Allegory, Symbolism, and Critique of Western Religion Through "Metamorphosis"

By Matthew Hominick

No story, whether short or long, is ever one story. Below the text lies, in wait of discovery, the deeper meta- narrative that is rich with symbolism, meaning, and substance. Finding the allegorical essence of the story enriches the reader’s experience and understanding of the text. Not only does the story have significance to the events of the characters, but also, to the reader’s experiences of life. In Kafka’s “Metamorphosis,” a bug becomes a symbol, language throughout becomes allegorical, and the state of affairs become a critique of Western philosophy and religion.

Within the “Metamorphosis,” there are several key symbols that construct the allegorical nature of the tale. The “symbol,” – the key that unlocks the parallel story – is the literal images on the surface of the story but they have a deeper significance – standing for and postulating the allegory. Several of the key symbols used by Kafka in the “Metamorphosis”: the bug, mother and sister, and the apple. Unlocking these symbols we can begin to delineate the underlying themes of Kafka’s tale of spirituality and altruism.

First the reader cannot escape the harsh truth of Gregor’s metamorphosis. Immediately the protagonist is transformed, during his sleep, into a fantastical insect. Though the species of insect is unknown, we still get a description of the segmented body – the ranting of the charwomen calling Gregor a “dung beetle” (Kafka 127). The symbol recalls the descriptive nature of Christ within the biblical text. In the book of Psalms, chapter twenty- two and verse six, Christ states, “I am a worm and no man; a reproach of man, and despised by the people.” The Hebrew translation of the word worm is “tola.” This word literally means maggot, not just any maggot, but, one used by the Jewish people in making a scarlet colored dye from the crushing of the bug (Dake’s). Gregor is the first to ascertain his condition as insect. He has been bleeding out in his work for the salvation of his parent’s good name.

Another symbol of the messianic type is the closeness of women to the protagonist. “And many women were there beholding afar off, which followed Jesus from Galilee, ministering unto him:” (Mt. 27:55). The women referred to are the faithful whom remained next to Christ during his crucifixion. The sister, whom takes care of Gregor, can be equated to Mary Magdalene. Magdalene, the dear friend of Christ who is there to tend to the body of the broken, sacrificial personage, was among the first to receive Christ’s forgiveness for a life of sin. Just as Christ desired the best for those around him, Gregor desired the best for his sister. Magdalene taken from a life of prostitution, and Gregor’s sister, a hopeful (?) for the “Conservatorium” (Kafka 111).

Also, Gregor’s mother is the representation of the Madonna figure. The mother of God, helpless and unable to save her son from the tragedy befell him. “…he is my unfortunate son,” states Gregor’s mother (Kafka 114). The anguish of Gregor’s mother echoes the pain that is described in the Bible about the mother of Christ. Christ’s sufferings would even “…pierce through [Mary’s] own soul” (Lk. 2:35). As the son suffers, even so, the mother experiences the anguish.

The more prominent symbol of religion and redemption is the occurrence of Gregor’s father’s projectile rage – the apple. The device of separation from God and his creation swooned on the appeal of this trivial fruit. Genesis chapter three and verse three states, “But of the fruit of the tree which is in the midst of the garden, God hath said, ye shall not eat of it, neither shall you touch it, lest ye die.” Consequently, the apple has always been the symbol of the fall of man; however, the fruit of the actual “Tree of Knowledge” is unknown. Yet the allusion remains, and the reader, once privy to the keys of symbolism can then unlock the allegory of this picaresque tale.

The allegory, as mentioned above, runs parallel to the symbols aforementioned. The language is substantive to the messianic motifs present in the text. By saying, “language,” I mean to say the syntactical structures that maintain and exemplify the allegory. The arrangement of sentences and allusions give further evidence to the pairing of Gregor and Christ. Attaching the symbols with the syntactical language the parallel story emerges.

The most obvious, and thus the first, is the idea of Gregor working off the debt incurred by his parents. After sordid business ventures the Samsa’s experience a downfall in which they rely on another company to get them out of debt. However, the saintly company must have compensation and thus Gregor takes the task upon himself – he now must work for ten years to pay the debt (Kafka). The debt procured at the fall of man was a debt that Christ inevitably paid, his death for the retribution of the world’s sin. Gregor and Christ sacrifice self in order to see others’ debts relieved. This fact is apparent when Gregor’s father launches an apple into Gregor’s back. The apple lodges and sticks. The wound festers and results in the death of the metamorphosized.

Another plug for the redemption motif is the imagery of the crucifixion. “Gregor screamed in a loud, hoarse voice: ‘Oh God, Oh God!’ fell with outspread arms… as if giving up and did not move” (Kafka 119). The outspread arms give a visual to the cross. The powerful imagery, in conjunction with the words echoed by Christ – “My God, My God why hast thou forsaken me” (Mt. 27:46) – before he died, links the allegory, solidifying the redemptive motif.

The critique of the Western philosophy of religion is ostensible in the blatant, narcissism of Gregor’s family. One may choose to be altruistic; however, like Gregor and Christ, you end up used, squashed, and dead. Also Kafka, whose spiritual convictions are undeclared, may be hinting to the nonsensical idea of one man paying for the sins of another. After Gregor’s metamorphosis, he realizes that his parents have had a nest egg all along. This could have cut short the time Gregor spent working off the family debt. As well, after Gregor’s death, the parents and sibling set out to find employment and seem to do well in finding a job and working for themselves (Kafka). The critique here seems to be that the individual has within their own power to find redemption and better their current situation. Humanity must help themselves. The didactive purpose of the tale elites the reader a priori. It is woven within the allegorical nature of the tale – possibly even anagogical.

The Savoir motif runs constant throughout the story of the “Metamorphosis” paralleling the life of Gregor with the life of Christ. The symbols unlock the gate of the allegorical and allow the reader to gain much more out of the story than just a following account of a bug’s life. Within the narrative and language of the tale one can see knitted into the text themes of spirituality, redemption, and choice. However, to simply read and take nothing from the story is truly a sin.

Works Cited
Dake’s Annotated Reference Bible. Gen. 3:3. Lawrenceville: Dake Bible Sales, Inc., 1991.
Dake’s Annotated Reference Bible. Ps. 22:6. Lawrenceville: Dake Bible Sales, Inc., 1991.
Dakes Annotated Reference Bible. Matt. 27:46. Lawrenceville: Dake Bible Sales, Inc., 1991.
Dake’s Annotated Reference Bible. Matt. 27:55. Lawrenceville: Dake Bible Sales, Inc., 1991.
Dake’s Annotated Reference Bible. Luke 2:35. Lawrenceville: Dake Bible Sales, Inc., 1991.
Kafka, Franz. “The Metamorphosis.” Franz Kafka: the Complete Stories. Ed. Nahum N. Glatzer. New York: Shocken Books, 1971. 89-139.