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Karel Čapek (1890-1938) |
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Czech novelist, short-story writer, political thinker, playwright, and teacher. Karel Čapek's play R.U.R.: Rossum's Universal Robots (1920) added to Oxford English Dictionary a new word, "robot." It was derived from the Czech "robota", meaning someting like "work" or "serf", "forced labor", referring originally to dull work. Čapek's robots were not mechanical but humanlike beings of flesh and blood – now they would be called androids. Later the term was applied to machines. Along with Kafka and Jaroslav Hasek, the author of The Good Soldier Svejk, Čapek is among the great figures of modern Czech literature. "Young Rossum invented a worker with the minimum amount of requirements. He had to simplify him. He rejected everything that did not contribute directly to the progress of work. He rejected everything that makes man more expensive. In fact, he rejected man and made the Robot. My dear Miss Glory, the Robots are not people. Mechanically they are more perfect than we are, they have an enormously developed intelligence, but they have no soul. Have you ever seen what a Robot looks like inside?" (in R.U.R., 1920, translated by Paul Selver) Karel Čapek was born in Malé Svatonovice, Bohemia, Austria-Hungary (now in Czech Republic). His father, Antonín Čapek, was a country doctor. Čapek's mother Božena Capková pampered her son in his otherwise normal, happy childhood. Josef (1887-1945), Čapek's elder brother, became known as a painter, novelist, and dramatist who occasionally collaborated with his younger brother. Their sister, Helena (1886-1969), wrote a few novels. While still at high school, Čapek started to write poetry and short stories. In 1909 he entered Charles University in Prague, where he studied philosophy, and then continued his studies in Berlin at the Frederick William University (now the Humboldt University of Berlin), and at the Sorbonne in Paris, receiving his doctorate in 1915. His thesis on "Objective Methods in Aesthetics, with Reference to Creative Art" (Objektivní metoda v estetice se zrením k vytvarnému umení) was extremely well received by his professors. Čapek's first book, Zárivé hlubiny, written with Josef, came out in 1916. It was followed by Boži muka (1917, Wayside Crosses), a collection of gloomy stories. Josef illustrated many of the books, including Zahradníkuv rok (1929, The Gardener's Year), a several times reprinted collection of gardening pieces. During World War I Čapek worked temporarily as a librarian and as a tutor to the son of Count Vladimir Lažanský, an outspoken nationalist. In 1917 Capek setted in Prague, where he began to contribute to the leading daily, Lidové Noviny. In his columns Čapek's often wrote in a familiar tone about such issues as frost flowers forming on a windowpane, or how humankind would move more efficiently if people had wheels instead of legs. A majority of his essays were playful or humorous, but he also dealt with politics, mysteries, and aesthetic life. Čapek's satirical view in the story, 'War With the Newts,' was praised by Thomas Mann. Articles on Nazism and racism, and crisis of democracy in Europe, have not lost their topicality. Čapek's work show the influence of William James, and the philosophers Ortega y Gasset and Henri Bergson. He was also interested in the works of H.G. Wells, who depicted future world, and Bernard Shaw, who examined in his plays social and philosophical problems. In the 1920s Čapek's translation of French symbolist poets influence deeply Czech poetry. A reader of mystery novels, he visited Baker Street and Dartmoor on his 1924 trip to England. As a playwright Čapek collaborated with his brother in several productions. His first play, The Fateful Game of Love, was written in 1910 and staged in 1930. Čapek worked also as the art director of the National Art Theater and in 1921 he established his own Vinohradsky Art Theater. In 1920 he met a young actress, Olga Scvheinpflugová, who had the central role in his play Loupežník, and whom he married in 1935. After Adam stvoritel (pub.1927), another collaboration, he wrote no more plays until 1937. Čapek often focused on large, philosophical themes. Like his contemporary expressionist playwrights and filmmakers, he employed elements from science fiction and fantasy and was not particularly interested in portraying everyday life. In the three-act symbolic fantasy R.U.R. Dr. Goll manufactures robots which can feel pain. The robots replace men as workers. When wars began to break out, the robot formula is burned. All but one human is killed, and the robots discover love, making the discovery of new formula unnecessary. The film