Franz Kafka's The Metamorphosis, in its continually dissected and studied narrative, details a transformation from man to creature but hides the true meaning of what it means to change form, both in mind and body. From the start, it's clear that there is something deeper beyond the strict story of man becoming beast, being cared for by his environment, neglected by said environment, and ultimately dying. Gregor Samsa, the future protagonist, exists as an anti-human, questioning the roles of family life and fulfilling a latent desire to reverse the role he occupies. Throughout the course of reading and eventually completing Kafka's The Metamorphosis, it is important to deny absolutes. Too much time is spent on the end result of an established piece and not enough on the methods, ideas, symbolic features, etc. which make the piece understandable. The reader tends to place too much emphasis on the author's ultimate intention rather than the conclusions that can be drawn throughout the reading. Through Kafka's inclusion of a non-human narrator capable of human thought and existing in a world composed only of upper and lower classes, The Metamorphosis succeeds in the narration of a man unconsciously trying to overcome his current position in life, striving to become a respected man in society, and overall shaping other aspects of the story. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an Original Essay First, it is important to examine the creature, both ambiguous in nature, but universally understood as a non-human entity possessing many humans. qualities. From the first line, “One morning, when Gregor Samsa awoke from anxious dreams, he discovered that in his bed he had been transformed into a monstrous verminous insect,” the reader is immediately informed of the protagonist's condition. Kafka goes on to describe the details of the insect-like creature with a hard-shelled body and spindle-shaped legs, but leaves the classification to the reader, which may reveal something about the lack of importance of Gregor's physical transformation. Instead, it acts as a catalyst for the rest of Gregor's life, leading to the loss of his job, estrangement from his family, and a death unbecoming of a man who worked his entire life to provide for the conditions life of his family. The event, in itself, produces a certain level of skepticism in the reader, detailing an absurd reality divorced from any sense of normalcy. The condition of Gregor Samsa, regardless of the interpretation of the laws of physics, nature or science, cannot and must not exist. He goes to bed seemingly human and wakes up as something different, but the reasons for his transformation are unclear. For example, there are no signs of excessive pain other than a slight pinching of the lower half or a slight inconvenience of trying to get out of bed with his new body, excluding the possibility of punishment. Gregor's insect-like attributes cannot arise from natural strength, as he is the epitome of a hard, caring worker, who puts his family's well-being before his own. He is neither deserving nor responsible for his current position in life. It is in this detail of Kafka's story that an alternative reality may be necessary. Since the event cannot take place in the real world, Gregor's transformation cannot be explained by a natural event either. Furthermore, it is simply discovered that the transformation has occurred, after which the reader has nodefinition of the actual events, details of the transformation or incidents that led to its ultimate downward spiral. It's as if one day, Gregor's physical appearance changed, independent of any significant motive or external force, separated from the world around him. The reader, faced with the impossible, should then conclude one or the other of two things. The first conclusion would be that Kafka works in a fictional world where mundane events are left aside in favor of fantastical ideas and characters. While this may answer everything after Gregor's change from human to creature, it lacks motive. The second conclusion asserts that the events before and after the change occur for some reason, whether or not it is consistent with the author's ultimate goal. It is in this conclusion that the reader is faced with the task of discovering the characters, ideas and events that explain the transformation and subsequent downfall of Gregor Samsa. This idea manifests itself in the first two paragraphs of the story and covers the dreamlike instances of the story. The first sentence includes the lines "as Gregor Samsa awoke", which lacks a defined state of consciousness, alluding to the fact that the protagonist's current state is somewhere between sleep and full consciousness. There is no defined kingdom in which he dwells. In the second paragraph, Gregor asks himself, “What happened to me?” » he thought. It was not a dream” (Kafka), further clouding the reader's judgment as to whether the following events could happen in reality or whether it was a particular dream. In doing so, Gregor distances himself from the reader in a very important way. Faced with the impossible, the unimaginable grotesque or confronting the inexplicable, we tell ourselves that everything around us operates inside a dream. It is a defense mechanism through which the human mind can successfully explain and refute any event or event that cannot be explained. As a kid, I did the same thing with particularly scary movies, telling myself it was all fictional in order to maintain some level of sanity. Gregor does not offer the same level of clarity, immediately writing off his transformation as something other than reality. By continuing to read, the reader is confronted with another example of separation between dream and reality. Gregor, reduced to acceptance of his appearance and lack of human coordination, continues his quest to get to work, regardless of his current state. It is not within the capacity of the protagonist to miss something