The significance of furniture and character as depicted in The Metamorphosis

The human mind is so active that a specific experiences approximately 70,000 thoughts every day. These ideas are typically contrasting in their nature, as the stream of consciousness does not readily divide thoughts into classifications, and ideas enter and leave the mind easily. The novella Transformation by France Kafka highly presents a character that deals with two contrasting desires and propensities of character. Gregor is pestered between his social desire of being human and belonging and a new animalistic side, which oppresses these social constructs. Kafka effectively uses furniture within Metamorphosis as a website between these two sides, and how they both help but likewise hinder Gregor in keeping what is left of his humanity. This work by Franz Kafka can likewise be read as a review of the human inclination and how individuals place too much value on social constructs, in regards to identity, relationships, and worths- a topic that will be gone over in the conclusion.

The clashing tendencies of Gregor’s character commence at the preamble of this novella when Gregor first awakens in his transmogrified state. He is no longer a human, but a cockroach– an insect exaggeratingly less complicated in thought process and thought-movement correspondence. Yet Gregor is given no time to process his new body and mind due to his household’s continuous questioning regarding his absence from work. Gregor, in this craze, attempts to reach his moms and dads and the chief clerk in order to reassure them that he is all right. In order to do so, Gregor, still not accustomed to his new physique, need to use a chair in order to reach the door leading out of his bed room. “Gregor slowly pressed himself throughout the door with the chair, there let go of it and dropped versus the door … and there rested a moment from his exertions” (p. 99). It is clear that this job is no simple accomplishment for Gregor, yet he pays no mind to how exceedingly difficult this endeavor is. Reaching his moms and dads and the chief clerk ends up being a lot more hard when Gregor attempts to unlock; his thin and dangly arms are not strong enough the turn the doorknob and he owns no teeth to grip the doorknob with. “Thankfully his jaws were very effective … he got the essential to move, and he didn’t stop to consider that he was definitely destructive himself in some way, due to the fact that a brown liquid came out of his mouth “(p. 99). Although Gregor is apparently injuring himself while attempting to unlock, his desire of social interaction bypasses the discomfort he remains in. It is extremely clear here that a conflict between Gregor’s social desire and animalistic identity is starting to emerge. The main character’s staying human propensity is latching on to whatever social desires are left; that is, the desire of pleasing his household and not troubling his chief. “He genuinely had it in mind to unlock, to show himself and to talk to the chief clerk; he aspired to learn what the others, who were all demanding him, would say when they got to see him” (p. 97) Gregor’s only human identity is that of a salesman, and in a desperate effort to hide his newly found animalism, Gregor frantically attempts to operate as a human would. Nevertheless, this new animalistic side remains in defiance and opposes his social inclinations, bringing into question the direct nature of Gregor’s character. The use of furniture within this scene works as a gateway between what he desires and where the capacities of his actions lie.

Gregor’s overriding animalistic identity ends up being a lot more meddlesome as the plotline progresses. The scene preambular to Gregor’s death, where the whole household along with their three tenants, sit at the dinner table and attentively listen to Grete strongly playing her violin, is considerable in representing the dominance of his cockroach propensities over his human social desire. Gregor advances out of his space here for the very first time because an apple strikes him, tossed by his dad in a fit of rage for frightening both his mother and sis. Gregor wants not to trouble his moms and dads or his sis considering that the realization that his presence unsettles him, however this introverting sense of self his pressed away by his destination to the music his sibling plays. “Could he be an animal- to be so moved by music?” (136) Kafka uses totally free indirect speech within this rhetorical concern in order to bring Gregor’s psychological and social point of view into the light. Gregor, in his slowly deteriorating state, is confused as to why he still has such enthusiasm for human constructs that his transmogrified state can not view or comprehend to the exact same level any longer. Nevertheless, Gregor is unfortunately caught in the act and required to pull back slightly, as his daddy rises from the table in excellent hostility. Grete, sick of the suffering she feels, makes an outspoken remark: “dear parents, things can not go on like this … I don’t wish to speak the name of my sibling within the hearing of that beast, and so I will merely state: we have to get trip of it” (138) This reflects the breaking away from the household’s previous mantraic mode concerning Gregor’s presence, as they just tolerate him previously. It is here that Gregor completely recognizes that his presence now is among redundancy as his sister has finally offered her sincere opinion regarding his presence and which propensity of his character is more popular-” the monster” (138 ). He for that reason turns around in order to retreat to his space, yet faces problems. “He was struck by the country mile that appeared to separate him from his space, and was not able to comprehend how, in his enfeebled condition, he had simply a bit covered the same distance, nearly without discovering” (140 ). It is here where the reader completely comprehends Gregor’s deteriorating state. Gregor’s animalistic side has reinforced to the point where he can no longer use his social desire to the exact same level in order to reach the door. In addition, with this retreat towards his room, Gregor now comprehends that he must let go of his human self and pass away as a cockroach. Bugs live short, basic lives without emotional desire. His animalistic character can not be withdrawn and this inevitable fact needs to be accepted. His household concurs: “If it was Gregor, he would have long earlier seen that it is difficult for humans to cohabit with an animal like that” (139 ). Gregor passes away the next early morning. The table and door in this scene can be viewed as the shift from Gregor as a presence with conflicting character propensities to a presence with just one character.

Gregor’s use of furniture in Transformation clearly highlights his conflicting tendencies of character, specifically between his social yearning and monstrous identity after his transmogrification into a cockroach. It is clear because the start of the novella that Gregor tries at accepting this new animalistic side to him, and when it becomes a normalcy, his desperation to keep his humankind leads him into utilizing furnishings as a method of acquiring these social desires. Yet at the end of the novella it is clear that Gregor can not keep these contrasting tendencies on the exact same aircraft, and chooses to desert his humanity in order to conserve his household from everlasting distress. Metamorphosis might likewise be deemed a critique of human disposition as due to the reality that Gregor attempts to contain his human yearning, he compromises the relationship with his family and damages himself physically as well as psychologically. Kafka argues that such a yearning for human inclination will just harm a specific in the long run, and must be avoided.

Works Cited: Kafka, Franz. Transformation. London: Penguin, 2006. Print.