Metamorphosis
Gregor Samsa, the man-turned-insect central character in Franz Kafka's the Metamorphosis, leads readers to question: who is truly in need of help? Clearly, Gregor needs help with returning to his human form, but other than that he is extremely unassuming and dedicated to taking care of his family. He never misses a day of work at his stressful job, and even when he finds himself transformed into a giant, grotesque bug, doesn't react with shock and self-pity. He simply tries to do the best he can. On the other hand, Gregor's family's actions toward him as an insect are grotesque and inhuman. They know that inside he is still Gregor, yet his outward appearance makes it impossible for them to show any genuine, lasting compassion. His sister tries but cannot maintain her dedication. This irony about who is really grotesque also applies to any situation where a good person has become a social outcast. AIDS patients, homeless people, people with mental disorders that cause them to behave strangely, the elderly, drug addicts, or anyone suffering from a visible illness are all subject to ugliness and persecution from the people who are supposed to be "healthy."
Gregor is an outcast; he must keep his ugliness locked away in his room. From the morning when Gregor did not get up for work -- even before his family saw his "metamorphosis" -- not one person showed any genuine compassion for him. Rather than worrying that he might be very ill, they were concerned he might lose his job -- their source of income. In one scene when he dares to venture out of his prison, he is pelted with apples in cruel fashion at the hands of his own father. He tries to return to his room but is shut out by his sister and forced to endure the physical abuse; one apple even gets lodged in his back and nearly cripples him (Kafka p. 48). This is the same sister who feigned compassion at the beginning, trying to care for her brother until she grew tired of the work and abandoned him like the others (Kafka p. 56).
Also like a social outcast, Gregor is treated as sickly and no one can bear the sight of him; certainly no one will dare touch him. His sister "...immediately opened the door again and walked in on her tiptoes, as if she was in the presence of a serious invalid or total stranger " (p. ) and when he is finished eating, he watches from under the sofa as " ... his unsuspecting sister swept up with a broom, not just the remnants, but even the foods which Gregor had not touched at all, as if these were also now useless, and as she dumped everything quickly into a bucket, which she closed with a wooden lid, ... " (Kafka p. ) Like anything in a hospital which may have come near a sick person, Grete treats Gregor's untouched leftovers as hazardous waste. Grete could not even bear to be in the same room with Gregor unless a window was open, no matter how cold outside. And when Gregor spent four hours trying to cover himself up with a sheet completely out of compassion for his sister's disgust at the sight of him, she was relieved rather than worried he might be unhappy (Kafka p. ) and while his father wanted nothing to do with him whatsoever, Gregor's mother did attempt to reach out to him at first. But when she was finally allowed into his room, she was naturally horrified at the sight of him and never attempted to make a connection; she did not attempt to console him or discover whether he could understand her if she talked to him. She just ran away from the situation like the others.
Research shows that human beings have a need for human touch like any other need. While an infant will actually die if not touched and held, adults may survive only by enduring severe depression (Jantzen). To socially outcast someone is the ultimate form of rejection and punishment. Unfortunately, compassionate people seem to be the exception; "Princess Diana was a good role model when she reached out to landmine victims, alcohol...
The novel is interspersed with instances of irony and pure sarcasm and cynicism and there is hardly a light moment in this entire story. There are various ways in which the transformation can be interpreted. But Samsa being a misfit dominates all other interpretations. Samsa lacks a much-needed sense of belonging, which is one reason, why he is unable to develop positive healthy relationships with people around him. His
Politics, literature and the arts -- Transformation, Totalitarianism, and Modern Capitalist life in Franz Kafka's "Metamorphosis," Fritz Lang's "Metropolis," and Albert Camus' Caligula At first, the towering heights of the German director Fritz Lang's "Metropolis" may seem to have little to do with the cramped world of the Czech author Franz Kafka's "Metamorphosis." Fritz Lang portrayed a humanity whereby seemingly sleek human beings were dwarfed by towering and modernist structures, where
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