The Metamorphosis by Franz Kafka-Analysis
Alexandra Birkbeck Rogers IB English A: literature (SL) February 28th, 2012 Word Count: 1,416 The Meta-Metamorphosis: An In-depth Look into the Transformation of Grete In Franz Kafka’s The Metamorphosis, one can discover two forms of transformations. One, being the most obvious, is Gregor’s physical improvement from a male to an insect, and secondly one may find a subtext of a form of improvement of Grete. This improvement is one that enables Grete to change roles from being a young sister role to a motherly role to Gregor, and to lastly a judge with the decision of Gregor’s death in her hands.
Grete’s first role in the book is that of an ordinary sister to Gregor. Their connection and brother or sister bond can be considered as very strong, as when Gregor is still inside his space; his sister is outside his door sobbing, as though she knew what was taking place before he even revealed himself to the outdoors world. “If just his sibling had been there! She was perceptive; she had already started to weep when Gregor was still lying calmly on his back” (p. 13).
This connection is further revealed when Gregor finds himself chasing the supervisor, and he instantly thinks about Grete as the only way of conserving him from this unfortunate circumstance. This idea of how Grete need to be used is almost an exploitation of her body, near how the rest of the family dealt with Gregor and is a foreshadow of the Grete’s final change into the brand-new primary caretaker for the family, as the Samsa household treats him as the only source for cash. “And certainly the manager … would have listened to her” (p. 13).
This is where one might see Gregor’s objectives of exploiting Grete’s young, female figure to resolve his issue as the manager is understood to be a fan of ladies. At one point, right before she becomes the main caretaker of Gregor, Grete acts as though she is a complete stranger to Gregor. “But as if she pitied her behavior, she right away opened the door once again and came in on tiptoe, as if she were checking out somebody ill or possibly even a stranger” (p. 17). We see that plainly Grete is unpleasant seeing Gregor’s brand-new self, but still eels some sort of connection to him as she comes to the decision of returning to the room after having actually knocked the door in fear from seeing her sibling. Although she might feel repulsed by his new look, she understands that there is still some form of her brother within the monster, and selects to look after him while her moms and dads are getting utilized to the idea of their son’s new physical look. She started to bring him food, clean his room, and even move among his chairs to the window, so that he could see the street, all of this to look after her sibling.
In a manner one might call Grete a mother to Gregor. Nevertheless, not just was she a mother figure during this period, she was likewise Gregor’s only genuine connection to mankind. A part of this change happens through a form of communion, as Grete starts to offer Gregor his meals. As Grete offers meals to Gregor, the 2 ended up being more detailed in a way. Grete discovers more about the brand-new Gregor and finds this a bonding moment for the brother or sisters in the chaos that is the transformation. The very first time she put out food for Gregor, she put out all the food Gregor had actually enjoyed prior to and included some other rotten items. To discover his likes and dislikes, she brought him a wide variety of things, all expanded on a paper; old, half-rotten vegetables; bones left over from the evening meal, caked with hardened white sauce; some raisins and almonds; a piece of cheese, shich 2 days before Gregor had actually declared inedible; a plain piece of bread, a piece of bread and butter, and one with butter and salt” (p. 17-18) When she returned to clean this food, she saw that he consumed the more decayed, broken down foods, she made the change and brought those kinds of foods to Gregor for his meals.
This little minute can be considered as a kind of communion and show how it brought the 2 characters together. “Would she discover that he had left the milk standing, and not due to the fact that he had not been hungry, and would she generate a dish of something he ‘d like much better?” (p. 17). These are the words Gregor wondered as his sibling brought his meals to him hoping that she would see that Gregor was certainly starving, however was repulsed by the milk she provided him. However, this communion later on is what brings Grete’s resentment towards her sibling, and eventually her decision to eliminate him.
Although the 2 are not consuming together, Grete is offering her sibling food, and revealing that she still looks after him. This is how the 2 bond during Gregor’s new self. However, this communion soon alters from a sense of bonding to a chore for Grete to do. During this new sense of the mother role for Grete, she ends up being more fully grown, and soon chooses that all of Gregor’s decisions must be made by her and has no input from the other relative. This starts to cause the stress within the household.
As Grete’s function of caretaker grew from pitying her bro to an obligation, she began to resent him. Grete, having taken the primary role of caretaker, starts to feel more mature and makes the decision herself to remove the furniture in Gregor’s space. “Obviously it was not just childish defiance and the confidence she had recently acquired so suddenly and at such a cost that led her to make this demand; she had in fact discovered that Gregor required the lots of room to crawl around in; and on the other hand, as best she could tell, he never ever used the furniture at all” (p. 5) The quote above demonstrate how Grete’s brand-new role has actually enhanced her self-confidence level, and takes it upon herself to end up being Gregor’s expert on all decisions connected to him. The resentment Grete felt towards her sibling, is what made her choose that it was lastly time to “eliminate it”. “‘My dear parents,’ his sis stated and by way of an introduction pounded her hand on the table, ‘Things can’t go on like this. Possibly you don’t understand it, however I do.
I won’t pronounce the name of my sibling in front of the beast, and so all I state is: we need to get rid of it'” (p. 37). She quickly encourages her moms and dads, primarily her daddy, that the bug version of Gregor is no longer Gregor and is now some beast. This unexpected bitterness towards her brother is also the reason for much stress between Gregor and his family. Grete tries to separate her mother and daddy far from Gregor. Her protectiveness of her brother begins to tear the household apart, and remove Gregor’s only accessory to humankind.
Even as she decides to move all of Gregor’s furniture out of his room, so that he can move more, she does not see that he requires his furnishings to remain closer to mankind, and keep the human part of him alive. As the novel ends, Grete’s metamorphosis comes cycle as it closes with Mr. and Mrs. Samsa seeing how their child has become a stunning girl. “… as they saw their daughter getting livelier and livelier, that lately, in spite of all the difficulties which had turned her cheeks pale, she had blossomed into an attractive, shapely woman” (p. 2). The Samsa’s then continue to concur that the time came for their daughter to find a spouse, one of the first steps into the adult years. “And it resembled a verification of their brand-new dreams and great intents when at the end of the trip their daughter got up very first and extended her young body” (p. 42). This extending of her young body is quite like a caterpillar’s change into a butterfly, coming out of a cocoon, happening to a full circle ending of the character transforming into the young adult.
Grete’s metamorphosis is clear, with Kafka having her go from a woman to a young adult. Her transformation not just impacts herself, however the health and wellbeing of her entire family, though mainly Gregor’s life. As her change happens, she grows from a kid who has compassion with her older sibling to ending up being a more mature grownup who has the right to choose the future of her brother. Work Pointed Out: * Kafka, Franz. The Metamorphosis. Trans. Stanley Corngold. 1st ed. New York: W. W. Norton &&, 1972. Print. Norton Important.