Franz Kafka's Metamorphosis, in its continually dissected and heavily researched 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 beginning, it is clear that there is something deeper than the strict tale of man becoming beast, cared for by his surroundings, neglected by said environment, and ultimately dying. Gregor Samsa, the would-be protagonist, exists as an anti-human, defying the roles of family life and satisfying a latent desire to reverse the role he inhabits. Throughout your reading and eventual completion of Kafka's 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. that make the piece understandable. The reader tends to give too much importance to the author's ultimate intention rather than to the conclusions that can be drawn while 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 narrative of a man who unconsciously seeks to overcome his current position in life, working to equal a man respected in society, and shaping the other aspects of the story overall. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay First, it is important to look at the creature, both ambiguous in nature, but universally understood as a non-human entity that possesses numerous human qualities. Already from the first line: «One morning, waking up from distressing dreams, Gregor Samsa discovered that he had been transformed in his bed into a monstrous verminous insect», the reader immediately realizes the protagonist's condition. Kafka goes on to describe the details of the insect-like creature, complete with hard-shelled body and spindle-shaped legs, but leaves the classification, which may reveal something about the lack of significance in Gregor's physical transformation, to the reader. Instead, it functions as a catalyst for the rest of Gregor's life, resulting in the loss of his job, alienation from his family, and the unseemly death of a man who has worked his entire life to support his family's living conditions. The event, in itself, produces a certain level of skepticism in the reader, detailing an absurd reality divorced from any sense of normality. Gregor Samsa's condition, under any interpretation of the laws of physics, nature or science, cannot and must not exist. He apparently goes to bed as a human and wakes up as something different, but the reasons for his transformation are unclear. For example, there is no sign of excessive pain other than a slight twinge in the lower half or slight discomfort in trying to roll out of bed with his new body, ruling out the possibility of punishment. Gregor's insect-like attributes cannot arise from natural strength as he is the embodiment of a caring hard worker, who puts the well-being of his family before his own. He is neither deserving nor responsible for his current position in life. It is in this detail of Kafka's narrative that an alternative reality may be a necessity. Since the event cannot take place in the real world, Gregor's transformation cannot be explained even by natural events. Furthermore, it simply turns out that the transformation has occurred, after which the reader lacks any definition of the actual events of the events, godsdetails of the transformation or incidents that led to his final downward spiral. It is as if one day Gregor's physical appearance changes, regardless of significant reasons or external forces, separated from the surrounding world. The reader, faced with the impossible, should therefore conclude one of two things. The first conclusion would be that Kafka is working in a fictional world where common events are set aside for fantastical ideas and characters. While this may answer everything after Gregor's change from man to creature, it lacks motivation. The second conclusion asserts that events both before and after the change happen for some reason, whether true to the author's ultimate goal or not. It is in this conclusion that the reader is faced with the task of unearthing the characters, ideas, and events that explain Gregor Samsa's transformation and subsequent downfall. This idea manifests itself in the first two paragraphs of the narrative and covers the dreamlike instances of the story. The first sentence contains the lines “while Gregor Samsa woke up”, in which there is no defined state of consciousness, alluding to the fact that the protagonist's current state is halfway between sleep and full consciousness. There is no defined kingdom he inhabits. In the second paragraph Gregor asks himself: "What happened to me?", he thought. It was not a dream” (Kafka), which further clouds the reader's judgment as to whether the following events occurred in reality or in a particular dream. In this way Gregor distances himself from the reader in a very important way. When faced with the impossible, the unimaginably grotesque, or confronted with the inexplicable, we tell ourselves that everything around us functions within a dream. It is a defense mechanism by which the human mind can successfully explain and disprove any event or occurrence that cannot be explained. As a child, I did the same with particularly scary movies, telling myself it was all fictional to maintain a certain level of sanity. Gregor doesn't offer the same level of clarity, immediately describing his transformation as something other than reality. Continuing reading, the reader is faced with another example of separation between dream and reality. Gregor, reduced to accepting his appearance and lack of human coordination, continues to try to cope, regardless of his current condition. It is not in the protagonist's capacity to miss something that