely to puncture the text. In general, punctuation is in opposition to the rest of a text. Unlike letters, punctuation does not build figures. It marks pauses and establishes rhythm. Yet it is not simply an empty space.’ Thomas Dutoit, ‘Rape, Crypt and Fantasm: Kleist’s ‘Marquise of O … .’ Mosaic: An Interdisciplinary Critical Journal 27.3 (1994), 45–64, here p. 55.

69 The claim that we can only speak of complete Kleist translations in Japanese and Hungarian is made by László F. Földényi, translator and co-editor of the Hungarian edition of the works of Kleist. See László F. Földényi, ‘Kleist Dies and Dies and Dies’, in Dostoyevsky Reads Hegel in Siberia and Bursts into Tears, trans. by Ottilie Mulzet (New Haven: Yale University Press, 2020), pp. 193–218, here p. 205. However, in a special section of the 2003 Kleist-Jahrbuch devoted to complete editions of Kleist in translation, Gabriella Gönczy points that his ‘Werke sind in vollständiger Übersetzung nur in französischer, japanischer und ungarischer Sprache zugänglich. Diese drei fremdsprachigen Gesamtausgaben der Werke Kleists entstanden unabhängig voneinander, aber fast zeitgleich, ab Mitte der 1990er Jahre’. Gabriella Gönczy, ‘Einleitung: Kleist Übersetzen: Fremdsprachige Gesamtausgaben der Werke Kleists,’ Kleist-Jahrbuch (2003), 235–40, here p. 235. The reason for Földényi’s omission of the 5-volume Gallimard Oeuvres Complètes is unclear.

70 John Banville, God’s Gift: A Version of Amphitryon by Heinrich von Kleist (Oldcastle, Co. Meath: Gallery Press, 2000). Banville’s Kleist work is a particularly interesting case in point as the author in question does not speak or read German.

71 The Greenberg translation was republished in 1985 by Ungar Publishing, New York, without accompanying stories but together with the film script, in an English translation by Stanley Hochman, of Eric Rohmer’s film of Die Marquise von O … .

72 While this article refers to Luke and Reeves as the translators jointly, in fact they only co-translated Michael Kohlhaas. The other translations in the volume are the work of Luke.

73 For ease of reading, the translations that preserve the original punctuation and incomplete syntax are indicated in bold.

74 The ruse by which her mother supposedly determines the Marquise’s innocence is outlandishly flawed, and, if scrutinized closely, proves nothing at all. She claims to her daughter that the rapist-father has come forward, and that it is Leopardo the servant, presumably using issues of class to smoke out the Marquise. The Marquise immediately accepts this, and remembers waking once to find Leopardo walking away from her, possibly having raped her. If the Marquise is a cunning liar and hiding something, however, neither this nor any other reaction to her mother’s claim can reveal anything. For one thing, such cunning as the Marquise is accused of would suggest she is too clever to state categorically that the rapist cannot be Leopardo, thereby revealing that she knows her rapist’s identity already.

75 SWB II, p. 135.

76 Heinrich von Kleist, The Marquise of O— [and Other Stories], trans. by Martin Greenberg, preface Thomas Mann (New York: Criterion Books, 1960), p. 79.

77 Heinrich von Kleist, The Marquise of O— and Other Stories, trans. by David Luke and Nigel Reeves (London: Penguin, 1978), p. 107.

78 Heinrich von Kleist, Selected Writings, ed. and trans. by David Constantine (Indianapolis: Hackett, 2004), p. 307.

79 Heinrich von Kleist, Selected Prose of Heinrich von Kleist, trans. by Peter Wortsman (Brooklyn NY: Archipelago Books, 2010), pp. 135–36.

80 Heinrich von Kleist, The Marquise of O—, trans. by Richard Stokes, foreword Andrew Miller (London: Hesperus Press, 2003), p. 44.

81 Heinrich von Kleist, The Marquise of O—, trans. by Nicholas Jacobs (London: Pushkin Press, 2019), p. 78.

82 Greenberg, The Marquise of O— [and Other Stories], p. 75.

83 Luke and Reeves, The Marquise of O— and Other Stories, p. 103.

84 Constantine, Selected Writings, p. 305.

85 Stokes, The Marquise of O—, p. 40.

86 Wortsman, Selected Prose of Heinrich von Kleist, p. 131.

87 Jacobs, The Marquise of O—, p. 73.

88 SWB II, p. 263.

89 Greenberg, The Marquise of O— [and Other Stories], p. 38.

90 Luke and Reeves, The Marquise of O— and Other Stories, pp. 48–49.

91 Ibid.

92 Constantine, Selected Writings, p. xxvi,

93 Miller in Stokes, The Marquise of O—, p. xvi.

94 Wortsman, Selected Prose of Heinrich von Kleist, pp. 282–83.

95 Generally, commas and full stops have been ignored unless they are replacing some of the salient meaning-bearing punctuation in the original.

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Rachel MagShamhráin

Rachel MagShamhráin lectures in German Studies in the Department of German, University College Cork.