In Camus’ The Complete stranger and Kafka’s Transformation, the lead character discovers himself in a remarkable circumstance that challenges his will. In both books, this at first unsympathetic character struggles to redeem himself. In so doing, his identity establishes and his favorable qualities end up being apparent. The characters thus end up being unexpectedly sympathetic to the reader, and each book concludes with a confident tone.
In The Stranger, the protagonist Meursault can be evaluated as a cold-hearted killer who is mentally removed from the world around him. His alienation from society and indifference to love and grief are blatant. “Mom passed away today,” he comments, “Or possibly the other day, I don’t know.” He deals with others callously: “She asked me if I liked her. I told her it didn’t indicate anything however that I didn’t think so.” Meursault just focuses on the physical aspects of life, specifically relating to light and heat: “There wasn’t a shadow to be seen and every item … stuck out so dramatically that it hurt to my eyes.”
The Stranger’s main event occurs when Meursault shoots the Arab. The language utilized in this passage is so sophisticated and abundant in simile– “The steel … resembled a long, flashing sword,” for example– almost removes the act from Meursault and causes the reader to question whether he did it with intent or not: “That’s when everything started to reel. The sea brought up a thick, fiery breath. It appeared to me as if the sky split open from one end to the other to rain down fire … The trigger provided.” Camus removes Meursault from the action with “The trigger provided,” further insulating Meursault versus intent or repercussion– and therefore against blame.
In jail, Meursault’s positive qualities emerge. He has the chance to get away with a minor sentence but instead, with “It was due to the fact that of the sun,” confesses his guilt. He also appears more understanding in contrast to the unlikable judge who “sees nothing but a monster” in Meursault. The reader, who has concerned see the killing as unpremeditated, feels defensive of the protagonist when the judge wants the death sentence upon Meursault and states: “Never ever in the past have I felt this difficult job so completely compensated and reversed, not to state informed by a sense of immediate and spiritual responsibility.” The reader feels the judge is being excessively harsh to Meursault, misjudging his naturally decent (if removed and alienated) character. When the climax is reached and Meursault is sentenced to death, we therefore feel sympathetic to this formerly unpalatable character.
Gregor of Kafka’s Metamorphosis stumbles upon as self-involved and unsympathetic at first. Some evidence recommends that Gregor, unlike Meursault, acts by doing this purposefully. For example, his main factor for working so hard and supporting his whole household is to appear as a hero: “If I didn’t have to hold my hand because of my moms and dads I would have given notice long ago.” He even prioritizes it over romantic relationships, as the picture in his bedroom shows no personal buddy or perhaps a sensuous image but rather shows “a woman, with a fur cap on and a fur took, sitting upright.”
Gregor’s improvement into a beetle can be viewed in two ways. On the one hand we feel pity that he should, for no specific reason, be turned into a repulsive beetle. On the other hand we feel that he deserves it, considering that his life appeared very hollow and unimportant before his improvement. In either case, Gregor’s genuine transformation happens throughout the story as he comes to recognize that what genuinely makes him happy is not his “strenuous profession” however rather things such as his sister playing the violin “so wonderfully.”
The point of view used in Transformation is the minimal omniscient, which operates to help Kafka produce sympathy for Gregor. If we were given accounts of Gregor only by his family, our viewpoint of him would be limited. Initially his moms and dads appear to take care of him: “‘Oh dear,’ sobbed his mom, in tears, ‘possibly he’s awfully ill;'” however after seeing him as a beetle, they reveal no sympathy for him at all: “Pitilessly Gregor’s daddy drove him back, hissing and crying ‘Shoo!’ like a savage.” By utilizing the limited omniscient rather of the third individual perspective, Kafka offers insight into Gregor’s in some cases unselfish ideas: “It was a secret plan of his that [his sis] ought to be sent next year to study [the violin] … despite the great expense.”
As the reader’s compassion develops for Gregor, he, like Meursault, becomes a victim. Now that Gregor is simply an “old dung-beetle,” his family may too pelt him with apples until he passes away. What is he worth if not offering a comfortable life for the household?
Just as the district attorney in The Complete stranger is made to appear unsympathic, so too is Gregor’s household in Transformation. By utilizing these comparisons, the protagonists are made to look like heroes, even if only for a short time, and therefore more supportive. In addition, both Gregor and Meursault go through an improvement throughout their stories and end up being wiser: “As if that blind rage has actually cleaned me clean, rid me of hope,” one says. “For the very first time … I opened myself to the mild indifference of the world.” Their emotional evolution is another factor that readers become more sympathetic to them.
Camus and Kafka also show their characters’ awareness and worry prior to their deaths, their vulnerability making the reader feel much more compassion for them. The previously unemotional Meursault has actually ended up being afraid: “I described to him that I wasn’t in misery. I was merely scared.” Simply as he starts to understand the world, life is stolen from him: “The administering judge told me in an unusual language that I was to have my head cut off in a public square …” However Camus has resigned himself to his fate: “The administering judge asked me if I had anything to say. I considered it. I stated, ‘No.'” Gregor responds in a similarly odd, separated way when he is delegated pass away: “‘I want to eat something,’ stated Gregor anxiously, ‘however nothing like they’re consuming. They do feed themselves. And here I am, passing away!'” By concluding the novels with death, Camus and Kafka reveal symbolically that the characters have finished– as best they can– the journey to discover real identity.
Camus’ and Kafka’s choice to make their characters considerate brings the implication that there is hope within all of us– that we can alter our views toward what may have when appeared unsympathetic or simply horrible. We see Meursault and Gregor battle through scenarios beyond their control just to stop working in the end, making them appear, paradoxically, nearly heroic. Their favorable qualities slowly emerge– not least at the time of their deaths, when Gregor for instance considers his household “with inflammation and love”– and the reader is left sensation unanticipated compassion for both characters.