Metamorphosis A Kafka work
Introduction
The most appropriate reading that can be made about the similarities between the works of Kafka and Dostoevski refers to the central theme proposed in the arguments of the novels and is supported by support of the protagonist’s development. In both novels we find the main characters as marginalized, alienated of the dynamics around them. Both Gregorio Samsa and the subsoil narrator begin his arch under painful conditions to end in the same situation or suffer the worsening of their circumstances. The justification for subverting the expectation of the hero in the traditional story.
Developing
It is established from the beginning by Dostoevski who appeals to the voice of the narrator to clarify the very nature of the protagonist: the narrator defines himself as an antihero "sick, evil, an unpleasant man" who will end in a situation similar toThe initial, evoking a transformation that leans more towards reflexive activity and less to execution. On the contrary, the arc of the Kafka protagonist is accompanied by other characters that contribute to nourishing their loneliness and isolation, resulting in a series of transformations that refer to the central themes of the work as they give meaning to the proposalof the novel.
In the work of Dostoevski, the higher priority is granted to the construction of the protagonist because the work itself maintains the presence of an internal monologue, so this process results in a more elaborate development regarding the psychology of the narrator. The title is, properly, the reflection of the qualities inherent to the protagonist: memories, notes, reflections of a man who speaks from below to himself. Dostoevski builds a short -acting story because the argument is less important than describing the world from the perspective of excluded. We know this about the subsoil man.
He is a man of excessive brain activity that presents problems to relate to the world, is cultured and intellectual, an amateur of romanticism, a severe judge of both the own and of others’ actions, the traditional conventions hardly rejects and has an extremely entrenched sense ofidentity, justice and social behavior. In sum, it is a marginalized that is also pathetic. His intellectual alienation is supported by those around him, but it is his inability to effectively project his concerns, needs and interests that constrains his relationship with the world.
Constant dualism throughout the novel is reduced to the opponents of reflection-action, which evokes multiple episodes of frustration. The repetitive episodes in which prestige and honor are granted before their fellow men take place in their imaginary and portray the loneliness that accompanies it as these scenarios move away even more than the real events. Therefore, the arc of the subsoil narrator is oriented more towards the construction of his thoughts than towards the execution of tangible actions. Finally, the subsoil narrator suffers a series of events that do not imply an apparent transformation.
The change emerges through the suppression of the only constant act to the life of the protagonist: in the end, the narrator stops writing. If at first the reception of these fragments was well known and was reduced to the ears and the voice of the narrator, then there is now no one to listen or voifers the groceries of a marginalized. Loneliness is overwhelming, but the subsoil man has finally decided to host the rejection of the world. Gregorio Samsa is a different construction that shares certain issues with the work of Dostoevski. First, a first transformation is declared throughout the novel of which the protagonist is subject.
This is not a precisely unnoticed act, what is more, the title warns us. The first lines of the novel denounce the mutation of Kafka’s protagonist. One day Gregorio Samsa wakes up and repairs that he has become a beetle. An irrational and absurd proposal deserves that their consequent attitudes are of the same nature. The initial concerns of Gregorio Samsa are limited to labor and economic issues above what his obvious body transformation implies. The above could even be considered as a rather ironic criticism of the priorities of industrialized societies.
But the true issues to deal with have more to do with the precepts that make us, do they maintain? Humans and, like the novel by Dostoevski, the place granted by the real world for marginalized and excluded. Once the transformation of Gregorio Samsa has occurred, a series of events that nourish as many alterations are paraded: Gregorio’s parents and sister, Grete, become the best versions of themselves when Gregorio dies. Through the narrative we identify the still human part in Gregory through the reflections about the arduous situation that looms on his family.
Gregorio’s economic and work concerns are an extremely human response to their inability. Gregorio begins to become a burden for his family, while he must face the metamorphosis of knowing an insect and the limitations that he brings. The faults in his family lie in the indifference of it to assimilate Gregorio within the nucleus, but once the moderately comfortable state is questioned at home, Gregorio becomes a hindrance in the eyes of his parents andhis sister. Then he becomes genuinely an insect.
It is not accidental that once Gregory’s absence happened as an important element in family dynamics, this begins to change to manifest as an improved version of itself. The father who, initially, showed a longevity that surpassed the years he gets a job that returns the vigor he owned during his youth and the mother who says he had lost his joy began to recover the hope of better times, whileGrete is spoiled by her parents as a beautiful young woman who begins to consider marriage as more than a possibility. It should be noted that the transformation of both brothers.
Gregorio and Grete occur under opposite circumstances. Gregorio awakens in the intimacy of his bedroom and given those routine concerns that invite the reflection of tasks, obligations and other nature, he discovers that he has become an insect. Gregorio Samsa is not seen. On the other hand, Grete suffers a completely different metamorphosis: before an open space, Grete stretches his body and the image evokes a figure that embraces the world and is hugged by him, as if he left a cocoon. Grete is shown and, what’s more, the world wants to see Grete. Similarities between the works discussed can be reduced to the following: they refer to the representation of the marginalized.
conclusion
The excluded and their relationship with the world which is, by the proposal of central themes, rejection and indifference to otherness. The traditional construction of the hero is subverted under the development of unfortunate and miserable protagonists who owe its affliction an inherent event, oblivious to its will: intellect and conditions restrictions? Of the body. The obvious aspect that complements the works, and that in the process confronts traditional comforts, is the hypocrisy of society in the face of the recognition of the renegade. A representation that has been more than developed in the discipline of art under fictionalized universes, but which is a lacerating in the real world.
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