Existential Failure in Franz Kafka’s The Metamorphosis
Abstract
This paper aims to illustrate specific elements of Existentialism, including “absurdity,” “existential Angst,” and “ethical decline,” to demonstrate how Gregor, the main character of The Metamorphosis, fails to achieve self-definition. Kafka's protagonists are isolated due to their position between notions of good and evil, which they struggle to define and resolve, leading to alienation from a society driven by fear. Gregor, burdened by his family’s financial issues and societal shame, cannot release his inner pressure, leading him to seek death as an escape from the absurdity imposed by society and his family.
Key words: existentialism; Franz Kafka; The Metamorphosis; absurdity; existential angst
Introduction to Franz Kafka
Franz Kafka (1883–1924) is a highly influential writer of the last century. During his life, he worked as a civil servant and published a few short stories, most notably The Metamorphosis. His posthumously published novels solidified his reputation as an insightful interpreter of the twentieth century. According to Huber, Kafka's stories skillfully present his inner personality, allowing understanding only with precise knowledge of his life.
Kafka’s relationship with his tyrannical father, which resulted in a son plagued by guilt, terror, anger, and a lack of self-confidence, is a recurring theme in his works. In a letter to his father, Kafka attributes his lifelong sense of guilt to his father's influence and his own lack of self-confidence.
The Metamorphosis
The Metamorphosis, written in 1912 and published in 1915, tells the story of Gregor Samsa, a salesman who transforms into a verminous bug. Hidden by his family, he eventually dies from an apple thrown by his father. Barfi notes that the story is more than a simple transformation. Nabokov suggests that a good reader understands The Metamorphosis as more than just a fantasy. The story mirrors Kafka's own life, portraying Gregor's struggles within an Existential framework. Gregor's inability to confront the world or defend his existence leads to his annihilation, first symbolically through the loss of meaning and humanity, and then physically in an anti-climatic death.
Absurdity
Davachi defines absurdity as the human condition of facing nothingness, the conflict between human needs and the world's unreasonable silence. Camus states that in an unintelligible and limited universe, man's fate gains meaning, surrounded by irrationalities until the feeling of the absurd becomes clear. Understanding absurdity in The Metamorphosis requires careful study of how notions of good and evil overwhelm the main character, leading to alienation and rejection of hope.
Nietzsche's idea of Beyond Good and Evil suggests that there is no absolute good or evil, only relative concepts created by humans to rationalize the world. This idea permeates Existentialist thought, where individuals define their environment, affecting their existence. In The Metamorphosis, Kafka does not judge his characters, such as the father and sister, for neglecting Gregor. They act to improve their own lives, breaking from dependence and becoming self-sufficient. Kafka seems to suggest that this is more important than notions of good or evil. The family, freed from their burdens, is presented positively at the end, while Gregor, who burdens himself with guilt and dies to ease his family’s burden, is portrayed as pathetic.
Gregor’s primary failure is his neglect of self-definition, symbolized by his insect form. His passivity leads to alienation. Gregor’s metamorphosis creates psychological distance between him and his family, isolating him from humanity. He stays in his room, with limited contact with others. Grete spends minimal time with him, during which Gregor hides. Blauner notes that Gregor’s metamorphosis extends his already existing alienation. Camus states, “Humans need meaning, even though, it appears there is no meaning to be found. Much of life is characterised by such absurd paradoxes: we build our lives on the hope of tomorrow, yet tomorrow brings us closer to death, the ultimate enemy; we live as if we don’t know about the certainty of death”.
Kafka’s heroes are caught in mechanisms and accidents, leading to grave consequences. Gregor’s inability to sleep and his hopes and fears are described as nightmarish. Kafka writes that he is ‘‘often haunted by the idea’’ that he will return to his normal position in the family and in society. Instead of logically explaining the absurd, Gregor sees normalcy as nightmarish. Alienated, he accepts hopelessness. The reader finds it difficult to sympathize with Gregor or judge his family harshly. Gregor fails to overcome absurdity and nothingness, alienating himself from family and the world, losing hope.
Existential Angst
Guerin Wilfred defines Existential angst as the internal conflict experienced by conscious individuals due to the irrationality of the world, where existence requires constant struggle. This includes basic survival needs, searching for meaning, and establishing relationships. These struggles oppose the original state of human existence in the womb. Birth is a crucial moment, defining existence within the world.
In The Metamorphosis, Gregor longs to return to a womb-like state without conflict or self-definition. Bennett argues that Gregor’s escapist attitude leads to his failure. Escape manifests in sleeping, avoiding decisions, and exhaustion, ultimately leading to death.
Free choice also causes existential angst. Frankl states that freedom of choice overwhelms individuals, compounded by the knowledge that decisions are irreversible. Operating solely for oneself leads to alienation. Gregor’s denial of self-definition puts him at the world’s whim. His belief in a rational world is disproven by his transformation. He avoids decisions, letting them make themselves.
Communication is another source of existential angst, as it always involves struggle and loss. Sarkar notes that Gregor’s inability to communicate is central to his difficulties. His world becomes unintelligible, symbolizing his abandonment of effort. Gregor attempts to communicate through body language, which fails or is misinterpreted.
In summary, Gregor allows others to choose for him, lacking self-definition. Physiological and physical difficulties in communication after his metamorphosis add pressure, preventing connection with the world.
Ethical Decline
Immanuel Kant's ethical principle states that one should act as if their actions were a universal law. Kafka twists this by making a bug the subject of ethical debate. What happens to ethics when the subject is a vermin? The reasons for the collapse of ethics in The Metamorphosis include guilt and fear, resulting in death as an escape.
Humans feel obligated, leading to guilt if responsibilities are unmet. Munro writes that “Gregor’s self-condemnation keeps him trapped. Gregor is enslaved to his family”. Gregor’s guilt comes from his family's burden. An example is Gregor missing a train.
Gregor’s guilt stems from his obligation to work. His mother sees his dedication. Life without amusement is stressful, and Gregor is stressed by his inability to provide. Near the end, he finds satisfaction in his sister’s violin.
Gregor and his family fear social judgment. This fear, along with shame, is seen when Gregor worries about the attorney’s perception and hides from his family to spare them his appearance. This fear originates from social judgment, as Fromm writes “A symbolic manifestation of the way society made him feel, as seen through the eyes of social judgment”. Gregor allows himself to be transformed through existential weakness.
Injured by his father and ceasing to eat or sleep, Gregor dies alone. His death is celebrated rather than mourned. It is possibly due to neglect and abuse, or Gregor giving up. Ryan writes, “Gregor embodies a cycle of suffering, death and rebirth. He explains that, for Gregor, death is a goal”. Sokel presents that “Gregor’s death was not purposeful but due to an inner conflict between his desire to rebel and to appease those who love him”. His family does not mourn but is relieved and the mood becomes joyous. Gregor is caught between benefiting himself and his family, but they abandon him, viewing him as useless after his metamorphosis, leading him to see death as freedom from an unjust world.
Conclusion
Kafka’s protagonists are lonely, caught between good and evil, leading to alienation and death as an escape. Gregor’s transformation is a continuation of changes within his mind, and his demise is a failure to address these changes. Gregor failed to adapt to the changing world.
The metamorphosis would not have occurred if Gregor had not harbored hostility toward his work or if he had openly revolted. It is the climax of hostility and guilt, erupting in a catastrophe that destroys him for failing to face his inner turmoil.