The Magical Realism In Franz Kafka's The Metamorphosis

In Franz Kafka’s ‘The Metamorphosis’, magic takes place in the form of the transformation of the protagonist, Gregor, into an insect. This literalized metaphor, a characteristic of the magical realism embodied in this novella, sets the context for Kafka to explore more ‘realistic’ thematic issues, such as the search for humanity and the familial bonds against the economic order of society, as highlighted by symbolism, irony and contrast.

The magical transformation at the start of the novella, can be said to be crucial in setting into motion the needed transformation of the other characters in the story, most evidently presented in his sister, who blossoms into a young adult, and his father, who regains his authoritative role in the family.

Prior to the transformation, Gregor had always only been living for his family, due to his complete absorption in familial duties, bringing money “home every month – he had kept only a few florins for himself” (Kafka, 36), trapped at a job “he wished he could be rid of” (Kafka, 36). The extension of his alienation from the society is symbolized by the “picture…cut out of an illustrated magazine”, where he has a deeper attachment to the picture than an actual person. Hence, the transformation has freed him, which can be said to be a rebirth. From initially wanting to be “completely concealed” (Kafka, 38) to not frighten his family, to his aggressiveness in protecting the magazine cut-out, as “he squatted on his picture and…would sooner spring into Grete’s face” (Kafka, 44), the change can be observed whereby his familial responsibilities, for the first time, were not prioritized with his usual guilt towards his family being replaced with “sheer anger” (Kafka, 52). Yet, the “violin recital” (Kafka, 59) serves as the catalyst where “it was as if the way to the unknown nourishment he craved was revealing itself” (Kafka, 58), reigniting his “deep feelings of love” (Kafka, 64) for his family. His appreciation of music even when he is an insect, in contrast to the lack of appreciation by the humans around who were merely “allowing their peace and quiet to be disturbed only out of politeness” (Kafka, 58), shows how he is ironically more human than them, his humanity has been restored. His final act of sacrifice where he felt “he had to disappear” (Kafka, 64), the ultimate act of humanity, highlights his love for his family and his ability to see how they can only be freed upon his death, demonstrates how his prior detachment to his family is lost. Hence, the