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takethisforexample(Essay for a composition class. I can't write like this in my freetime.)
Metaphor is a powerful tool for writers to give dimension to writing that goes far beyond their literal assets, and is especially helpful for conveying messages that may be considered off-putting, intangible, or taboo. Thematically, a lot can be done by projecting distress and misery onto characters, an idea that Gothic and science fiction wholeheartedly embraced in the early 20th century. Some of the best short stories of the time period work exclusively within the mental parameters of characters, for example, Franz Kafka’s Metamorphosis and H. P. Lovecaft’s The Outsider. By using eccentric symbols and grotesque imagery, these pieces explore the themes of trauma, mental illness, and alienation in disturbing yet distinctive manners.
The manipulation of mental states in literature is a common theme in modern times, but was relatively new to writers in the early 1900s. This type of writing did not have an official genre, nor did it strive to live up to a previous example of its type. This makes Metamorphosis in particular an archetypal instance of what is now referred to as “psychological horror,” or literature that seeks to disturb readers by focusing on the psychology of characters. Since Metamorphosis was published in 1915, it predates most works of its kind. This, combined with its modern relevance and popularity in academic settings, allows Kafka’s story to hold up as a worthy example. However, this does not make Metamorphosis the poster child for the genre. In fact, Kafka’s approach is actually quite straightforward as he ascribes the mental state of the main character, Gregor, by literally transforming him into an insect. The result of this “transformation” can be seen both figuratively and literally as Gregor struggles physically with his new body. Many events of the novel have a clearly established metaphorical meaning meant to emphasize some type of mental illness, beginning in the first few pages. For instance, Gregor’s initial attempts to get out of bed are dragged out to become a difficult, laborious task in his new form. As the text states, “He would have needed arms and legs to lift himself up; instead he had only these numerous little legs that never stopped moving and over which he had no control at all” (Kafka 240). Although not explicit with its metaphor, this scene bears striking similarities to a common effect of depression- struggling to get out of bed. Gregor lacks the humanness to complete basic human tasks and whether that is due to lack of motivation or him actually turning into a huge beetle is left for the reader to decide. This is the first instance of the text alluding vaguely to depression, and scenes that highlight other symptoms of mental disorders are recurring throughout the piece, effectively building a story where the reader can not discern whether it should be taken literally or not. As Yeon-Soo Kim explains in his review of the story, “Kafka's narrative sensibilities are not built on the assumption that there is a shared frame of thought that enables the symbolism within the text, or a shared belief that this symbolism can be understood by all. For Kafka, the only shared element is language” (Kim 3). Basically, Kafka’s metaphor eludes the reader because it is not intended to be definitive. Regardless, Kafka’s Metamorphosis still provides a primitive example of psychological horror that seeks to repulse and traverses the reality of Gregor’s dejection in a disturbing and physically cognizant manner.
This being said, although Metamorphosis possesses many themes of psychological horror, its peculiar use of metaphor means it is a basket case in terms of genre. Clear examples of this genre have a more obvious focus on the emotional states of their characters, such as The Outsider by H.P. Lovecraft. Similarly to Kafka’s piece, The Outsider navigates the anguish of its character (who in this case is the narrator) both physically and psychologically. However, Lovecraft’s approach is distinctly self-aware and does not beat around the bush in terms of metaphor. As a matter of fact, the character’s trauma is addressed in the first sentence: “Unhappy is he to whom the memories of childhood bring only fear and sadness” (Lovecraft 287). This line introduces the writing style that Lovecraft pursues for the rest of the piece, focusing mainly on the aloneness of the main character and how it ultimately brings him great psychological pain. Alienation from other people is a key theme in the story as the character lives in a completely isolated and nightmarish castle, void of sunlight and any human contact. This eerie setting is thoroughly elaborated on and acts as a projection of the narrator’s emotional state, but unlike Metamorphosis, seems to only accompany the psychological themes of the story and have the narrator confront his horrors by giving him an ambition- to see light. This idea is established when the narrator avers, “I neither knew nor cared whether my experience [in the castle] was insanity, dreaming, or magic; but I was determined to gaze on brilliance and gaiety at any cost” (290). The progression of the setting as the narrator searches for light works directly with his internal revelations, eventually leading to the peak of the story and a swift ending; the character realizes that he has become a hideous beast as a result of ruminating about his trauma in isolation. In this short story, there is merit in having the setting change with the mentality of the narrator. These types of representation were not uncommon for Lovecraft, who even stated, “Inconceivable events and conditions have a special handicap to overcome, and this can be accomplished only through the maintenance of a careful realism in every phase of the story except that touching on the one given marvel” (Kneale and Lovecraft 275). Lovecraft is aware of what he is trying to express in his writing, but explores it through a surreal lense that allows his work to be shallowly defined as science fiction. Moreover, his themes of psychological horror are not only illustrated through the internal dialogue of the character, but expressed through his elaborate imagery which balances the story rather well.
