The Metamorphoses In Franz Kafka's Metamorphosis

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The moment after I finished reading the novella for the first time was one of those moments when I found myself falling into a wishful fantasy involving me having the opportunity to engage in a very long conversation with the author. I had a hundred of questions on my mind. The second time I read “The Metamorphosis”, I had a hundred more questions leading to endless interpretations of what the story could be about, the infinity of possible hidden symbols each character, every sentence or tiny detail could represent.
Kafka’s Metamorphosis can be read from numerous perspectives and through multiple themes, and perhaps that is exactly what makes it one of the most discussed modern literary works. For some, the metamorphosis is solely about Gregor’s body turning into a “monstrous vermin” (1156). However, to me, Kafka’s novella is not about THE Metamorphosis meaning the transformation of Gregor Samsa from a human to an unappealing vermin unless it implies a general metamorphosis; one that involves his family members all together. That is to say, “The Metamorphosis”, from my viewpoint, implies a plurality of metamorphoses. I would simply entitle Gergor’s story—is it really Gregor’s? — “Metamorphosis”.

The poignant beginning of the story is about Gregor Samsa waking up to the realization that he became a repulsive vermin. Absurd
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Grete, who once compassionately opposed the idea of getting rid of Gregor and took the initiative to feed him and care for his wellbeing, soon washed away the tears she shed at the beginning of the transformation and firmly demanded that the family disposes of “this creature” that used to be her dear brother: “we must try to get rid of it. He must go…that’s the only solution”(1187). By the looks of it, Grete underwent a major metamorphosis; she became an authoritative young women who “has taken a job as a salesgirl” (1181), leaving behind her the childish old

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