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Theme of change in the metamorphosis
Theme of change in the metamorphosis
Kublers Ross stages of dying
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In the novels The Metamorphosis and The Stranger by Franz Kafka and Albert Camus, Kubler-Ross’s five stages of death are incorporated to emphasize the themes of individualism and isolation. While denial, anger, bargaining, depression, and acceptance are common emotions when dealing with death, denial, anger, and acceptance are essential in connecting to Kafka and Camus’s ideas regarding individualism. Through their experiences relating to those three stages of death, the protagonists, Gregor Samsa and Meursault, are isolated from greater society and forced to acknowledge their individuality.
Both Gregor and Meursault have pivotal experiences with denial, the first stage of the grief process, in their respective novels. While Gregor refuses to accept his transformation in order to remain a part of society, Meursault denies God in the religious culture of Algeria, proving his individuality while isolating himself. Gregor’s denial takes place when he prepares for work, ignoring his transformation, “First of all he wanted to get up quietly, […] get dressed, […] have breakfast, and only then think about what to do next” (Kafka 6). By characterizing Gregor as determined, Kafka shows his protagonist’s resolve to remain firm in ignoring his transformation for his family’s sake. Typically, such a metamorphosis would warrant panic, but Gregor is so selfless that he denies his own emotions to be useful for his family. Through the sequential syntax employed in this quoate, Kafka shows that Gregor does not want to stray from his usual routine. This attribute, along with his physical transformation, separates Gregor from humanity. With his unfamiliar mindset, seen through the denial of his metamorphosis, and his lack of human physical charac...
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...sis and The Stranger, they can be applied to the experiences of Gregor and Meursault to give a sense of humanity to the surrealist and absurdist novels. By allowing their characters to go through the death cycle in their own right, Kafka and Camus emphasize the importance of individuality and how it leads to isolation. Despite the fact that both males encourage uniqueness, the end results differ for Gregor and Meursault greatly; Gregor seems to show the negative side of individuality while Meursault’s is positive. Kafka and Camus utilize emotions from Kubler Ross’s five stages of death in The Metamorphosis and The Stranger to stress individuality and isolation.
Works Cited
Camus, Albert. The Stranger. Trans. Matthew Ward. New York: Vintage International,
1988. Print.
Kafka, Franz. The Metamorphosis. Trans. Stanley Corngold. New York: Bantam, 2004.
Print.
Franz Kafka’s clear isolation of Gregor underlines the families’ separation from society. In The Metamorphosis, Kafka emphasizes Gregor’s seclusion from his family. However, Gregor’s separation is involuntary unlike the family who isolates themselves by the choices they make. Each family member has characteristics separating them from society. These characteristics become more unraveling than Gregor, displaying the true isolation contained in The Metamorphosis.
In The Stranger, Albert Camus describes the life of the protagonist, Meursault, through life changing events. The passage chosen illustrates Meursault’s view during his time in prison for killing the Arab. In prison, one can see the shifts in Meursault’s character and the acceptance of this new lifestyle. Camus manipulates diction to indicate the changes in Meursault caused by time thinking of memories in prison and realization of his pointless life. Because Camus published this book at the beginning of World War II, people at this time period also questions life and death similar to how Meursault does.
In the experimental novel The Stranger by Albert Camus, he explores the concept of existentialism and the idea that humans are born into nothing and descend into nothingness after death. The novel takes place in the French colony of Algiers where the French-Algerians working-class colonists live in an urban setting where simple life pleasures are of the upmost importance in the lives of working class people like the protagonist of the novel Meursault. What is fascinating about this novel is that it opens up with a scene of perpetual misfortune for him through the death of his mother although he seems to express otherwise. The reader perceives this nonchalance as a lack of care. Maman’s death and its impact on Meursault appear in both the very beginning and very end of the two-part novel, suggesting a cyclical pattern in the structure. This cyclical pattern suggests not a change in the moral beliefs of Meursault but rather his registering society’s systems and beliefs and craft meaning in his own life despite the fact that he meets his demise in the end. Camus uses Maman’s funeral to characterise both Meursault and the society and customs created by the society Meursault lives in in order to contrast the two while at the same time reveal how while society changes, Meursault does not. Rather, Maman’s funeral becomes of unprecedented importance in Meursault’s life and allows him to find that nothing means anything in his meaningless world at the time of his death. He finds peace in that.
