IAI_Admin OP t1_je4z927 wrote
It's over a century since Metamorphosis was published. Yet Kafka’s work still resonates with the realities we face today. In this entertaining talk, acclaimed actor and director Steven Berkoff draws on his years of experience with Kafka’s work to provide a unique insight into how Kafka can help us to better understand the world and our place within it. Franz Kafka’s stories do not follow the usual pattern of building up the narrative into a climax; they start with the climax. In Metamorphosis, for instance, Gregor Samsa wakes up from a night of uneasy dreams only to find that he had been transformed into a gigantic insect. This surreal scenario is likely to have been inspired by a letter Kafka had sent to his father, who was deeply disappointed by his son’s sensitive, curious and artistic nature. Kafka believed that he failed to fulfil his father’s expectations of what it means to be a man and, thus, that he appeared in his eye to be no better than an insect. Kafka did not think in a linear, realistic fashion – reality to him was merely the trivial surface of life, merely a skin. In his work, the banalities of everyday life make way for the surreal, unconscious elements of our existence worth investigating, our absurd inner lives, our dreams.
mr_ryh t1_je5p3th wrote
> This surreal scenario is likely to have been inspired by a letter Kafka had sent to his father, who was deeply disappointed by his son’s sensitive, curious and artistic nature. Kafka believed that he failed to fulfil his father’s expectations of what it means to be a man and, thus, that he appeared in his eye to be no better than an insect.
Glad to see someone mention this as the link between the story and his father is actually quite strong and appears generally underappreciated by most. For context, Kafka was heavily dependent on his father and was made painfully conscious of the fact. His father would frequently mock him as weak and sickly (Kafka ultimately dies of tuberculosis), and his father's assistance (he helped get Kafka a well-paid sinecure in the Austro-Hungarian bureaucracy which he later satirized in his work, most notably The Castle) must have been doubly humiliating. But interestingly enough this entire dynamic is reversed in The Metamorphsis -- there Gregor Samsa (nominally a parasite) is the breadwinner and his family have actually been sucking him dry. (Perhaps how Kafka felt about them emotionally?)
The first sentence of the Metamorphosis in German reads (emphasis mine):
> Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheueren Ungeziefer verwandelt.
(Or in English, "Gregor Samsa wakes up from a night of uneasy dreams only to find that he had been transformed into a gigantic insect")
Kafka's father used "Ungeziefer" to describe "parasites"/"blood-suckers", like a bed-bug, or a flea, and NOT a beetle or just any insect in general, which is how it's often incorrectly translated. (However, see Nabokov, LECTURES ON LITERATURE, pp258-60, where he argues (using entymology) that K is a large beetle). For evidence of this, see Kafka's use of it in Briefe an Milena (which is, incidentally, the only time he uses the word in those letters): "Von dem Riva-Ungeziefer bin ich noch zerbissen...", p.68: "I'm still covered with bites from the Riva-vermin..."). Thus in Die Verwandlung (Metamorphosis), Kafka becomes an Ungeziefer literally, which is how he felt his father perceived him figuratively. In Brief an den Vater, Kafka ventriloquizes his father thusly:
> Und den Kampf des Ungeziefers, weliches nicht nur sticht, sondern gleich auch zu seiner Lebenserhaltung das Blut saugt. ...das bist Du. > > You have put it into your head to live entirely off me. I admit that we fight each other, but there are two kinds of combat. The chivalrous combat, in which independent opponents pit their strength against each other, each on his own, each losing on his own, each winning on his own. And there is the combat of vermin, which not only sting but, on top of it, suck your blood in order to sustain their own life.... and that's what you are.
--pp118-119 in The Schocken Kafka Library edition
The etymology of the word is evocative yields further insight into how Kafka may've perceived himself, or felt others perceived him (e.g. the end of the Trial):
> From early modern German ungeziffer, Ungezieffer, a variant form of Middle High German ungezibere. These pertain to Old High German zebar (“sacrificial animal”) and hence originally meant “animals unsuitable for sacrifice”, ultimately from Proto-Germanic *tībrą (“offering, sacrifice, victim”). The word is rarely attested in medieval texts due to suppression of words reminiscent of heathen practices, but must have survived in lower registers.
--https://en.wiktionary.org/wiki/Ungeziefer
SpeckDackel t1_je73c9i wrote
I think the feelings of Gregor Samsa the first sentence gives you is not accurately translated in the English version. The ungeheures (uncanny/giant/unheard of) Ungeziefer (unpleasant and unwanted insects like cockroaches are Ungeziefer, insects people/society don't like) is a metaphor for how he feels/is treated by his family; not really a physical state. Based on how Samsa then treats this metamorphosis as a practical problem to overcome and live his "normal" life, I always felt like this physical state is simply a manifestation of his/Kafka's inability to follow the rules of and take part in society just by being too different. The rules of society (and his father/family) become impossible to follow, and the uncannyness of one's existence expose the uncanny rules of the middle classes Gregor Samsa desperately wants to participate in. But as the rules define the life of everyone in this world and don't allow one to be different, it destroys him in the end. Being uncanny and unwanted by society dooms the protagonist from the first moment (metaphorically he is doomed to perish by being hurt with the apple by his beloved sister in the beginning).
mr_ryh t1_je7hg18 wrote
Yes, that is a more succinct and precise rendering of what I initially tried to express in a circuitous and clumsy way. His father deemed artists (such as Kafka aspired to be) to be Ungeziefer sponging off the strong and self-reliant men of business who moreover got married and raised families - something Kafka longed to do yet felt unfit for - and Kafka certainly felt tortured by this as he couldn't help relying on his father for survival (physically and emotionally). This paradox of loving & needing someone (or some thing) who nonetheless tortures & humiliates you, or (to use another metaphor from his Notebooks) the dream-like contradiction of something being incommunicable yet demanding to be communicated, explains much of the underlying pathos (and bathos) in his work.
Thanks for the correction and the intelligent exposition.
iOpCootieShot t1_je6jipi wrote
We got it. Hes the bug.
agonking t1_je6t8y3 wrote
What kind of bug is important though
But yes he was a bug
GregorSamsaa t1_je8mjsd wrote
I agree
iOpCootieShot t1_je9u1nn wrote
Lol appropriate
Not_MrNice t1_je6ys6x wrote
I thought it was a sign of affection when your pops throws an apple at you.
Viewing a single comment thread. View all comments