Gregor does in fact understand and slowly moves back to the bedroom. At their urging Gregor twists about wildly in bed and manages to free himself. He tries to save a picture on the wall of a woman wearing a fur hat, fur scarf, and fur muff. She brings him food, cleans his room, places his chair by the window so he can see out to the street, and comes up with the idea of removing his furniture so he has more room to scurry and climb. Nobody on the other side of the door has understood a single word he had uttered as Gregor's voice has also transformed, and they conclude that he is seriously ill. One morning he wakes up from uneasy dreams and finds he has turned into a bug.
Gregor feebly returns to his room, thinks of his family with love, and dies. Gregor, however, calmly explains that he will now pack up his cloth samples and be on his way. . They took the money with thanks, and he happily surrendered it, but the special warmth was no longer present. He craves love and understanding, but his prolonged inactivity gradually leads him to feel ever more indifferent about everything.
But Gregor Samsan has unquestionably become a bug. Beicken, Sokel, Sautermeister and Schwarz. Grete, her mother and father decide to take off work. Gregor also learns that his mother wants to visit him, but his sister and father will not let her. He's taken on extra responsibility, and given up his own life to the needs of his family. His father grabs a newspaper and the office manager's cane and chases Gregor around the living room.
His mother asked him to get up, and he responded with painful noises that sounded like an animal produced them. Suddenly, the mother runs from the room and begs the father to spare Gregor. His family treats him like shit and he has a bad job. In this first scene with his family, their concern and love for him is evident. This is achieved from the construction of sentences in the original German, where the verbs of subordinate clauses are put at the end. In a sense, Gregor is the archetype of many of Kafka's male characters: he is a man reluctant to act, fearful of possible mishaps, rather prone to exaggerated contemplation, and given to juvenile, surrogate dealings with sex. For example, in the opening sentence, it is the final word, verwandelt, that indicates transformation: Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt.
Grete and the mother proceed to move the furniture out of Gregor's room to give him more space to roam. Gregor tries to calm his mother down, but at the sight of the coffee, can't help snapping his powerful jaws, which freaks out his mother even more. Gradually, Gregor adapts to his new life. Gregor tries to catch up with the fleeing office manager, but his father drives him back into the bedroom with a cane and a rolled newspaper. His consciousness sets in too late, however, for his train left at five. The office manager is offended and cautions him about the consequences of skipping work.
He notices that his legs are oozing a sticky goo. Gregor also learns that his mother wants to visit him, but his sister and father will not let her. In a few years he will have paid off his parents' debt. The actual conditions of his life, especially his family life, are certainly a model for the family interactions of the novel, and the form of the story comes from Kafka's watching of a play. The Viennese author , whose sexual imagination gave rise to the idea of , is also an influence.
Gregor's sister, Grete, begs him to open the door. Eventually she comes to resent the role, and it is Grete who decides they must get rid of Gregor. Fernando Bermejo-Rubio 2012 argued that the story is often viewed unjustly as inconclusive. The comical effect of this reversal of the normal and the irrational is then further heightened by the servant girl's opening the door as usual. He was the reflection of mediocrity.
These elements are simply the raw materials that Kafka skillfully puts together in his own style, creating a meaning that is far too mysterious to be accounted for simply. Then they spend some time with the dead Gregor, and mourn him a bit. The part where he deals with his shitty job, the part where he deals with his shitty family and the end, where he dies and finally is a free man. The reason for the astounding behavior of all these people is found in their incapacity to comprehend disaster. The selection of an ordinary individual as victim heightens the impact of the absurd.
There is some evidence that his relationship with Grete has strong incestual overtones, as will be shown later. He's a traveling salesman, who wakes up one day to find that he has transformed into an insect. This becomes a routine: Grete brings food and cleans up after him, while he hides. Plays on words and obvious similarities of names point to the story's highly autobiographical character. More so than Georg, however, who comes to accept his judgment, out of proportion though it may be, Gregor is a puzzled victim brought before the Absolute — here in the form of the chief clerk — which forever recedes into the background. He asks the manager to put in a good word for him with the boss.
One day Grete busts out her violin and starts layin down some fresh jams for the tenants. His sister had the most understanding for him. He attempts to roll over and go back to sleep, but his insect body prevents them. This begins a routine in which his sister feeds him and cleans up while he hides under the couch, afraid that his appearance will frighten her. Her initial decision to take care of Gregor may have come from a desire to contribute and be useful to the family, since she becomes angry and upset when the mother cleans his room, and it is made clear that Grete is disgusted by Gregor; she could not enter Gregor's room without opening the window first because of the nausea he caused her, and leaves without doing anything if Gregor is in plain sight.