is required of him day after day. His family depends solely on the money he brings in, for which they are grateful. As a result, his inability to open the door provides great insight into the character of both his parents in the family. In his explanation of why he is late for work, his alarm clock is called into question, saying, “Is it possible that the alarm didn't go off? From the bed you could see that it was set correctly at four o'clock. It had certainly rang. Yes, but was it possible to sleep peacefully despite that noise that made the furniture shake? (Kafka). As a hardworking individual, respected for his punctuality and lack of personal life, who wakes up at the same time every day for five years, you get used to waking up on time. The idea that Gregor, on any given day, five years into his working career, could suddenly neglect the 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 accepts the idea that Gregor is actually still dreaming and that the world he lives in now is all a product of his mind, then some details can be clarifiedto strengthen this conclusion. The narrative is told from Gregor's point of view, capable of experiencing the protagonist's most intimate thoughts, but there are some inconsistencies in the story. For example, the narrative has a sense of immediacy in its direct introduction, which begins directly in the middle of the main character's stream of consciousness and leaves out any previous 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, while reality is linear and occurs from point to point. In addition to his impossible physical appearance, it is crucial that the reader recognizes Gregor's seemingly unwavering description 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 house's many walls. Once the dream state is established, the next question is that of motivation. Gregor, in his monotonous life, complete with the mundane cycle of work and sleep, operates on a purely subconscious level, where his motivations are not readily demonstrated but internally experienced. It is in his dreamlike state of existence and in the idea that everything works according to the product of Gregor's mind that the conclusion of the protagonist's dream is realized, parallel to his desire to escape from reality. While not outwardly dissatisfied with his role in the Samsa family, Gregor exemplifies a downtrodden and overworked individual seeking a way out. His dream serves precisely this purpose; a catalyst to move away from the malevolent situation he faces, after which his family, including parents, rely on him, and not the other way around, as in the traditional way of family dynamics. The insect form that Gregor takes can be seen as a refutation of his own responsibility, setting aside his ability to shoulder the family income and instead submitting to treatment. At the beginning of the story, his distaste for his job combined with his parents' restrictive force is made clear when Kafka writes: “If I had not held back for the sake of my parents, I would have left my job a long time ago. I would have gone to the boss and told him what I think 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 insect/creature can therefore have significant symbolic value. If the reader is to treat 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 presented throughout literary history, is the symbol of a grotesque, inhuman being, incapable of human rationality. He is unable to keep himself alive, as Gregor discovers 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 like the hand he was dealt, conforming to the wants and needs of an insect, especially in his diet, when the narrator says, "There were old half-rotten vegetables, bones from the evening meal, covered with a white almost solidified sauce, some raisins and almonds, cheese that Gregor had declared inedible two days before”, whereupon “Gregor's little limbs were buzzing now that the time had come to eat” (Kafka). demonstrates a significant disconnect between body and mind; this, he is unable to reconcile his insect characteristics with his human thinkinga human being would do but does not possess the physical attributes to complete his daily tasks. It is only as the story progresses that Gregor is finally able to put aside his human thought processes and become a creature both internally and externally. By becoming the insect, he casts aside all his responsibilities, instead becoming part of the house and allowing the rest of his family to transform from dormant selves into productive members of the working class. Gregor's subconscious and conscious come into play when it comes to realizing his desire to break free from his previously restrictive work life. He works without question, striving to complete the heavy task of supporting his entire family, and is unwilling to act selfishly. His external insect form draws comparisons to the ego, primarily because he outwardly demonstrates his frustration with his working and living conditions. He becomes that which is directly opposite to his former self, acting on his unconscious desire to be cared for rather than providing such care. His instinctive habits remain intact for most of the narrative, working as his human emotions and thought processes desperately try to maintain his human life beliefs but ultimately fail. This is represented in the desire to become his polar opposite, something he cannot rightly express directly to his outside world, but which still exists. The insect functions as a governing body that controls Gregor's inner thinking the best way he knows