Metamorphosis: Kafka

“When Gregor Samsa woke up one morning from unsettling dreams, he found himself changed in his bed into a monstrous vermin.” With this startling, bizarre, yet surprisingly funny first sentence, Kafka begins his masterpiece, The Metamorphosis. It is the story of a young man who, transformed overnight into a giant beetlelike insect, becomes an object of disgrace to his family, an outsider in his own home, a quintessentially alienated man. A harrowing — though absurdly comic — meditation on human feelings of inadequecy, guilt, and isolation, The Metamorphosis has taken its place as one of the mosst widely read and influential works of twentieth-century fiction. As W.H. Auden wrote, “Kafka is important to us because his predicament is the predicament of modern man.” A novel about a man who finds himself transformed into a huge insect, and the effects of this change upon his life.

The Metamorphosis is the story of Gregor Samsa who awakens one morning to find that he has been transformed into a giant cockroach. The story focuses on Gregor’s physical and emotional changes due to the transformation, as well as on the reactions of his family.

The character that Kafka created in Gregor is intriguing. While Gregor’s dilemma initially brings up feelings of pity and sadness in the reader, upon closer examination, one realizes that Gregor is not to be pitied at all, as his situation is a direct result of his own actions.

Prior to his transformation into an insect, Gregor had lived his life not for himself, but for his family. He worked at a job that he hated so that he could provide for his family. Even after the metamorphosis, Gregor felt guilt and shame that he could no longer provide for his family, although they showed no major concern for his condition. They were more concerned with how they were going to survive without Gregor’s income than with the loss of a family member.

The reactions of Gregor’s family members to his metamorphosis were diverse. Gregor’s sister, Grette, was initially the most sympathetic to Gregor’s situation. The evening following the transformation, she was thoughtful enough to supply Gregor with food, and when he rejected the first meal, she offered him spoiled foods that she thought he might enjoy. Grette continued to feed and clean up after Gregor even though she found the sight of him repulsive. Eventually, she did turn against him though, deciding that “human beings can’t live with such a creature.” She gave up hope and believed that she no longer had a brother.

Gregor’s mother had much difficulty dealing with Gregor’s condition. In between her fainting spells, Mrs. Samsa showed love and concern for her son. Throughout most of the story, Mrs. Samsa does not give up hope for her son’s return.

Mr. Samsa reacted quite violently to the sudden change in his household. He, more than any other member of the family, was more concerned with the inconvenience Gregor’s metamorphosis would cause than with the loss of his son. When he first glimpsed his son’s new form, he attacked him with newspaper and later threw apples at him which caused Gregor serious injury. At no point in the story, did the father show any concern for his son. Rather, each time he was confronted by Gregor, he reacted violently, almost with fear.
Gregor’s contributions were not appreciated by his family. His family did not care about his metamorphosis. They only cared about the effect that it would have on them. They did not feel sorry for him. He did not even feel sorry for himself. He, too, was more concerned with his family’s well-being than with his own. He hid himself from their eyes so as not to make them uncomfortable, despite the great discomfort he himself had to suffer by such confinement.

After his transformation, Gregor was of no use to his family since he could no longer support them. As an insect, he was a non-existent family member. Gregor’s weakness of character even prompted his own death. He died for his family so that they would no longer be inconvenienced.

Kafka’s book carries a strong existentialist theme. Gregor Samsa was a weak and pitiful human who allowed himself to be used by his family. As a result of his own actions, he became this “spineless and stupid” creature. Gregor lived selflessly to a fault. Perhaps in other stories this quality would seem noble, but here it is a quality that enhances the pitifulness of Gregor’s condition and lends itself to the existential nature of the story’s theme… that the world is cold and indifferent, and that ultimately, one is responsible for one’s own situation.

This is a short story, but one that is thoroughly enjoyable. It is an intriguing, philosophical masterpiece.

Herlarm Renaissance

Harlem was originally an independent village of Dutch settlers, who named it for Harlem. It was founded by Peter Stuyvesant in 1658. Later it became a residential section for whites. Its population become predominently Negro C. 1914-18. Negro harlem contains slims among the worsr in the world, but also had “Sugar Hill”, there eminent and wealthy people live in fine, comfortable houses. This place proved to be a powerful stimulant for the artistic capabilities of its Negro residents as well as of some sympathetiuc whole observers, including Carl Van Vechten, who wrote Nigger Heaven (1926).

Comedy


Comedy is a drama in which the characters are placed in more or less humorous situation the movement is light and often mirthful, and the play ends in general good will and happiness”. W.T. Young 

The term “Comedy” is customarily applied only to the plays for the stage or the motion pictures. The first true comedy was Gammer Gurton’s Needle by John Still—but the comedy with a regular plot, divided into acts and scenes is Ralph Royster Doyster produced by Nicholas Udall. Like Tragedy, comedy may also be either classical or romantic in form and design. The comedies which observe the classical rules are called classical comedies and those which ignore the classical rules are called romantic. The Classical form was adopted by Ben Jonson and the Restoration playwrights; and the Romantic by Shakespeare and the "University Wits".

The Theatre of the Absurd


Martin Esslin in his essay The Theatre of the Absurd uses the quoted phrase for the first time while analyzing Samuel Beckett’sWaiting For Godot. He says that “the act of waiting for Godot is shown as essentially absurd”. However, by the words ‘Theatre of Absurd’ we mean the kind of plays, rather strange plays of Samuel Beckett, Harold Pinter etc. 
           

Drama

The form of composition designed for performance in the theater, in which actors take the roles of the characters, perform the indicated action, and utter the written dialogue. (The common alternative name for a dramatic composition is a play.) In poetic drama the dialogue is written in verse, which in English is usually blank verse and in French is the twelve-syllable line called an Alexandrine; almost all the heroic dramas of the English Restoration Period, however, were written in heroic couplets (iambic pentameter lines rhyming in pairs).-MH Abrams

Drama in England had its origin in religion; it grew out of Liturgy (a religious ceremony) of the church. The early religious plays were broadly of the two types: The Mysteries, based upon the subjects taken from the Bible; and The Miracles play dealing with the lives of saints. It was written by clergy and acted by the clergy within the church, and its language was Latin. The Morality Plays marked the next stage in the growth of drama in England. These plays were also didactic and religious in nature, but the characters were not drawn from the scriptures on the lives of the saints but were personified abstractions. Through such personifications was represented the conflict in the human soul.

Novel

A novel is a long prose fiction having a plot, a number of characters, and the plot developing and coming to a logical conclusion through the characters’ interaction with one another. J.B. Priestley defines a novel “as a narrative in prose treating chiefly of imagery characters and events”. J.B. Priestley further says “we may regard fiction as a narrative pure and simple, or as a picture manners, or as an exhibition of characters, or as a vehicle of certain philosophy”.

Literarism

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