Franz Kafka’s writing in The Metamorphosis challenges the notion that women have been seen as inferior to men for a long time in most countries and cultures. In the middle of the story, the protagonist Gregor’s sister comes to power as he is feminized. The book maintains this theme of gain and loss of power. The first sentence of the book is of the most shocking, starting the story with Gregor’s realization that he has transformed into a “monstrous insect” (3) overnight. As Gregor loses all independence from his metamorphosis it is up to his family to take on the duties he has for the last several years, working to pay off debt. Grete, Gregor’s sister, takes the most responsibility as she becomes Gregor’s caretaker in the wake of her parent’s
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The simple thought that the sole provider for her family might not be able to do so causes her a multitude of worry before she even investigates. Gregor, in his transformed state, wonders: “why [is] she crying? Because he isn’t getting up and opening his door to the general manager, because he [is] in danger of losing his position, and because his boss would then start hounding his parents once more about their ancient debt?” (9). The way Kafka writes Gregor’s thoughts, they carry a tone of question. Gregor is questioning his family’s worry, wondering why they question his want to provide for them after he has done so for so long. The elongated sentence structure mentioning all that could go wrong if he does not go to work further supports Kafka’s writing of Grete’s worry and emotion. As a woman, she is expected to be this way, weak and powerless so that she breaks down immediately as she finds out the peril her family may soon face. Grete, here in the beginning of the book, is being portrayed as a helpless innocent teenager, a “child of seventeen whose lifestyle no one [will] begrudge her” (23). Kafka’s purpose in making her character this way is solely that he can later contrast it with the power she gains as her brother’s falls. The modern reader may see it as Grete becoming the man of the house, in a
The simple thought that the sole provider for her family might not be able to do so causes her a multitude of worry before she even investigates. Gregor, in his transformed state, wonders: “why [is] she crying? Because he isn’t getting up and opening his door to the general manager, because he [is] in danger of losing his position, and because his boss would then start hounding his parents once more about their ancient debt?” (9). The way Kafka writes Gregor’s thoughts, they carry a tone of question. Gregor is questioning his family’s worry, wondering why they question his want to provide for them after he has done so for so long. The elongated sentence structure mentioning all that could go wrong if he does not go to work further supports Kafka’s writing of Grete’s worry and emotion. As a woman, she is expected to be this way, weak and powerless so that she breaks down immediately as she finds out the peril her family may soon face. Grete, here in the beginning of the book, is being portrayed as a helpless innocent teenager, a “child of seventeen whose lifestyle no one [will] begrudge her” (23). Kafka’s purpose in making her character this way is solely that he can later contrast it with the power she gains as her brother’s falls. The modern reader may see it as Grete becoming the man of the house, in a