Though both pieces carry ideas of psychological horror, Kafka and Lovecraft’s stories (and writings in general) clash significantly to create two separate styles notable enough to warrant their own descriptive terms, “Kafkaesque” and “Lovecraftian.” Respectively, these terms refer to the distinct qualities of both authors’ writing: Kafka’s nightmarish and dreamlike illustrations versus Lovecraft’s use of setting to invite madness. Kafka’s work in particular receives a great deal of attention for its vague and unnerving symbolism, in which Christiane von Buelow’s review of his work explains, “the symbolic correspondences to which truth refers [in Kafka’s writing] have been lost” (Von Buelow 119). The symbolism in Kafka’s work is not obvious, which incites a profound sense of confusion and fright within the reader. In Metamorphosis, the vagueness of Gregor’s transformation is the catalyst of these feelings and would not succeed without it. Lovecraft on the other hand relies on the intertwinement of setting and character psychology to inflict a meticulous, disturbing set of emotions. For instance, as James Anderson elaborates in his review of Lovecraft’s work, “The connotative code schematizes the dominant connotations of the text's language in regard to character and setting. This code often develops characters in traditional stories, and, in Lovecraft's work contributes greatly to the overall mood of terror that the author tried to produce” (Anderson 11). Lovecraft seeks to bind the internal aspects of his writing with the external, fully fleshing out his horror elements in both areas. As observed in The Outsider, the emotional distress of the narrator is further emphasized by interactions within the setting. Where Kafka is not inspiring terror, Lovecraft is (and vice versa). Yet, despite these disparities in writing style, both Metamorphosis and The Outsider share a commonality beyond the position of their characters in that they rely primarily on surreal occurrences in places of realism to impart their vision of horror. This is an unusual tactic for works of Gothic fiction, but makes sense in the context of science fiction or psychological horror. As explained in The Gothic Origins of Science Fiction by Patrick Brantlinger, “Although some authors have produced stories in one genre or the other that are fully realistic in the second sense-works of great esthetic power and profound meaning- most stories in both genres necessarily fail to be realistic in either sense” (Brantlinger 31). Gothic fiction’s tendency to estrange itself from realism is exactly what makes these two stories unique- they navigate some sort of unphysical, psychologically-based plot using tangible settings and objects.
Both Kafka’s Metamorphosis and Lovecraft’s The Outsider are strange examples of Gothic fiction that go beyond their usual boundaries by way of a distinguished use of metaphor. Although the works share more differences than similarities, they are understandably alike in that they use the projection of horror onto their characters as a vehicle for their themes. These stories provide an understanding of mental disorders that cannot be captured otherwise, exceed the visions of thematically similar works, and ultimately make for two remarkable works of fiction that have rightfully earned their literary significance. For these reasons, they will undoubtedly remain iconic for as long as horror maintains its draw.
Works Cited
Anderson, James A. Out of the Shadows: A Structuralist Approach to Understanding the Fiction of H. P. Lovecraft. Open Access Dissertations , 1992, digitalcommons.uri.edu/oa_diss/696.
Brantlinger, Patrick. The Gothic Origins of Science Fiction, Duke University Press, 1980, www.jstor.org/stable/1345322.
“Index to The Lovecraft Annual 1–10.” Lovecraft Annual, no. 10, 2016, pp. 229–239. JSTOR, www.jstor.org/stable/26868525. Accessed 27 Apr. 2021.
Kafka, Franz. “Metamorphosis.” Metamorphosis by Franz Kafka, 16 Aug. 2005, www.gutenberg.org/files/5200/5200-h/5200-h.htm.
Kim, Yeon-Soo. “Reading Reality into the Fantasy of Kafka's Metamorphosis.” Gale Academic Onefile, Feb. 2016, skynet.ccm.edu:2131/10.1353/trh.2016.0008.
Lovecraft, H.P. “The Outsider.” "The Outsider" by H. P. Lovecraft, 20 Aug. 2009, www.hplovecraft.com/writings/texts/fiction/o.aspx.
von Buelow, Christiane. Troping toward Truth: Recontextualizing the Metaphors of ... New German Critique, 1989, www.jstor.org/stable/488235.