that is asked of him day after day. His family depends solely on the money he brings in and they are grateful to him. Therefore, her inability to answer the door provides much-needed insight into her parents' role in the household. In his explanation of why he is late for work, his alarm clock is questioned by saying, "Could the alarm not have gone off?" From the bed you could see that he was well adjusted at four o'clock. Certainly, it had sounded. Yes, but was it possible to sleep peacefully despite this noise that made the furniture shake? (Kafka). As a hardworking individual, respected for his punctuality and lack of a personal life, waking up at the same time every day for five years, one becomes accustomed to waking up on time. The idea that Gregor, on an ordinary day, five years into his career, could suddenly neglect his ability to provide for his family is absurd. There is nothing extraordinary about Gregor, his family, his lifestyle, his job or this particular day. So why is everything changing now? If the reader is to accept the idea that Gregor is, in fact, always dreaming and that the world in whichhe lives now is the product of his mind, so a few details can be highlighted to reinforce this conclusion. The narration is told outside of Gregor's point of view, able to sense the inner thoughts of the protagonist, but there are some inconsistencies in his narration. For example, the narrative has a sense of immediacy in its simple introduction, starting directly in the middle of the main character's stream of consciousness and leaving aside any preceding action or background information. This same attribute is typical of dreams simply because of the chaotic nature of the human mind. Dreams occur randomly and not in successive order, whereas reality is linear and unfolds from one point to the next. Aside from his impossible physical appearance, it is imperative that the reader recognize Gregor's seemingly flawless depiction of the other character's thoughts and motivations. He is aware of the conversations, thoughts, and actions of those outside his door, even when they are muffled by the many walls of the house. Once the dream state is established, the next question is motivation. Gregor, in his monotonous life, supplemented by the mundane cycle of work and sleep, operates on a purely subconscious level, where his motivations are not easily demonstrated but experienced internally. It is in his dreamlike state of existence and the idea that everything works according to the product of Gregor's mind, that the conclusion of the protagonist's dream parallels his desire to escape reality. Although he is not apparently unhappy with his role in the Samsa household, Gregor is an example of a downtrodden and overworked individual looking for a way out. His dream serves precisely this purpose; a catalyst to get out of the malicious situation he is facing, after which his family, including his parents, rely on him, and not the other way around, as in the traditional way of family dynamics. The insect form that Gregor occupies can be seen as a refutation of his own responsibility, setting aside his ability to support the family's income and instead submitting to being cared for. Early in the story, his distaste for his work, coupled with the restrictive force of his parents, becomes clear when Kafka writes: “If I had not restrained myself for the sake of my parents, I would have resigned long ago. I would have gone to the boss and told him what I thought from the bottom of my heart” (Kafka par. 4). Gregor is stuck in the endless cycle of living for someone else, regardless of his own selfish emotions. The bug/creature can therefore have an important symbolic value. If the reader is to view the entire narrative as a dream, fueled only by Gregor's inner thoughts, then the ability to become any creature exists. He chose his own destiny, on a deeper level. The insect, as it is presented throughout literary history, is the symbol of a grotesque and inhuman being, incapable of human rationality. He is unable to maintain his own life, as Gregor comes to find out as he relies heavily on his sister to provide him with meals. Why then is this not a punishment for the protagonist? He seems to appreciate the hand given to him, consistent with the desires and needs of an insect, especially in its diet, when the narrator says: "There were old half-rotten vegetables, bones from the evening meal, covered with a white layer. almost solidified sauce, a few raisins and almonds, cheese that Gregor had declared inedible two days earlier", to which "Gregor's little limbs were buzzing now that the time to eat had come" (Kafka). The main character demonstrates a disconnectionmeaningful between body and mind; in this, he is incapable of reconciling his insect traits with his human thinking. At the beginning of the story, he still functions as a human would but lacks the physical attributes necessary to perform his daily tasks. It is only as the story progresses that Gregor is finally able to put aside his human thought processes and become both internally and externally the creature. By becoming the insect, he abandons all his responsibilities, instead becoming a part of the household and allowing the rest of his family to transform from their sleeping selves into productive members of the working class. Gregor's subconscious and conscience come into play when he talks about realizing his desire to break free from a previously restrictive professional life. He unquestioningly works, strives to accomplish the difficult task of providing for his entire family, and does not want to act selfishly. Its external insect form draws comparisons to the ego, primarily because it outwardly demonstrates frustration with its working and living conditions. He becomes that which is directly opposed to his previous self, acting on his unconscious desire to be cared for rather than to provide that care. His instinctive habits remain intact