After his change, he considers just them and frenzies when he considers how they will bolster themselves. New York: Chelsea House, 1988. Notice the reversal of roles here: Gregor's sister, the daughter, holds her mother's hand, acting as if she's the child in their relationship and as if she must protect her mother from what she's able to witness. He keeps toying with the idea of letting his friend know about his flourishing business, and yet insists it would look peculiar if he did it now. The opening scene, on Sunday morning, radiates Georg's contentment, which, as the story progresses, will give way to a mounting emotional instability. A more likely, though by no means wholly satisfactory, interpretation of the father's contradictions about the existence of the distant friend is that the friend gradually ceases to exist in Georg's mind after the latter has betrayed his ideals.
He is erroneous to think that he can connect with Grete by expressing his appreciation for her music, and the stage is set for his complete dismissal and condemnation by his family. How does Gregor see himself, his job, his family? He craves love and understanding, but his prolonged inactivity gradually leads him to feel ever more indifferent about everything. In addition, Gregor works for a boss who keeps track of his every move, going so far as to send his clerk to Gregor's home when he fails for one day to show up for work. In Gregor's case, his body and his mind are at a disconnect, but have grown gradually more aligned as he loses his ability to speak and learns how to walk. However, this alienates him from his family even more.
In fact, the letter announcing his engagement — the height of betrayal in his friend's eyes severs the last link between them. The only thing positive we hear is that he obviously sympathizes with the uprisings in Russia so much that he wants to stay there despite the uncertain political situation. His small room becomes the only means through which he can experience the world. However, even the execution of this condemnation seems to be a paradox because the suicide toward which the story builds becomes an execution. An interpretation often advanced categorizes Gregor's metamorphosis as an attempt at escaping his deep-seated conflict between his true self and the untenable situation at the company.
Kafka draws this parallel to suggest that the old generation, unlike the new, isn't as prepared to handle unexpected events as their younger counterparts. Themes Examples in The Metamorphosis: Note the irony of these words: Gregor's father, still in his human body, begins to act even more like an animal than Gregor, hissing at his son and forcing him back into his little room. The lonely quality of Gregor's bachelor existence assumes ever more self-destructive features, of which he is fully aware. Though unwanted, there is nothing that Gregor can do to change his situation. Discovering Gregor's new pastime, Grete decides to remove some of the furniture to give Gregor more space.
This realization that the judgment of the father, as well as the self-execution of his son, are in no way evidence of a tragedy and are meaningful only within the context of this story is important. The transformation starts from the very first line when he wakes up from an uneasy dream. This aspect of the story is also highly autobiographical. His sister once again proves to be Gregor's only ally and has sweetly prepared this milk for him, knowing that he'll be hungry and trying to show him some consideration. When Gregor first wakes up as a cockroach, he's more concerned about how his transformation will affect his ability to carry out his duties than the actual physical fact of having turned into a repulsive insect. Even with the other family members, we see no action outside of the apartment. Gregor Samsa woke one morning to find that he was no longer human but a human-sized insect Setting The Metamorphosis takes place in the small apartment where Gregor lives with his family.
There is no way of balancing out freedom and duty, and in the end one is always a slave. Alienation Before his metamorphosis, Gregor is alienated from his job, his humanity, his family, and even his body, as we see from the fact that he barely notices his transformation. Even when he has passed many days in that state, he carefully listens to the conversation of his family and thinks solutions in his mind as a bug. She and her mother begin taking furniture away, but Gregor finds their actions deeply distressing. When he is at home, he locks himself into his bedroom, a habit he says he developed while traveling but readers can see this as his need to alienate himself even more from his oppressive ever-needy family.
Has his view changed by the end of the play? Eventually, and conveniently, an annoying, then disgusting, vermin to be dealt with. Thus, when Gregor works, he is enslaved by his job and, when he doesn't work, he is enslaved by his family. Time being so related to movement, Gregor's increasing lack of direction and continuous crawling around in circles finally result in his total loss of a sense of time. When Gregor wakes up one morning and learns that he has metamorphosed and into a cockroach he is shocked and incredulous, as any human being would be. All these elements together give the story a distinct overtone of absurdity and suggest a universe that functions without any governing system of order and justice.
It is not that Georg is innocent and does not deserve punishment for his inactivity; it is the exclusiveness with which he keeps staring at his father that draws him into the whirlpool of self-annihilation. He begins climbing the walls and ceiling for amusement. Gregor has changed physical form, but Kafka clearly indicates that his essential being has not changed in any fundamental way. However, we'll still link you to the file. The first attack of alienation on Gregor Samsa has already restricted his thinking. Rather, the story and all the members of the Samsa family treat the event as a random occurrence, like catching an illness. But realizing that his possessions, which represent to him his former life as a human, provide him emotional comfort, he suddenly faces a choice: he can be physically comfortable or emotionally comfortable, but not both.