Gregor Samsa awakes one morning to discover that he has been transformed into a repugnant vermin. One may never know what initiated this makeover, but the simple truth is that Gregor is now a bug, and everyone must learn to live and move on in this strenuous situation. In Franz Kafka’s The Metamorphosis, the characters that interact with Gregor, including his mother, his father, and his sister Grete, must come to terms with his unfortunate metamorphosis, and each does so by reacting in a unique way. Gregor’s family members are constantly strained by this unusual event, and all three of them are pressed to their breaking point.
Franz Kafka’s character Gregor Samsa and T.S. Eliot’s speaker J. Alfred Prufrock are perhaps two of the loneliest characters in literature. Both men lead lives of isolation, loneliness, and lost chances, and both die knowing that they have let their lives slip through their fingers, as sand slips through the neck of an hourglass. As F. Scott Fitzgerald so eloquently put it, “the loneliest moment in someone’s life is when they are watching their whole world fall apart, and all they can do is stare blankly”. Franz Kafka’s The Metamorphosis and T.S. Eliot’s “The Love Song of J. Alfred Prufrock” are both exceptional examples of such lonely moments. Both authors use characterization, imagery, and atmosphere to convey the discontentedness and lack of fulfillment in the life and death of both Samsa and Prufrock.
Many views of existentialism are exposed in Kafka's Metamorphosis. One of these main views is alienation or estrangement which is demonstrated by Gregor's relationship with his family, his social life, and the way he lives his life after the metamorphosis. Namely, it suggests that man is reduced to an insect by the modern world and his family; human nature is completely self absorbed. Kafka reflects a belief that the more generous and selfless one is, the worse one is treated. This view is in direct conflict with the way things should be; man, specifically Gregor should be treated in accordance to his actions. Gregor should be greatly beloved by his family regardless of his state. This idea is displayed in three separate themes. First, Gregor's family is only concerned with the effect Gregor's change will have on them, specifically the effect it will have on their finances and reputation. They are more than willing to take completely gratuitous advantage of Gregor; he works to pay their debt and they are happy to indulge themselves with luxury. Gregor is the soul employed member of his family and this is their primary interest when Gregor is transformed. Secondly, Gregor is penalized for his efforts to be a good son, and a good worker; his toils are completely taken for granted by his family. The Samsa family is not interested in Gregor beyond their own needs, outsiders are reverentially treated. Thirdly, it is displayed by the positive changes that occur in the Samsa family as Gregor descends into tragedy and insignificance. As Gregor's life becomes more painful, isolated, and worthless the Samsa family becomes more functional and self-reliant.
Conrad changes the environment to cause his protagonist struggles, and Kafka does the same but through internal contrasts. Kafka’s transformation of Gregor into a disgusting vermin causes doubt within him. These doubts place his family in a position where they lose any love and care they ever had in their son. On what should have been a normal morning, Gregor awoke and “found himself changed in his bed into a monstrous vermin” (Kafka 3). Gregor's surreal transformation forces him to doubt and deny anything happening around him.
Albert Camus is a widely renowned author and existentialist philosopher from the 1950s. He believed in a concept called “The Absurd” which he described as the notion that our universe is completely irrational, yet people continue to try and give order and meaning to it. For most normal human beings, this is an extremely difficult concept to accept, including the main character from the novel “The Stranger”, Meursault. Meursault does not express and ignores his emotions, even though it is evident in the book that he does experience them. However, once Meursault falls into a blind rage with the chaplain, the universe begins to make more sense to him. In order to come to an acceptance of the indifference of the universe, one must have an emotional breakthrough, which Camus shows through differences in sentence structure and elemental imagery between parts one and two.