for most of the narrative, operating according to his human emotions and thought processes desperately trying to maintain the beliefs of his human life, but ultimately failing to do so. This is represented in the desire to become his own polar opposite, something he cannot legitimately express directly to his outside world, but which still exists. The insect functions as a governing body controlling Gregor's inner thought in the best way he knows how, passively. Subsequently, his transformation into an inept creature is only fueled by his unconscious breakdown of the moral standards imposed on him by his parents and his environment. Gregor lives his life like a machine, repeating the same process over and over again, day after day, until the machine stops working. Although the day its transformation takes place has no significance other than the metamorphosis from human to bug, it is the day the machine breaks down, forcing those around it to become their own embodiment of productivity . The transformation is not only depicted in one member of the Samsa family, but presents itself as an overall catalyst for productivity and shape-shifting throughout the household. No one is more affected than Gregor's sister, Grete. Throughout the beginning of the narrative, the family can be seen as entirely dependent on Gregor's work ethic, placing themselves solely under his care. His existence contrasts sharply with the family's laziness. Upon his transformation into an insect, a progression of events occurs leading to eventual redemption and rejection of lazy qualities. His father is questioned by Gregor in the lines: “And yet, and yet, was it still his father? Was this the same man who had once lain exhausted in his bed when Gregor went on a business trip, and who had received him the evening of his return in his nightgown and in an armchair, completely unable to cope? standing, who had only raised his arm in a sign of happiness [now] standing up straight, dressed in a tight-fitting blue uniform with gold buttons” (Kafka). Gregor's descent into a deplorable life sparked a response from those around him, who understood that in order to survive, they had to take control of their lives. Grete, however, is a special case. Grete is apparently closest to Gregor, undoubtedly caring for him in his insect state and providing for him when theMost of the others started to turn their backs on him. Their relationship could indicate much more than just a close brother and sister bond. Gregor, in fulfilling his dream wishes, submitted to a life without responsibility, in accordance with his unconscious desire to resist the impositions placed on him by his family. Grete first shows compassion for this change in her brother, mainly during his adolescent stage in the development of the narrative. However, as the story progresses, she begins to resent her brother for the situation she finds herself in and eventually frees herself from the caregiver's attachment. His detachment is matched only by his search for his own conscience. Gregor willingly gave up his human form, or freedom, so that everyone could seek and experience the consciousness that everyone desires. Grete's search ends with her eventual maturation into adulthood and improved family dynamics, while the protagonist, realizing that her conscious self is nothing more than an obstacle to those around her, ceases to 'exist. The redeeming quality of this result is found only in the family's end result, after which they, "sitting comfortably in their seats, talked to each other about future prospects and discovered that upon closer observation they did not weren't bad at all, for the three of them. had a job about which they had not really questioned, extremely favorable and with particularly promising future prospects. The greatest improvement in their situation at this stage would of course come from a change of accommodation” (Kafka). When Gregor dies, none of the family members are where they were at the beginning of the story. In fact, the protagonist's idea of ​​the end result, manifested in the image of the woman in furs hanging on his wall, serves him not as a goal but as a consequence of Gregor's estrangement from society. It appears that the burden of the main character's condition was possessive over the family's emotions for only a short time and that his non-human form greatly diminished the attachment or sympathy between the family and Gregor. By introducing this mindset, Kafka attempts to categorize the outer ends of the family dynamic, calling into question Gregor's own ability to assume the role his parents should play and creating a separation between fact and fiction. Yes, the event may occur in a dreamlike environment, a product of Gregor's unconscious desires, but the results are tangible. The title indicates a transformation but only of the most specific nature. Metamorphosis is only experienced in certain species of amphibians and fish and is relegated to the transition from adolescent to adult. Gregor does not encompass the values ​​of a normal teenager. Throughout, he is portrayed as an adult, with the emotions, physical stature, drive and level of maturity that only an adult can possess. The teenagers in this narrative are those who surround Gregor, supporting him only for their own selfish needs, raising the question of who goes through the metamorphosis. I would argue that the protagonist does not undergo metamorphosis but rather is the metamorphosis himself. He is the driving force behind any change in the story, and although his transformation is evident from the start, Gregor is not the sole motivator of the story's narrative arc. The Metamorphosis details a story that need not be complex in its interpretation but has all the qualities of a deeply symbolic representation. The suppression of human emotion, as in Gregor's refusal to conform to his strict responsibilities, is only evidenced in his own self-representation. By configuring your body.