In The Transformation, by Franz Kafka, and One Hundred Years of Solitude, by Gabriel Garcia Marquez, the authors utilize the concept of privacy and isolation to symbolize freedom. These qualities free Gregor Samsa and the town of Macondo, respectively, from external troubles.
In The Transformation, the lead character, Gregor Samsa, gets up one morning transformed into a bug. Gregor should now handle this improvement, as it will forever alter his life. Though Gregor does not recognize it at first, he has actually been oppressed by his family for a long time. He has an unconditional sense of obligation for his family, as he strives to settle the household debt “with terrific earnestness”, and dreams of sending his sis, Grete, to find out to play the violin expertly. His commitment to his family reveals how thoughtful and thoughtful he is. Nevertheless, his household normally does not see him as a member of the family, but rather an income. Upon his transformation, the family is interested in how it would impact their financial resources, rather than his well being. This is exemplified on the morning of Gregor’s change. It is the very first day he has actually missed work in five years, and his family’s instant concern is for his job. As Gregor is freed from this obligation, he realizes the true nature of his household. The more they isolate themselves from him, the more he understands that they have been oppressing him all along. Gregor ultimately learns to accept the irreversibility of his transformation, and understands that there is nothing he might do except to change his attitude and accept the modification that has actually taken place.
There is a strong imbalance of freedom and responsibility throughout the novel. Though it is evident that Gregor hates his job, he essentially is restricted to it by his duty to his household: “it was […] a requirement of family duty to suppress one’s hostility and to sustain– nothing else, just endure” (Kafka 50). He wishes to meet his task and imagine the day where he can lastly settle the household debt. Gregor is forced and confined to operate in a stressful environment for the advantage of his family:
“The tensions of trade are much greater than the work going on at head office, and, in addition to that, I have to handle the problems of taking a trip, the stress over train connections, irregular bad food, short-term and constantly changing human relationships which never ever originate from the heart.” (Kafka 4)
Freedom is acquired in his transformation, however is interrupted by his household, who continues a sense of imprisonment. Rather of reassuring Gregor, they lock him inside a space, which they begin to fill with garbage. This space can be a metaphor, representing Gregor’s life in confinement. The garbage that they put in the space may represent a false sense of love that they have provided him. While it holds true that his change has actually literally dehumanized him, it is also crucial to note the mental dehumanizing impacts that it has on his family. Gregor fails to get freedom, for when he is not locked up by his task, he is imprisoned by his household. As it turns out, the only course for Gregor to follow to attain freedom is in death, where he is finally isolated from all of his problems.
Similarly, the town of Macondo in One A Century of Privacy are also restricted through interactions and the modifications that it brings. Though the novel itself attributes numerous Biblical allusions, the characters in the book are generally not really religious. It is indicated that the town of Macondo was a better place when it was isolated from organized faith. Religious beliefs is treated with much skepticism throughout the novel, and this is illustrated in Jose Arcadio Buendia’s mocking of the local priest. Also, Aureliano Segundo makes fun of the concept of his boy wishing to end up being pope. The novel suggests that life in Macondo is best dealt with interest and with couple of restraints. This is exemplified by the reality that most of the characters in the book are uninhibited by spiritual, ethical, and sexual values. Therefore, it is suggested that seclusion from faith grants individuals more flexibility.
Other types of seclusion such as political seclusion and geographical seclusion can likewise be attributed to freedom. For a long period of time, the town of Macondo has actually been cursed with violence in between warring Liberals and Conservatives. The truth that characters such as Colonel Aureliano Buendia continuously and regularly look for war and reject peace, leading to bloodshed for the town, reveals that war boundaries the town to mayhem, rather than isolation approving the town political liberty. Upon the building and construction of the railroad, the town of Macondo has actually now become connected to the world. No longer separated, it is now susceptible to the evils of capitalist foreigners. These immigrants oppress the people of Macondo with violence and corrupt the town with materialism. The foreigners create a police force that imposes strict guidelines for the people, consequently stripping away the town of its freedom.
Though seclusion basically drives both the town of Macondo and Gregor to their eventual damage, it has actually indefinitely given both entities liberties in different forms. In The Metamorphosis, by Franz Kafka, and One A Century of Privacy, by Gabriel Garcia Marquez, the motif of solitude and seclusion is utilized to signify freedom, in contrast to interaction and the theme of dehumanization and confinement. Gregor Samsa and the town of Macondo essentially attain freedom in their death, separating themselves from all of their problems and troubles. In an existentialist perspective, it should be kept in mind that maybe true freedom can not be completely achieved until death. For that reason, everybody and everything may really in some way always be restricted to something.
Kafka, Franz. The Transformation. Clayton, Delaware: Prestwick House Literary Example Classics, 2005. Print.
García Márquez, Gabriel. One A Century of Solitude. New York City, New York City: Harper & & Row, Publishers, 1970. Print.