Metamorphosis Reflection Essay

          In Kafka's Metamorphosis part one and two, the story is centered on Gregor, a man who is transformed into a beetle and the resulting isolation Gregor experiences because of it. As the story progresses, the form of isolation progresses as well. In the beginning, Gregor's first encounter with isolation is experience because of  the closed bedroom door, a representation of convenient isolation. Because of the present situation with Gregor late for work, the family's reaction varies, with the father being very angry while the sister seems only ashamed, but Gregor is unable to open the door, and treats both in a similar manner, having "no intention of opening the door..." (Kafka 2). By using the door as a barrier, this acts as an example of self-isolation. In doing so, this then suggests a possible fear of the uncertainty of what might happen when the door is removed as a barrier. In this sense the door acts as sort of a protective barrier. Therefore, because of this uncertainty, one may feel a lack of control, and try to use choice to regain control. Gregor next action depicts such a choice. After much of a fuss is made about the closed door, mostly on the father's part, Gregor decides to remove the barrier. Gregor "[makes] an effort to turn the key in the lock" using a newly acquired set of mandibles despite that fact that this action is "obviously inflicting some damage..." (Kafka 6). This willingness to remove the separation in turn suggests a willingness to connect with others. In addition, this action also points to the nature human need for connection, which also acts to humanize Gregor even though outward appearance suggests that of a bug.
           After Gregor come out of the room and is confronted with a confused and angry manager, as well as an enraged father, the situation settles slightly and the sense of isolate is shifted to a less literal and physical form. Confronted by difference of appearance, Gregor takes to hiding under the couch, though "not without a little shame", but felt "very comfortable right away and was only sorry" for the inability "to fit completely under the couch"  (Kafka 10). This also shows an example of self-isolation, though hiding seems to have been chosen more out of comfort than fear. In this, Gregor's action suggests one's need for occasional self imposed isolation. Also as the story progresses, the sense of isolation seems to dissipate until it seems that Gregor actually enjoys the solitude. Alone in the room, Gregor is depicted as "especially fond of hanging from the ceiling" (Kafka 14). This transformation shows how when one is exposed to isolation for a long period of time, one begins to find a way to adapt.

Inferno Reflection 2.0

Of all the cantos in Dante's Inferno, the punishment of Canto 34 is by far the most interesting and the most fitting. Canto 34, in circle 9,  the last and lowest canto, Dante has placed who he believes to be the worst sinners--betrayers of one's masters. There are only four individuals present in this circle, among them Judas, Brutus, Cassius, and, the worst of all, Lucifer. The first offender, Judas, is guilty of betraying Jesus to the Romans,  leading to Jesus' death on the cross, an extremely important event in history. Both Brutus and Cassius, two citizens of the Roman Empire, were responsible for killing important roman military leader Julius Caesar. The fourth and final  perpetrator is Lucifer, a fallen angel who betrayed God himself.  As like Canto 33 before it, there is a frozen lake in this canto also. Called Cocytus, a Greek word meaning "river of wailing," the frozen lake is where these sinners are stuck. In the middle is Satan, considered the worst sinner of all. He is depicted as having three heads and three mouths, each of which containing another one of the guilty. Unable to escape, all three men are being consumed by Satan, forced to suffer for all eternity.

Reflection

Dante's Inferno

I've always been told that all sin is the same in God's eyes, and suppose that if you really think about it, that makes sense (except blasphemy I guess). Sin does all have the same terrible and inevitable end result--the ability to separate us from God. In Dante's Inferno, the author, Dante Alighieri, attempts to rate and categorize  each sin in a very curious manner, an occurrence not very surprising  from a man who decided to put so much time and effort into imagining, in vivid detail I might add, the goings on of Hell and the suffering that takes place there. Like many, I would assume that violent crimes, such as murder, would be placed in the lower circles of Hell, but it seems Dante had different ideas. He has reserved such a special place for those of his choosing, particularly those who have committed fraud or betrayal.

For each category, as well as each subcategory, Dante has a assigned a specific punishments, some of  which seem generic and bland, like burning for eternity (a description that's  been used no less than a hundreds of times before when describing Hell). Among his most creative punishments, though, are those for cantos 4, 7,  20,and 23. Canto 4 is where he has put philosophers and their punishment is to be in darkness. I believe this is truly fitting because they are people who believed in art and thrived in the light (knowledge), but are now forced to exist in total darkness. Those found in Canto 7 are guilty of avarice, or the greed of material things and the waste of money on frivolous items. For this they must continually push rocks against each other, getting nowhere, much like they did in life. I agree, this seems like a very fitting punishment. All who reside in Canto 20 are guilty of a different kind of fraud, Sorcery, evident by  the presence of  fortune tellers  and sorcerers among those in this Hell. These unlucky people have their heads placed on backwards, so that they may only see see the past, whereas they always tried to see too far in life. Finally, in Canto 23, are the hypocrites, guilty of prevaricating their religious views. One of the most fitting punishments of all is the one they are forced to endure. In this canto, the guilty must to wear large, elegant cloak lined with lead, destined to walk a single, narrow path for eternity. This is perfect for their sin, because their garb looks beautiful on the outside, but is truly, quite awful when one cares to look deeper.

Dante Alighieri