how, passively. Subsequently, his transformation into an inept creature is fueled only by his unconscious breaking of the moral standards imposed on him by his parents and his surroundings. Gregor runs his life like a machine does, repeating the same process over and over, day after day, until the machine stops working. Although the day his transformation occurs has no meaning other than the metamorphosis from human to insect, it is the day the machine breaks down, causing those around it to become the embodiment of productivity. The transformation is not only represented in one member of the Samsa family, but presents itself as a general catalyst for productivity and shape-shifting throughout the family. No one is more impressed than Gregor's sister, Grete. Throughout the beginning of the narrative, the family can be seen as completely dependent on Gregor's work ethic, relying solely on his care. His existence is just a stark contrast to the family's laziness. After his transformation into an insect, a progression of events occurs that leads to redemption and the rejection of the qualities of the sloth. His father is questioned by Gregor in the lines: “And yet, and yet, was that still his father? It was perhaps the same man, who once, when Gregor left on a business trip, lay exhausted and buried in bed, and who on the evening of his return had received him in a dressing gown and an armchair, completely unable to stand up, who had only raised his arm as a sign of happiness [now] standing very straight, dressed in a tight blue uniform with gold buttons” (Kafka). Gregor's descent into a deplorable life sparked a reaction from those around him, who realized that to survive they had to take control of their lives. Grete, however, is a special case. Grete is apparently closest to Gregor, caring for him unconditionally in his insect state and providing for him when most others have begun to turn away. Their relationship could indicate something much more than just a close bond between brother and sister. Gregor, in hisdream dream fulfilled, he subjected himself to a life without responsibility, according to his unconscious desire to resist the impositions imposed on him by his family. Grete initially shows compassion for this change that occurred in her brother, primarily during his adolescent stage of development in the narrative. As the story progresses, however, he begins to resent his brother for the situation he finds himself in, and eventually breaks free from the caregiver attachment. His detachment is comparable only to the search for his own conscience. Gregor has voluntarily given up his human form, or freedom, so that everyone can seek and experience the consciousness that each desires. Grete's quest ends with her eventual maturation into adulthood and the improvement of family dynamics, while the protagonist, after realizing that his conscious self is nothing more than an obstacle to those around him, ceases to exist. The redeeming quality of this outcome is found only in the family's final outcome, after which they, “Leaning comfortably in their seats, talked to each other about future prospects, and found that, on looking more closely, these were not bad at all, for the three of them they had a job, which they had not questioned at all, which was extremely favorable and with particularly promising future prospects. The greatest improvement in their situation at this point naturally had to come from a change of residence” (Kafka). When Gregor dies, none of the family members are where they were at the beginning of the story. Indeed, the protagonist's idea of ​​the final end result, manifested in the image of the woman in the fur coat hanging on the wall, serves not as a goal for him but as a consequence of Gregor's estrangement from society. It seems that the burden of the main character's condition was possessive of the family's emotions for only a short time, and his non-human form greatly diminished the attachment or sympathy between the family and Gregor. By introducing this mentality, Kafka attempts to categorize the external extremes of the family dynamic, challenging Gregor's ability to manage the role his parents are expected to play and creating a separation between reality and fiction. Yes, the event may occur in a dream setting, a product of Gregor's unconscious desires, but the results are tangible. The title indicates transformation, but only of the most specific kind. Metamorphosis occurs only in some species of amphibians and fish and is relegated to the transition from adolescent to adult. Gregor does not embody the values ​​of a normal teenager. He is portrayed as every bit an adult, with the emotions, physical stature, drive and level of maturity that only an adult can possess. The teenagers in this narrative are the ones who surround Gregor, supporting him only for their own selfish needs, wondering who is going through the metamorphosis. I would say that the protagonist does not experience a metamorphosis but is instead the metamorphosis himself. He is the driving force behind all the changes in the story, and although his transformation is made clear from the beginning, Gregor is not the only motivation for the story 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 repression of human emotions, as in Gregor's refusal to abide by his rigid responsibilities, is made clear only in his self-representation. By configuring his body to parallel his internal rejection of his parents' lack of motivation, the protagonist allows himself to take the form of what he aspires to be, outwardly conforming to.