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"A Dead Child is a sight no more surprizing than a broken Pitcher," Cotton Mather preached, in a sermon called "Right Thoughts in Sad Hours".
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 more I am spent, ill, a broken pitcher," he wrote shortly before the earlobe incident, "so much more am I an artist".
Plays such as The Broken Pitcher (1807) attracted the attention of Goethe, but their relationship deteriorated after Von Kleist produced the anti-Napoleonic play Die Hermannsschlacht (1808).
"The more I am spent, ill, a broken pitcher," Vincent van Gogh, the quintessential suffering artist, wrote, "so much more am I an artist, a creative artist".
Goethe endeavoured to maintain Weimar's cultural position by looking for a successor to Schiller as principal dramatist but failed to appreciate the genius of Heinrich von Kleist, whose comedy Der zerbrochene Krug (The Broken Pitcher) he produced in 1808.
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"Pitchers break down, pitchers get hurt and we certainly are not second-guessing ourselves".
Apparently the theory is, if you sign enough broken down pitchers who once had it going and just one rebounds, that's a no-lose signing.
Three-run homers can break a pitcher's spirit.
After she's caught her breath, Dolores breaks a pitcher on his head.
Although cold air hinders the ability to grip a baseball and spin breaking balls, pitchers on the mound at least stay moving on every play.
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