Camus’s absurd philosophy asserts that the events of the world have no rational order or visible meaning. The story of the returning son murdered by his mother and sister is a perfect example of what he is trying to show us in The Stranger. There is no reason for the son to have died. His terrible, ironic fate is not compatible with any logical or ordered system governing human existence. Like Meursault’s killing of the Arab, the son’s death is a purposeless, meaningless tragedy that defies rationalization or justification. Now because of the murder Meursault is put on trial the following summer and while he is on trial, Meursault comes to understand that his failure to interpret or find meaning in his own life has left him vulnerable to others, who will impose such meaning for him. Until this point, Meursault has unthinkingly drifted from moment to moment, lacking the motivation or ability to examine his life as a narrative with a past, present, and
On the surface, one might not find much overtly attractive about Camus’s cold philosophy expressed by Meursault in the cell he spiritually shares with all people awaiting inevitable deaths as the universe watches on with indifference, but there is a freedom that comes with letting go of hope that tries to cover up fear. If society tries to prosecute each person with the moral guilt of those that have been buried, it is liberating to reject those presumptions of guilt. There is a happiness that can be found in that freedom and an appealing strength in being able to face the howls of execration from the spectators of every individual’s march toward death in a benign, indifferent universe.
Using symbols, Kafka illustrates the story which is not just about Gregor’s transformation but it is more than that. The entire Metamorphosis is an allegory about Gregor changing into a vermin, symbolize that he wanted to free himself from his family obligation. “As Gregor Samsa awoke from unsettling dreams one morning, he found himself transformed in his bed into a monstrous vermin” (Kafka 7). He thought his transformation was a dream but he soon realizes that it was reality. Gregor was the source of the income for his family and was employed in a job he did not like. “What a grueling profession I picked! Traveling day in, day out” (Kafka 7). This is ironic because Gregor was forced by his father to choose the alienated career. Mr. Samsa was indebted to his boss; working as a traveling salesman he would have pay off his father debt. Working as traveling salesman made Gregor alienated socially and mentally. The word transformation does not only app...
In Franz Kafka’s short story, Metamorphosis, the idea of existentialism is brought out in a subtle, yet definite way. Existentialism is defined as a belief in which an individual is ultimately in charge of placing meaning into their life, and that life alone is meaningless. They do not believe in any sort of ultimate power and focus much of their attention on concepts such as dread, boredom, freedom and nothingness. This philosophical literary movement emerged in the twentieth-century, when Kafka was establishing his writing style in regards to alienation and distorted anxiety. A mirror to his own personal lifestyle, this story follows the short and sad life of a man unable to break out of the bonds society has placed on him. These bonds are not only evident in the work place, but at home too. Being constantly used and abused while in his human form, Gregor’s lifestyle becomes complicated once he becomes a giant insect and is deemed useless. Conflicts and confusion arise primarily between Gregor and his sister Grete, his parents, and his work. Each of these three relationships has different moral and ethical complications defining them. However, it is important for one to keep in mind that Gregor’s metamorphosis has placed him into a position of opposition, and that he has minimal control over the events to take place. Conflicts will also occur between family members as they struggle with the decision of what to do with Gregor. In the end they all come to the agreement that maintaining his uselessness is slowly draining them and they must get rid of him.
In Albert Camus’ novel, The Stranger, the protagonist Meursault is a character who has definite values and opinions concerning the society in which he lives. His self-inflicted alienation from society and all its habits and customs is clear throughout the book. The novel itself is an exercise in absurdity that challenges the reader to face the nagging questions concerning the meaning of human existence. Meursault is an existentialist character who views his life in an unemotional and noncommittal manner, which enhances his obvious opinion that in the end life is utterly meaningless.
Throughout the last few weeks we’ve been reading and discussing three largely renowned books (Metamorphosis by Kafka, The Stanger by Albert Camus and The Perfume by Patrick Suskind) that share similarity in themes, and in the character profiles of Gregor Samsa, John Baptiste Grenouille and Meursault. These themes and profiles include; isolation and alienation from humanity as well as society, sociopathic tendencies, distorted reality, feelings of apathy towards life and others, among other.
In The Stranger, Albert Camus misleadingly portrays his existentialistic views of life, death, and the world. Camus portrays the world as absurd or without purpose Meaursalt, who, as a reflection of Camus, is foreign and indifferent to his own life and death. Meaursalt eventually senses guilt for his crime, not because of the remorse of taking someone else’s life, but because it means he would lose the little things that he considers important in his life. Meaursalt is a puzzling character, who leaves readers to be uncertain about Camus’ views of life.