Outside Forces Creating Change in Characters: Love in the Time of Cholera and The Metamorphosis

When individuals are rejected by family and society, they tend to feel abandoned and unloved. In Franz Kafka’s, The Metamorphosis, Gregor’s transformation into a “monstrous vermin” (Kafka 1) results in him being psychologically and even physically abused by his family. Rejection from his mother, sister, and father leave Gregor feeling unwanted and feeling as if he is a terrible burden on the family and their well being.

The similarities between the stories may not appear very apparent at first over closer analyzation the appear more apparent .Both stories are focused around a brother and a sister whom

For example, Kafka’s original version of The Metamorphosis is very surreal and . By using phrases such as these, Kafka established The Metamorphosis as a serious, grim story. As a result, the overall themes stemmed from the story are gloomy and candid. However, in Samsa in Love, Gregor’s life was more hopeful, making him eager to find that things that were “waiting for him to learn” (10). Murakami was much less depressing when his writing is compared to Kafka’s. His usage of sentences and phrases such as this one allowed for his story to have more hopeful and inspiring themes. Overall, Kafka’s choice to give The Metamorphosis a more serious tone, and Murakami’s choice to give Samsa in Love a lighter tone can be credited for the major differences in each text’s

In the article, written by Walter H. Sokel, he goes into depth about how Franz Kafka’s life is reflected in the book The Metamorphosis and his other writings. Sokel ties together multiple aspects of the novel and their importance to Gregor and his family dynamic as a whole. Many of the points made in the article address the absurdity of the situation the novel presents and the underlying meaning in the actions of the characters. The premise of the article is pointing to the facts that Gregor's predicament is Kafka inserting his own life frustrations into his literary works. In each passage of the article another part of Gregor's life is laid bare. Sokel’s many inferences that the fault is in Gregor's own doing and not his situation in life, create a complex maze of cause and effect.

The Metamorphosis by Franz Kafka is a reflection on how alienation and isolation begin and develop in a society by employing the characters in his novella as a representation of society as a whole. Using Gregor’s manager to demonstrate the initiation of isolation and alienation of a person, Gregor as the person being isolated and the inhabitants of the Samsa household as the other members of society, Kafka creates an effective model to represent the hierarchically structured effect of isolationism and alienation in society on a larger scale.

Kafka’s Metamorphosis suggests to his readers to take a glimpse inside a dysfunctional atmosphere triggered from a painful childhood, to see how influential each member of the family contributes to the dynamics, but also to learn how to make light of the situation with acceptance. Kafka is reflecting on his own relationship with his family in Metamorphosis. He sees himself in Gregor, or is he him.

The deeper meaning of “The Metamorphosis”, by Frank Kafka, can be interpreted in many ways depending on critical theory is used to examine it. From a feminist criticism, one can observe how Gregor’s dominance as a male diminishes after he becomes a bug as his sister’s strength and role in the family grows stronger. From a biographical criticism, one can compare and contrast the traits of Gregor and the people around him with that of Kafka’s own life and his relationships. However, the focus of this essay will be applying a psychoanalytical criticism to the characters in “The Metamorphosis”, using the studies of Sigmund Freud to approach

On the surface, “The Metamorphosis” by Franz Kafka is an evocative story of a man transformed into a “monstrous vermin”. It seems to focus on the dark transformation of the story’s protagonist, Gregor, but there is an equal and opposing transformation that happens within Gregor’s family. Although Gregor has physically changed at the beginning of the story, he remains relatively unchanged as the novella progresses. The family, on the other hand, is forced to drastically change how they support themselves. Although the change was unexpected, Gregor’s transformation into a vermin sets into motion a change in the Samsa family that leaves them better off in almost every facet of their lives. Thus, Kafka’s story is not one of descent into darkness, but one of a family’s ascent towards self-actualization. The metamorphosis the title speaks of does not take place in Gregor, but rather in the Samsa Family; consequently, Kafka’s “The Metamorphosis” is not a tale of darkness, disconnection and despair, but rather a story of hope, new beginnings and perseverance.

