How The Family Is Torn Apart

Gregor clings to the belief that somehow, he will return to his old travelling salesman self, but ultimately, it is because of what his transformation does to his family economically and socially that he makes the conscious choice to refuse to eat; as Johnson points out, many eating disorders are an unconscious demand for the emotional sustenance within the family that has been denied. Thus, Gregor makes the ultimate sacrifice, but it is only through such a sacrifice that the family will survive as a unit and it is an easy, but appropriate interpretation to read Gregor 's death as the rebirth of the Samsa family.

As soon as the Samsa’s returned to their flat, the family reminisces of the trials and ordeals which they were forced to endure upon their Gregor’s revolting transformation. Subsequent to discussing the matter the Samsa’s felt they could each hover above ground from the amount of anxiety which had been lifted from their shoulders. The Samsa’s decide they should clean their home and dispose of anything that brings the thought of Gregor to their minds. Mr. Samsa consumed with anger and disgust does not dare to go inside of Gregor’s dormitory. When the time comes however, to re-arrange what used to belong to their son, Gregor’s mother and sister enter the room.

Grete undergoes a change in perspective to such a degree that by the end of the novella it is she who declares, “we must get rid of it” (84). This change in perspective shows how Kafka believes that members of society often stop sympathizing with the isolated group when it becomes inconvenient for them to continue doing so. Gregor’s mother reacts in an initial manner somewhere between the father and sister since when first seeing him she “went two steps toward Gregor and collapsed right in the middle of her skirts” (23). These conflicting desires continue through the novella, such as when Mr. Samsa tries to kill Gregor, “she begged him to spare Gregor’s life” (65) but at the same time she is repulsed by him. This illustrates how she wants to help him and tries to think of him the same way she did before his transformation, yet is unable to. This resembles the idealists in society who theoretically support the alienated person but often succumb to social pressures when they are forced to face the problem. These three reactions to Gregor’s transformation as a result of the initiation of his isolation by the manager demonstrate the spectrum of reactions. From the immediate acceptance of the hierarchy represented by Mr. Samsa, to the true compassion of Grete and the idealism of Mrs. Samsa, Kafka shows how a wide variety of reactions is expected from society, and how people often change their opinions.

Dysfunction and volatility is common amongst families. These families dislike their kin and often resent them. In the play, Cat on a Hot Tin Roof, by Tennessee Williams, the Politt family does not function as a normal family. Brick, Maggie, and Big Daddy are three members of the family that have the most problems that affect the whole family.

With this in mind, Gregor, being an allegory for Kafka, portrays his feelings towards his family and his involvement with them. He portrays most of his feelings through his sister, and father, who are mainly static characters

The change begins with the family as they realize that Gregor can no longer support them financially. This puts in motion the most major metamorphosis of the story. Gregor’s initial concern is how his change will affect his ability to work. Likewise, the family seems to be concerned with the same thing; the mother fears Gregor is ill, and the father sends for a locksmith to open the door to Gregor’s room (214), all the while

Characterization of Gregor: Kafka depicts Gregor’s thoughts as depressed and hopeless in order to show that he does not believe his situation will get better. This is done in order to show that Gregor no longer has any humanity left because he repeats the same tasks every day which has numbed him.

Eventually, Gregor can not stand being so hated by his family. He bursts into his living room during dinner in the hopes that his family will understand what he has been going through. Instead, the borders renting out the apartment flee from his home in terror, and his parents and sister shoo him back into the room. After being shunned from everyone around him and being the literal monster under the bed, Gregor’s shame gets the better of him and he dies.

the family representative of Gregor, in a sense, to a mother who does not understand and a father who is hostile and opposing. The father is physically violent toward his metamorphosed Gregor, pushing him through a door in Part I: "...when from behind his father gave him a strong push which was literally a deliverance and he flew far into the room, bleeding freely" (20). Grete appears to concentrate on protecting Gregor from this antagonistic father and an indecisive mother. In Part II, when Grete leads her mother into Gregor's room for the first time, we see the strange way in which Grete has become both the expert and the caretaker of Gregor's affairs (Nabokov 271). She convinces her mother that it is best to remove all of the furniture from his room. Kafka attributes her actions partly to an adolescent zest: "Another factor which might have been also the enthusiastic temperament of an adolescent girl, which seeks to indulge

