October 26, 2007
(First published on brotherharmonius.blogspot.com)
In Metamorphosis Kafka reflects, however unwittingly, the inescapable economics of metaphysical law. Other critical analyses allude to this by pointing out the reciprocity of fortune between protagonist Gregor Samsa in opposition to his family.
The psychonanalyst Hellmuth Kaiser wrote from a psychonanalytical perspective, proposing that Kafka had a punishment wish. Be that as it may, throughout his short critical essay Kaiser refers to very plain transpositions that support my contention of a balance of metaphysical economy.1
The basis of this metaphysical economy is the Kabbalistic principle of "As above, so below."2 Role reversals and reversals of fortunes within the household are reflective of corresponding dynamic shifts happening on the metaphysical plane.
The initial story event, that of turning into an insect was not the entire metamorphosis, as Kaiser seems to understand it. There as an ongoing metamorphosis of Gregor descending into bestiality, and the family members, father, mother and Grete Samsa rising from their material dependence on Gregor Samsa.
Grete's transformation is especially analogous to the butterfly, as her spirit metamorphosis happens before our eyes. This change may be indicated by her choice of instrument, the violin, which is one of culture and ascension. Even its high notes suggest a skyward aspiration.
If the violin is symbolic of Grete's spiritual ascent, Gregor's slovenly eating habits are a clear indication that his corresponding metamorphosis is one of descent, the finality of which is death (stagnation; cessation of growth). As a lowly bug (indeed at some point he is no longer Gregor but persona non grata) Gregor embraces bestiality as his inevitable misfortune. Grete continues to uplift her older brother by cleaning his room, and preserving certain cultural reminders, but ultimately these acts fail because, as we should know, the unconscious must be recognized.
In keeping with a law of metaphysical economy one should not wonder that, just as when one end of the scale tips downward, the other end must tip upward, this is precisely the dynamic being played out within the microcosm of the Samsa household.
1Kaiser, H. (1931) Kafka's fantasy of punishment. Internationaler Psyxchoanalytischer Verlag. "The son cannot put himself in the father's position without the father putting himself in the son's position," and, "As we have already stated, the balance of power between father and son is reversed by means of the son's metamorphosis."
2Jung, C.G. (1963). Mysterium Coniunctionis. Bolingen Series XX, The Collected Works of C.G. Jung, Vol. 14. p17, "II. That which is below is like that which is above, and that which is above is like that which is below, to accomplish the miracle of One Thing." The Emerald Table of Hermes Trismegistus (an unattributed translation in my electronic collection). Here, Jung refers to the Tabula Smaragdina, De alchemia, p.362, and also Tabula Smaragdina, Ruska, p.2.
