In The Metamorphosis, novelist Franz Kafka explores the theory of existentialism and its consequences. The main character and protagonist of the novella is Gregor Samsa, who undergoes several transformations, both literal and abstract. The most pronounced of these transformations is that which brings Samsa from a meek individual to an existentialist.

Existentialism is a philosophy that emphasizes the freedom of the individual to shape his or her development through acts of will.  This definition suggests that an existentialist may be rebellious and often selfish in his or her newfound freedom. Gregor Samsa’s transformation fits these traits in their entirety. As portrayed in The Metamorphosis, Kafka’s attitude toward human nature is that humans are naturally egocentric and mutinous. In other words, Kafka seeks to imply that all humans are existentialists. This assertion is supported in several instances throughout The Metamorphosis. For example, we see, in Part II of the novella, Gregor’s increased selfishness when Kafka writes, “At this point he (Gregor) did not have the patience to contemplate the women’s good intentions, the existence of which he had at any rate almost forgotten.” (964) Similarly, in Part III, we see further evidence of Gregor’s terrifying transformation when Kafka states, “Gregor, drawn by the music, had ventured a bit further forward. His head was already in the living room. He hardly wondered at himself for being so inconsiderate towards the others of late; earlier this consideration had been a great source of pride.” (971) Hence, we see that the longer Gregor remains isolated, the more he becomes an existentialist.

Furthermore, we see that Gregor is not the only character who metamorphosed. In fact, all the minor and major characters in the novella develop existentialist qualities. For instance, the servant girl insisted on locking herself up in the kitchen after Gregor’s transformation, the bony white-haired servant apathetically threw unusable objects into Gregor’s room, and the three lodgers refused to pay for the Samsas’ hospitality upon sight of Gregor. Perhaps more vividly, we are struck by Grete’s words in Act III when she betrays her brother by declaring, “…we have to try to get rid of it (Gregor). We have tried as much as humanely possible to take care for it and to put up with it. I don’t think it could reproach us in the least.” (Kafka 973) Likewise, we see that Grete has not been taking care of Gregor as sympathetically as she did at first, the longer Gregor remained isolated, foreshadowing his death. In other words, she too was becoming an existentialist. Mr. Samsa’s hostility towards Gregor also serves to prove that Gregor was not the only character who underwent a transformation in the novella. Lastly, the family’s outward nonchalance and apparent relief at Gregor’s death serves as final confirmation of Kafka’s attitude towards the human nature.

In conclusion, Kafka fashions a whimsical and fantastical tale to outline his vision of the human nature and the effect of existentialism on our society. He uses the Samsa family as his tool to deliver this vision to the readers of all generations. Ultimately, Kafka shrewdly compares Gregor’s outward transformation to his inner metamorphosis, leaving the reader to ponder which transformation is more hideous.

Ayah Gouda

Works Cited:

Kafka, Franz. The Metamorphosis. From Literature & Composition Reading Writing Thinking by Carol Jago, et al, Bedford/St. Martin’s, 2011, pp. 945-977