Metaphor is a powerful tool for writers to give dimension to writing that goes far beyond their literal assets, and is especially helpful for conveying messages that may be considered off-putting, intangible, or taboo. Thematically, a lot can be done by projecting distress and misery onto characters, an idea that Gothic and science fiction wholeheartedly embraced in the early 20th century. Some of the best short stories of the time period work exclusively within the mental parameters of characters, for example, Franz Kafka’s Metamorphosis and H. P. Lovecaft’s The Outsider. By using eccentric symbols and grotesque imagery, these pieces explore the themes of trauma, mental illness, and alienation in disturbing yet distinctive manners.
The manipulation of mental states in literature is a common theme in modern times, but was relatively new to writers in the early 1900s. This type of writing did not have an official genre, nor did it strive to live up to a previous example of its type. This makes Metamorphosis in particular an archetypal instance of what is now referred to as “psychological horror,” or literature that seeks to disturb readers by focusing on the psychology of characters. Since Metamorphosis was published in 1915, it predates most works of its kind. This, combined with its modern relevance and popularity in academic settings, allows Kafka’s story to hold up as a worthy example. However, this does not make Metamorphosis the poster child for the genre. In fact, Kafka’s approach is actually quite straightforward as he ascribes the mental state of the main character, Gregor, by literally transforming him into an insect. The result of this “transformation” can be seen both figuratively and literally as Gregor struggles physically with his new body. Many events of the novel have a clearly established metaphorical meaning meant to emphasize some type of mental illness, beginning in the first few pages. For instance, Gregor’s initial attempts to get out of bed are dragged out to become a difficult, laborious task in his new form. As the text states, “He would have needed arms and legs to lift himself up; instead he had only these numerous little legs that never stopped moving and over which he had no control at all” (Kafka 240). Although not explicit with its metaphor, this scene bears striking similarities to a common effect of depression- struggling to get out of bed. Gregor lacks the humanness to complete basic human tasks and whether that is due to lack of motivation or him actually turning into a huge beetle is left for the reader to decide. This is the first instance of the text alluding vaguely to depression, and scenes that highlight other symptoms of mental disorders are recurring throughout the piece, effectively building a story where the reader can not discern whether it should be taken literally or not. As Yeon-Soo Kim explains in his review of the story, “Kafka's narrative sensibilities are not built on the assumption that there is a shared frame of thought that enables the symbolism within the text, or a shared belief that this symbolism can be understood by all. For Kafka, the only shared element is language” (Kim 3). Basically, Kafka’s metaphor eludes the reader because it is not intended to be definitive. Regardless, Kafka’s Metamorphosis still provides a primitive example of psychological horror that seeks to repulse and traverses the reality of Gregor’s dejection in a disturbing and physically cognizant manner.
This being said, although Metamorphosis possesses many themes of psychological horror, its peculiar use of metaphor means it is a basket case in terms of genre. Clear examples of this genre have a more obvious focus on the emotional states of their characters, such as The Outsider by H.P. Lovecraft. Similarly to Kafka’s piece, The Outsider navigates the anguish of its character (who in this case is the narrator) both physically and psychologically. However, Lovecraft’s approach is distinctly self-aware and does not beat around the bush in terms of metaphor. As a matter of fact, the character’s trauma is addressed in the first sentence: “Unhappy is he to whom the memories of childhood bring only fear and sadness” (Lovecraft 287). This line introduces the writing style that Lovecraft pursues for the rest of the piece, focusing mainly on the aloneness of the main character and how it ultimately brings him great psychological pain. Alienation from other people is a key theme in the story as the character lives in a completely isolated and nightmarish castle, void of sunlight and any human contact. This eerie setting is thoroughly elaborated on and acts as a projection of the narrator’s emotional state, but unlike Metamorphosis, seems to only accompany the psychological themes of the story and have the narrator confront his horrors by giving him an ambition- to see light. This idea is established when the narrator avers, “I neither knew nor cared whether my experience [in the castle] was insanity, dreaming, or magic; but I was determined to gaze on brilliance and gaiety at any cost” (290). The progression of the setting as the narrator searches for light works directly with his internal revelations, eventually leading to the peak of the story and a swift ending; the character realizes that he has become a hideous beast as a result of ruminating about his trauma in isolation. In this short story, there is merit in having the setting change with the mentality of the narrator. These types of representation were not uncommon for Lovecraft, who even stated, “Inconceivable events and conditions have a special handicap to overcome, and this can be accomplished only through the maintenance of a careful realism in every phase of the story except that touching on the one given marvel” (Kneale and Lovecraft 275). Lovecraft is aware of what he is trying to express in his writing, but explores it through a surreal lense that allows his work to be shallowly defined as science fiction. Moreover, his themes of psychological horror are not only illustrated through the internal dialogue of the character, but expressed through his elaborate imagery which balances the story rather well.
