Aaron Samson

Com. 7 Section A02

Professor MacKinnon

29 May 2007

Plot or Catalyst: Differences in Perspective

Many works of literature focus on a single supernatural event that occurs

somewhere in the story. Specifically, the focus depends on the perspective with which the

supernatural is seen; in some stories, the supernatural is simply accepted, while in others

attempts are made to question and justify what happened. The acceptance of the

supernatural as a strange but obvious occurrence, as in Kafka’s “Metamorphosis,”

changes the focus of the story from the supernatural event to the effects that occur as a

result of the event. These effects often provide insight into the author’s messages and

depictions of society and its flaws.

In Maupassant’s short story “The Horla”, the supernatural event is tracked and

focused on throughout the narrative. As a result of this, the story focuses more on the

occurrence of the event and much less on how the narrator responds after he accepts such

an event. Because of this, any social commentary in the story comes not from character

development or reactions, but from outright statements made in the story. “The mob is an

imbecile herd, as stupid in its patience as it is savage when roused…Then you say to it

‘vote for the Republic.’ And it votes for the Republic.” This is certainly an observation

about 19th century France, but in no way does it stem from a character’s reaction to a
supernatural event. It fits into the story well, but it comes in the form of an observation,

not in the form of plot.

In stories such as Gogol’s “The Nose,” or Kafka’s “Metamorphosis,” we see a

much different kind of character development; this kind of character development gives

us a window into more everyday, common psyches. The difference between these two

stories that accept the supernatural and move on, and a story like “The Horla” is that

“The Nose” and “Metamorphosis” both deal with their characters’ reactions to the effects

of the supernatural, while other stories deal with characters’ reactions to the supernatural

event.

In “The Nose”, Ivan, the main character, wakes up missing his nose, but he never

truly spends time reacting to the fact that his nose is gone; instead he worries about what

will happen because his nose is gone. “If I had lost an arm or a leg it would have been

better; but without a nose a man is goodness knows what: neither fish nor fowl nor

human being…” The character development comments on people of middle-class rank in

Russian society; rank is important and the loss of his nose is a strike to his vanity, not his

sense of reality. Because Ivan readily accepts the fact that his nose has fallen off and is in

fact walking around the city, his development as a character is shown not through his

fear, but through his vanity.

Ivan definitely sees his departed nose as a supernatural occurrence, “How was it

possible for a nose—which had only yesterday been on his face and could neither drive

nor walk—to be in uniform!” but he reacts to this occurrence as if he had simply lost his

keys: “How could I have been idiotic enough to lose my nose!”. Because Ivan’s actions

are the same as those a person would have taken had he lost a normal thing; searching,
attempting to place an ad, etc.; Gogle opens a window into the normal middle-class

society of Russia and allows Ivan to be a representation of such society. Ivan’s actions

can therefore be construed as a commentary on Gogle’s idea of the rest of middle-class

Russian society, such as the peoples’ vanity or obsession with rank.

Kafka’s “Metamorphosis” follows the same format by adhering to the idea that

though something completely extraordinary has happened, the characters’ reactions

deviate very little from normal reactions to something not out of the ordinary. As in “The

Nose”, Gregor and his family in no way deny that something completely supernatural has

happened, but instead of dwelling on the fact that Gregor has turned into a bug, they

instead turn to how they’re going to deal with such an occurrence. Gregor’s first thoughts

are of his family and how he is going to provide for them from now on, and whether he

can get to work or not: “The next train went at seven o’clock; to catch that he would need

to hurry like mad and his samples weren’t even packed up, and he himself wasn’t feeling

particularly fresh and active.” The drastic under-reaction by Gregor in this sentence

defines the sentiment throughout the rest of the story; Gregor’s transformation is a simple

misfortune and burden, much the same as if he had become disfigured or came down with

a debilitating disease.

The family and Gregor’s treatment of the situation allows for character

development beyond the traditional fear and confusion at the supernatural. Kafka’s

characters instead treat and adapt to the situation in a way that recognizes Kafka’s true

intention: Gregor’s metamorphosis is both a physical representation of his status in the

family, as well as a catalyst that prompts the family to show how they really feel about

Gregor.
 Because Gregor’s metamorphosis is such a small part of the story, it changes the

focus completely. The story could have gone in a different direction, with the family’s

fear and confusion as the primary element, with the supernatural event at the center of the

story. The story instead focuses on the family and Gregor, leaving the actual

metamorphosis as a small part of the actual story. Kafka uses the metamorphosis to show

Gregor’s place in the family, and to raise sentiment for how he is treated, regardless of

whether he is a bug or not. The family never goes into true mourning, seems quite put out

when Gregor can no longer provide for them, and eventually opts that he must die in the

end. Kafka’s characters clearly display his commentary on how families should behave,

and the common tragedy of someone who is taken for granted his entire life, and cast

aside when he is no longer able to contribute anything physical.

If the supernatural were treated as an extraordinary event in “The Nose” and

“Metamorphosis”, the social commentary would most likely be less present, or would

have to be stated instead of shown. The treatment of the supernatural as if it were an

everyday occurrence opens a window into the everyday lives and reactions of normal

people that wouldn’t be shown, had they seen the supernatural event as extraordinary.

Traditional reactions for supernatural events are fear, confusion, or even spite; in

“Metamorphosis” and “The Nose” the supernatural events act as catalysts in the

production of emotions and responses, instead of actual parts of the plot. In this way the

focus is shifted away from the event itself and toward the characters’ reactions to such

events, allowing the authors to provide commentary in both a satirical and atypical way.