Kafka utilizes a new narrative perspective in the last passage of his work to expose the one-sided love between Gregor and the rest of his family. The majority of the story had been told in a free indirect discourse restricted to the mind of Gregor. In this position, Gregor’s humanity —despite his inhuman exterior— and his genuine love for family is revealed. As the only source of income for the family, he works with every fiber in his being to overcome the debt that plagues them, as “He felt great pride at having been able to give his parents and sister a life like this in such a beautiful apartment” (411). This compassion is clearly not reciprocated when the narration shifts to the remaining family following Gregor’s demise. Instead they critique the shelter that Gregor

The novella begins with Gregor Samsa, the family's primary provider , the oldest and only son, waking up on a regular work day to only discover that he has transformed into a human-sized coach-roach. Instead of worrying about what has just so drastically and randomly happen to him he worries about being late for work. This is an example of the mental abuse Gregor endures while caring for his family. When Gregor finds out that his father was keeping a stash of money hidden from him while he was working so hard he was happy about it instead of feeling betrayed. Here, he is so consumed with worry about what not only his father thinks but as well as what the rest of his family wants and needs he has neglected to care about himself in every way. This type of abuse is what Kafka faced with his father when he was looked down upon for wanting to become a successful writer of literature.

Worried about their son, his entire family urges next to the door and demands Gregor to unlock it. At that moment, his manager angrily storms to his house and demands an explanation for his delay. His mother tries to pleads his manager by complimenting Gregor’s devoted and hardworking attitude. She didn’t want her son to lose her occupation as she still perceived him as the successor of the family, and if anything were to happen, it would only disrupt the sustainability of her family. Finally, Gregor opens the door and witnesses the repulsive and scared faces of his family and manager. The horrified office manager backs away, his mother who was "already in tears...yelling" (12-13) passes out, and the father cries. Nevertheless, Gregor “[filled with] assurance and confidence” continued to see himself as his human self, and tries to protect this identity by delivering a long explanation. However, he doesn’t realize that no one saw him as Gregor, and regardless of how strongly he believed in his perception of himself, his family simply saw him as a disgusting creature. Courageously, the father shoves him back into the room and isolates the hideous Gregor into the room.

Furthermore, Gregor’s descent into social and physical abjection then forces his family to change radically in order to support themselves. In the beginning, Gregor starts off as the provider for his family. He hates his job, but he still goes above and beyond the call of duty to give his family a more comfortable life, even indulging the expensive endeavour of his sisters’ dream of studying the violin. However, after the metamorphosis, he is thrust into the role of a dependant – forcing his family to take responsibility and support themselves. His sister steps up to the plate in the beginning, giving him a selection of foodstuffs to find what he likes and even cleaning up after him. His parents are still in denial at this point, so much so that they refuse to see him at all. But as time goes by, his family begins to accept the situation and even try to help Grete out. His father produces some money from his previous failed business venture and his mother and sister try to make life more comfortable for Gregor. Grete in particular changes the most noticeably; Gregor himself notes at the beginning that her life up till that point had been “enviable”, consisting of “wearing nice

     In the third and final chapter, the family found the new drudgery of their lives. Their “overworked and tired-out family” (p. 880) increasingly neglected Gregor. He longed for responsibility and was “often haunted by the idea that next time the door opened he would take the

In comparison, Gregor's death in The Metamorphosis was far less heroic than Meursault's. Gregor is too self conscious about other people and what they think of him; he has sacrificed his life and his ambition for his family, to provide them a better life style. The dung beetle symbolizes the downtrodden feelings that are shoved his way especially after his transformation. All of the disappointment and sadness that washed over Gregor climaxed and resulted in his death. No one was around him when he died, and no one knew until the cleaning woman arrived. As Gregor lay dying, he "recalled his family with affection and love,"(49) he realizes that he spent his entire life caring for his family who did not care about him half as much, and he could have been more considerate about himself. Both authors tried to show how communication and happiness are interrelated as well as how vital communication is through the