Though both pieces carry ideas of psychological horror, Kafka and Lovecraft’s stories (and writings in general) clash significantly to create two separate styles notable enough to warrant their own descriptive terms, “Kafkaesque” and “Lovecraftian.” Respectively, these terms refer to the distinct qualities of both authors’ writing: Kafka’s nightmarish and dreamlike illustrations versus Lovecraft’s use of setting to invite madness. Kafka’s work in particular receives a great deal of attention for its vague and unnerving symbolism, in which Christiane von Buelow’s review of his work explains, “the symbolic correspondences to which truth refers [in Kafka’s writing] have been lost” (Von Buelow 119). The symbolism in Kafka’s work is not obvious, which incites a profound sense of confusion and fright within the reader. In Metamorphosis, the vagueness of Gregor’s transformation is the catalyst of these feelings and would not succeed without it. Lovecraft on the other hand relies on the intertwinement of setting and character psychology to inflict a meticulous, disturbing set of emotions. For instance, as James Anderson elaborates in his review of Lovecraft’s work, “The connotative code schematizes the dominant connotations of the text's language in regard to character and setting. This code often develops characters in traditional stories, and, in Lovecraft's work contributes greatly to the overall mood of terror that the author tried to produce” (Anderson 11). Lovecraft seeks to bind the internal aspects of his writing with the external, fully fleshing out his horror elements in both areas. As observed in The Outsider, the emotional distress of the narrator is further emphasized by interactions within the setting. Where Kafka is not inspiring terror, Lovecraft is (and vice versa). Yet, despite these disparities in writing style, both Metamorphosis and The Outsider share a commonality beyond the position of their characters in that they rely primarily on surreal occurrences in places of realism to impart their vision of horror. This is an unusual tactic for works of Gothic fiction, but makes sense in the context of science fiction or psychological horror. As explained in The Gothic Origins of Science Fiction by Patrick Brantlinger, “Although some authors have produced stories in one genre or the other that are fully realistic in the second sense-works of great esthetic power and profound meaning- most stories in both genres necessarily fail to be realistic in either sense” (Brantlinger 31). Gothic fiction’s tendency to estrange itself from realism is exactly what makes these two stories unique- they navigate some sort of unphysical, psychologically-based plot using tangible settings and objects.
Both Kafka’s Metamorphosis and Lovecraft’s The Outsider are strange examples of Gothic fiction that go beyond their usual boundaries by way of a distinguished use of metaphor. Although the works share more differences than similarities, they are understandably alike in that they use the projection of horror onto their characters as a vehicle for their themes. These stories provide an understanding of mental disorders that cannot be captured otherwise, exceed the visions of thematically similar works, and ultimately make for two remarkable works of fiction that have rightfully earned their literary significance. For these reasons, they will undoubtedly remain iconic for as long as horror maintains its draw.
Works Cited
Anderson, James A. Out of the Shadows: A Structuralist Approach to Understanding the Fiction of H. P. Lovecraft. Open Access Dissertations , 1992, digitalcommons.uri.edu/oa_diss/696.
Brantlinger, Patrick. The Gothic Origins of Science Fiction, Duke University Press, 1980, www.jstor.org/stable/1345322.
“Index to The Lovecraft Annual 1–10.” Lovecraft Annual, no. 10, 2016, pp. 229–239. JSTOR, www.jstor.org/stable/26868525. Accessed 27 Apr. 2021.
Kafka, Franz. “Metamorphosis.” Metamorphosis by Franz Kafka, 16 Aug. 2005, www.gutenberg.org/files/5200/5200-h/5200-h.htm.
Kim, Yeon-Soo. “Reading Reality into the Fantasy of Kafka's Metamorphosis.” Gale Academic Onefile, Feb. 2016, skynet.ccm.edu:2131/10.1353/trh.2016.0008.
Lovecraft, H.P. “The Outsider.” "The Outsider" by H. P. Lovecraft, 20 Aug. 2009, www.hplovecraft.com/writings/texts/fiction/o.aspx.
von Buelow, Christiane. Troping toward Truth: Recontextualizing the Metaphors of ... New German Critique, 1989, www.jstor.org/stable/488235.
