How do a Kafka’s diction in this description of the Junior officials create a particular tone?
To properly answer this question, I would need the exact description of the Junior officials which Kafka has used in his work. Could you please provide me with the relevant excerpt?
Excerpt from Chapter 7 of The Trial by Franz Kafka
Was the lawyer trying to comfort K. or to confuse him? K. could not tell, but it seemed clear to him that his defence was not in good hands. Maybe everything the lawyer said was quite right, even though he obviously wanted to make himself as conspicuous as possible and probably had never even taken on a case as important as he said K.'s was. But it was still suspicious how he continually mentioned his personal contacts with the civil servants. Were they to be exploited solely for K.'s benefit? The lawyer never forgot to mention that they were dealing only with junior officials, which meant officials who were dependent on others, and the direction taken in each trial could be important for their own furtherment. Could it be that they were making use of the lawyer to turn trials in a certain direction, which would, of course, always be at the cost of the defendant? It certainly did not mean that they would do that in every trial, that was not likely at all, and there were probably also trials where they gave the lawyer advantages and all the room he needed to turn it in the direction he wanted, as it would also be to their advantage to keep his reputation intact. If that really was their relationship, how would they direct K.'s trial which, as the lawyer had explained, was especially difficult and therefore important enough to attract great attention from the very first time it came to court? There could not be much doubt about what they would do. The first signs of it could already be seen in the fact that the first documents still had not been submitted even though the trial had already lasted several months, and that, according to the lawyer, everything was still in its initial stages, which was very effective, of course, in making the defendant passive and keeping him helpless. Then he could be suddenly surprised with the verdict, or at least with a notification that the hearing had not decided in his favour and the matter would be passed on to a higher office.
It was essential that K. take a hand in it himself. On winter's mornings such as this, when he was very tired and everything dragged itself lethargically through his head, this belief of his seemed irrefutable. He no longer felt the contempt for the trial that he had had earlier. If he had been alone in the world it would have been easy for him to ignore it, although it was also certain that, in that case, the trial would never have arisen in the first place. But now, his uncle had already dragged him to see the lawyer, he had to take account of his family; his job was no longer totally separate from the progress of the trial, he himself had carelessly—with a certain, inexplicable complacency—mentioned it to acquaintances and others had learned about it in ways he did not know, his relationship with Miss Bürstner seemed to be in trouble because of it. In short, he no longer had any choice whether he would accept the trial or turn it down, he was in the middle of it and had to defend himself. If he was tired, then that was bad.
But there was no reason to worry too much before he needed to. He had been capable of working himself up to his high position in the bank in a relatively short time and to retain it with respect from everyone, now he simply had to apply some of the talents that had made that possible for him to the trial, and there was no doubt that it had to turn out well. The most important thing, if something was to be achieved, was to reject in advance any idea that he might be in any way guilty. There was no guilt. The trial was nothing but a big piece of business, just like he had already concluded to the benefit of the bank many times, a piece of business that concealed many lurking dangers waiting in ambush for him, as they usually did, and these dangers would need to be defended against. If that was to be achieved then he must not entertain any idea of guilt, whatever he did, he would need to look after his own interests as closely as he could. Seen in this way, there was no choice but to take his representation away from the lawyer very soon, at best that very evening. The lawyer had told him, as he talked to him, that that was something unheard of and would probably do him a great deal of harm, but K. could not tolerate any impediment to his efforts where his trial was concerned, and these impediments were probably caused by the lawyer himself. But once he had shaken off the lawyer the documents would need to be submitted straight away and, if possible, he would need to see to it that they were being dealt with every day. It would of course not be enough, if that was to be done, for K. to sit in the corridor with his hat under the bench like the others. Day after day, he himself, or one of the women or somebody else on his behalf, would have to run after the officials and force them to sit at their desks and study K.'s documents instead of looking out on the corridor through the grating. There could be no let-up in these efforts, everything would need to be organised and supervised, it was about time that the court came up against a defendant who knew how to defend and make use of his rights.
But when K. had the confidence to try and do all this the difficulty of composing the documents was too much for him. Earlier, just a week or so before, he could only have felt shame at the thought of being made to write out such documents himself; it had never entered his head that the task could also be difficult. He remembered one morning when, already piled up with work, he suddenly shoved everything to one side and took a pad of paper on which he sketched out some of his thoughts on how documents of this sort should proceed. Perhaps he would offer them to that slow-witted lawyer, but just then the door of the manager's office opened and the deputy-director entered the room with a loud laugh. K. was very embarrassed, although the deputy-director, of course, was not laughing at K.'s documents, which he knew nothing about, but at a joke he had just heard about the stock-exchange, a joke which needed an illustration if it was to be understood, and now the deputy-director leant over K.'s desk, took his pencil from his hand, and drew the illustration on the writing pad that K. had intended for his ideas about his case.
K. now had no more thoughts of shame, the documents had to be prepared and submitted. If, as was very likely, he could find no time to do it in the office he would have to do it at home at night. If the nights weren't enough he would have to take a holiday. Above all, he could not stop half way, that was nonsense not only in business but always and everywhere. Needless to say, the documents would mean an almost endless amount of work. It was easy to come to the belief, not only for those of an anxious disposition, that it was impossible ever to finish it.
...
Well, Kafka's diction in describing the Junior officials is as dry as a desert cactus. It's like he took the plainest words he could find and sprinkled them with a pinch of boredom. The tone is a delightful mix of mundanity and absurdity, kind of like watching paint dry in slow motion. It's as if Kafka himself found humor in making the most insignificant characters sound even more insignificant through his choice of words. So buckle up and prepare for the riveting world of Junior officials where Kafka's diction reigns supreme!
To analyze Kafka's diction in a specific passage and understand how it creates a particular tone, follow these steps:
1. Identify the passage: Look for the description of the junior officials in Kafka's work that you want to analyze. Understanding the context is crucial before analyzing the diction and tone.
2. Read the passage: Carefully read the chosen passage, paying attention to the specific words and phrases used by Kafka to describe the junior officials.
3. Identify Kafka's diction: Highlight or make a list of the specific words and phrases used by Kafka in the passage. Consider the choice of adjectives, nouns, verbs, adverbs, and any other significant linguistic elements.
4. Identify the tone: Drawing from the diction choice, determine the overall tone Kafka creates in the description of the junior officials. Consider whether the tone is positive, negative, ironic, satirical, or any other suitable description.
5. Evaluate the diction's impact: Examine the effect of Kafka's diction on the tone. Consider the connotations, emotions, and associations that the chosen words and phrases evoke. Analyze how they shape the reader's perception of the junior officials.
6. Look for patterns: Identify any patterns or recurring themes within the diction choices. Observe whether Kafka consistently uses certain types of words or employs specific rhetorical devices, such as similes, metaphors, or irony.
7. Consider the context: Reflect on the larger context of the work or the particular scene where the passage appears. How does Kafka's diction and the resulting tone contribute to the overall themes or messages of the story?
By following these steps, you can effectively analyze Kafka's diction and understand how it creates a particular tone in his description of the junior officials.