which popularized the idea of robots was Fritz Lang's Metropolis (1926). Isaac Asimov's stories, collected in I, Robot (1950) made known the celebrated "three laws of robotics. The word ''robot'' was coined by Čapek's brother Josef. The Absolute at Large (1922), Čapek's first novel, took up the theme of the end of the world. In the story a scientist invenst the Karburator, which product free energy but at the same time unleashes a destructive otherworldly force with the power to destroy the whole civilization. The satiric comedy Ze Zivota hmyzy (1921, The Insect Play), written with Josef, was produced in 1922. Čapek depicted human vices through the dreams of a drunken tramp. A female butterflies flirt with males and kill one, a beetle steals a store of dung, and ants struggle for power. At the end a number of the flying and dancing insects die. The tramp, who wrestles with death, too, eventually faces a new day, saying: "Look--look at the world. Look at how much there is to do." An eyewitness to the Prague production complained, that the constant "buzzing" of the actors made them all exhausted and sweaty. Čapek's last drama, Matka (1938) was about a mother, whose husband and sons are killed fighting for their ideals. She refuses to allow her youngest son to go against an approaching army reported to be killing women and children. Finally she gives him a rifle so that he may join the struggle for humanity. Most of the story was presented in the form of a dialogue between the mother and the ghosts of her dead family members. In The Insect Play, first performed at the National Theatre in Brno in 1922, and Power and Glory (1937), which was staged in Prague and Brno, Čapek examined how too much power can corrupt a political leader. He was a friend and biographer of the first president of Czechoslovak Republic, Tomáš Masaryk, working with him to unify the country, and recording Masaryk's political ideas in Hovory s T.G. Masarykem, published in three volumes between 1928 and 1935. Čapek's philosophical novel trilogy, Hordubal (1934), Povetron (1934), and Obycejný život (1934) tries to tell the same story from a different point of view, centering round problems of truth and reality. Hordubal was on its surface a story of crime. In Povetron Čapek studied how a few facts about an unknown man gives room to different interpretations, and in the last part of the trilogy an ordinary person discovers a complex combination of different personalities hidden in his own mind. Válka s mloky (1936) was again a satire on modern science and international politics. In the story nonhumans again adopt human traits, which lead to catastrophe – this time a sea-dwelling race of "newts" are discovered in the South Pacific and enslaved by human entrepreneurs. With their new führer the newts start a war agaainst their masters. "Capek's greatness as a writer often depends not on the success of his conscious intention, but on what has slipped in, almost in spite of the author. In spite of his experimentalism, his use of scientific or philosophic themes, traditional literary values abound in his works. In spite of his determined effort to come to grips with life, and unconscious terror of life returns returns again and again in his work. Though he tried not to admit it, Capek kept stumbling over the tragedy of life. All his work after Wayside Crosses is in a sense a defense against the metaphysical horror which he perceived in that book." (William E. Harkins in Karel Capek, 1962) The settlement at Munich of September, 1938, by the Western nations, in which Czechoslovakia was allowed to be overrun by Germany, was a severe blow to Čapek, an ardent spokesman for democracy who had strongly condemned war and Nazism. Čapek's health rapidly deteriorated – partly perhaps weakened by his feverish writing and exhaustion. He had also suffered from a spinal disease all his life. Čapek died of pneumonia on December 25, 1938, in Prague. After the invasion of Czechoslovakia in 1939 his works were blacklisted by the Nazis.Čapek's brother Joseph was sent in 1939 to a German concentration camp and he died at Bergen-Belsen in April 1945. During the Communist reign Čapek's work did not gain a full favor of the government and he was considered having been to international. Among his most famous suppressed texts was 'Why I Am Not a Communist', published in 1924. For further reading: Karel Čapek by Václav Cerny (1936); Karel Čapek by W. E. Harkins (1962); Karel Čapek by Ivan Klima (1962); První rada v díle Karla Capka by Oldrich Králik (1972); Karel Čapek: In Pursuit of Truth, Tolerance and Trust by Bohuslava R. Bradbrook (1997); Karel Čapek: Life and Work by Ivan Klima (2002) . Selected works:
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