In The Metamorphosis, Franz Kafka conveys the series of emotional and psychological repercussions of a physical transformation that befalls the protagonist, a young salesman called Gregor Samsa. As the story progresses, Gregor finds himself unfairly stigmatized, cruelly rejected because of his clear inability to financially support his family, and consequently increasingly isolated. Through extensive use of symbolism, Kafka is able to relate the surreal and absurd, seemingly arbitrary events of this short story to a general critique of society-particularly on the alienating effects that conformity generates. On a broader level, the combined themes-which include the themes of conformity, freedom, and alienation--found throughout The

Franz Kafka’s The Metamorphosis (1915) is a novella about protagonist Gregor, a hard-working traveling salesman transforms into some a vermin overnight and struggles to adjust to his startling change. Kafka characterizes Gregor as a selfless individual whose profound love for his family misleads him about their genuine disposition. As he adjusts to his new change, he undergoes great difficulty to determine his identity and humanity. Gregor has deceived himself into believing that his family will love him despite his repulsive appearance. In The Metamorphosis, Kafka uses characterization and third-person narrative to demonstrate Gregor’s self-deception and self-awareness regarding his family and circumstances to establish the theme of identity.

As the American playwright Williams Tennessee once said, “We all live in a house on fire, no fire department to call; no way out, just the upstairs window to look out of while the fire burns the house down with us trapped, locked in it.” Similarly, “The Metamorphosis” and the short stories created by Allan Poe deal with trapped characters who have no other choice but to accept their reality, while experiencing a sort of feelings that are just a reflection of the various pressures they experience through their life. The first pressure that is experience through life is the family, because it emerges an important role not only in society but also in a person’s life as it is the case of Gregor. Also, work and society which is the second role that influences a person’s development through the long way of life. In addition, the mental state, which determines the person’s attitude towards an event being experienced as it is the case of all of the characters in Poe works and also in “The Metamorphosis”. as a result, the unwanted events and changes that are dramatically experienced through life create a stage in which the characters in Poe stories and Gregor in “The Metamorphosis” find themselves dealing with trapped feelings that lead them to isolation, and make their living experience a nightmare.

Throughout literary history, certain authors are so unique and fresh in their approach to the written word that they come to embody a genre. Franz Kafka is one such author; “Die Verwandlung” or “The Metamorphosis” is one of his works that helped coin the term “Kafkaesque.” Through this novella, Kafka addresses the timeless theme of people exploit-ing others as a means to an end. He demonstrates this point through showing that a family’s unhealthy dependence on the main character results in that character’s dependence on the family.

Individuals are generally perceived to be productions of their upbringings and socialization. Latin author, Gabriel García Márquez and Algerian writer Albert Camus, introduce how their characters conflict with socialization as a result of their cultivation in Love in the Time of Cholera and The Stranger respectively. In Márquez’s novel, the key female role is assigned to Fermina Daza, a middle class Latina in the 1800s-1900s, expected to hold prestige and marry wealthy by her father and societal pressures. In The Stranger, Meursault, the protagonist, develops a niche for logic rather than influence which provides the Christian based society with a reason to have a heinous perception of him when he fails to express emotion at his mother’s

The older Florentino gets the more he starts to realize that he is wasting his life. In the book it says, “But that night he saw for the first time in a conscious way how Fermina Daza’s life was passing and how his was passing, while he did nothing more than wait” (Garcia Marquez 199). This is the first time in the novel that he realizes he is wasting his time. Florentino’s life revolved around Fermina and due to his love for her whenever he was nostalgic his memories goes to her, but whenever she is nostalgic her memories do not go to him.

In this instance, love, like cholera, produces an actual physical illness in Florentino which, at the same time inflicts him mentally, eventually consuming him wholly, as we would learn through the course of the novel. This “illness” can be read from his eating of gardenias and drinking of cologne so that he can know Fermina’s taste. This episode also sets the comparison of Florentino’s love to that of flowers in the Love in the Time of Cholera – where his ingestion of these flowers could be seen as a symbolism of him ingesting Fermina’s affections, and one which render him violently ill, just like how this love brings upon him both mental and physical anguish and suffering. Like the ravages of cholera which, at the turn of the century, spelt certain death (with no cure known yet), love had been similarly portrayed as such by Marquez in his novel. More importantly, the wrong diagnosis of cholera in this chapter foreshadows the conclusion of the novel, as we would come to learn of later.