The apparent expression of Kafka’s Metamorphosis is the battle to discover and express one’s individuality in a world of constant, all-consuming commitments. For instance, The Metamorphosis discusses a ludicrous occurrence “as Gregor awoke one morning from an uneasy dream he found himself transformed into a gigantic insect.” (Kafka 1), which hints that the narrative takes place in a haphazard world. The event in question is the titular metamorphosis, and since it is so far outside the confines of a natural occurrence, it is not just improbable; it is literally impossible to happen.
Thus, the book is subtle and non-humorous in that it explores the adverse stages of life. In this way, denial, acceptance, and decline are the three phases that relate to Gregory’s transition. It begins with disapproval, in that Gregor learns that he has transformed into an insect and insists that this change will not impact him. Afterward, he comes to terms with the fact that he has transformed and begins to embrace his identity as an insect; it is a sad state for Gregory. In the last phase of the metamorphosis, he shuts himself off from the outside world, stops eating, and ultimately passes away.
Grotesque entails odd, unnatural, or absurd appearance; in most cases, it causes dread towards people. Therefore, the events in The Metamorphosis further underscore grotesque meaning and understanding. In particular, Gregor’s transformation separates him physically and emotionally from his family; he feels odd and different from others. Moreover, he spends practically all of his time in his room with the door shut and has limited interaction with others; Samsa feels he is displeasing. Grete spends a few minutes in the room with him, during which Gregor always hides beneath the sofa. Thence, the distortion of his normal body form to an insect correlates to an unappealing homely sight. Gregor’s transformation alienates him from the human race since it renders him no longer human; he views himself as a monster. Kafka further explores the context of the grotesque through his narration:
To spare her from even these glimpses, he dragged the sheet to the sofa on his back one day—this required four hours’ work—and laid it in such a way as to conceal himself entirely, so the sister could not see him… (Kafka 21)
Franz Kafka’s use of vivid imagery in The Metamorphosis illustrates the difficulties that are attributed to transformation. Gregor’s emotional apathy gives readers a glimpse inside their home to see and hear what is happening. For instance, he insinuates that an infamy state may result in stigmatization from family and friends. As a result, it compels victims to possess the fear of being prejudiced. Hence, the grotesque cannot be used as a tool to engage in alienation in the modern world. This is because grotesque is used to highlight humanity’s fundamental truth and reality. For instance, Kafka’s implication of obscenity in depicting Gregor cannot be used to judge him. Regardless of how terrible these facts may be, it is clear that the words conveyed and the emotion aroused by them are lovely. Thence, grotesque is a slapstick-like comedy in The Metamorphosis; it represents the absurdity of Gregor’s body transformation that is humorous. Moreover, Kafka accounts for the comic in his writing when he details:
He was lying on his hard, as it were armor-plated, back, and when he lifted his head a little, he could see his domelike brown belly divided into stiff arched segments on top of which the bed quilt could hardly keep in position… (Kafka 1).
I have been in a Kafkaesque situation while dreaming. I can attest that it feels weird and one can feel disconnected from the other members of the family. The scenario felt awkward as I could not walk out of bed due to the shock. Moreover, I could picture how my friends would be critical of me; hence I began bearing suicidal thoughts. Therefore, grotesque should not be used to alienate people; instead should be used to judge people from their characters.
Work Cited
Kafka, F. The Metamorphosis. Diamond Pockets Book, 2021.