As the days goes by his family became more frustratuate on him. Gregor’s sister, Grete, treats him with kindness and at the end, she also was the one who confront to Mr.Samsa and Mrs. Samsa that they need to get rid of the monster that is living them. “‘Father, Mother,’ said his sister, hitting the table with her hand as introduction, ‘we can’t carry on like this. Maybe
The story is not only called “The Metamorphosis” because he is an insect, but it symbolizes the change in his life from this process. Gregor’s life entirely changes when this transformation happens to him. Despite Gregor’s appreciation for being alone, he constantly would listen in on his family’s conversations (Kafka 480). This shows that Gregor was hurt by his isolation, and that is was not such a great thing anymore now that it is forced on him from his family (Kafka 491). He has no choice but to remain unseen in order to please them and avoid
Walter is very insecure about his manhood throughout the story and his mother even tries to give his manhood to him. The only thing that Mama does when she tries to “fix” Walter’s manhood is make him more depressed and insecure about his role of a man in the world. In “A Raisin in the Sun” manhood plays a role of a brick wall for the characters, especially Walter. Walter is the father of Travis and the husband of Ruth but he doesn’t run the household. The apartment is his mother’s.
Therefore, abjection of Gregor is an expected defensive reaction of the psyche of the family members. From this point of view, Gregor, whose insect body is intrinsically nasty (hard back, segmented belly, dozens of centipede-like legs, which leave slime paths whatever surface they touch), and he possesses a treat to the borders of the Samsas, is purposefully rejected by the kin because they decide to, instead of distancing from the provoking factors, maturely reconsidering the situation and being (be?) understanding. In this respect, Francina Valk stresses: “it is the Samsa family’s relationship to its inside/outside boundary, and represents what has been jettisoned out of that boundary, its other side, the instinctive, the semiotic: the abject, that is, Gregor, the beast” (81). By sharing a common enemy in the face of Gregor, and thus, losing a family member, they reunite and recreate boundaries with no room for Gregor-the-bug within the family, as Kristeva argues: “at the expense of my own death […] "I" become, I give birth to myself amid the violence of sobs, of vomit” (Powers of Horror, 3) Moreover, when three male tenants move in, the family members start to declutter their dwelling, piling up old things in Gregor’s room, so that it looks like a dump: “His family had gotten into the habit of putting in this room things for which they could not find any other place […]
“Night” by Bret Lott and “Worry” by Ron Wallace are two short stories that, even if they are different, they have similarities between them. Bret Lott shows up a father and his concerns about his child. Ron Wallace, in change, shows up the parents’ concerns about their daughter (and their house). At “Night” we can appreciate how the father worried about his kid just because he woke up and heard the child breathing. In “Worry” we can see the mother talking, arguing and even fighting for her daughter with her husband, he does not pay attention to what she is saying; his worries are all about his house.
Tom not only stays with his mother and sister well into adulthood but he also does not pursue a wife, a well paying job or a family of his own. Instead Tom dreams of a life that is more: a life filled with exploration, like the ones in the movies he adores. Throughout the play, Tom argues with his mother, drinks heavily and goes to the movies to forget about his problems. In this melancholy life filled with dissatisfaction he finds comfort in his sister who is shy, sweet and undeserving of the harshness life has thrown as her. In the third scene after he argues with his mother and accidentally knocks over Laura’s trinkets he regains his cool and “drops awkwardly to his knees to collect the fallen glass, glancing over at Laura as if he would speak but couldn’t”.
Arkadina’s son Treplev struggles to find his place in the writers’ community, and is living in the shadow of his mother’s success. Treplev has a constant need of love and attention from people around him, especially his mother. When Treplev attempts suicide he requests his mother to take care of him, “Mother, change my bandage. You do it so well.” (Chekov, 143) This is a way in which Treplev asks his mother to show him affection and to love him as she neglects her son very often. Aside from love, Treplev also seeks approval from his mother hence gets angry and upset when Arkadina snobbishly mocks his work.
What had how long it takes a birch to rot To do with what was in the darkened parlor? You couldn’t care!” (92-97). Amy’s words were very crucial to their argument because it explained how the conflict between the two of them started; the husband making idle talk with her as if he was a different person while burying their child. The husband grew accustomed to his son’s death and argued with his wife about why he should not have to talk about his own son in front her. However, the wife continued to grieve over her son’s death and bickered with her husband about his calmness at their son’s passing, as if it did not involve or affect him.
The earliest of his internal conflicts is when his mother married his uncle, Claudius, in such a short window of time after his father’s death. He expresses his feeling in his “heart, for I must hold my tongue” (1.2.160). This is an important quote because it is important to understand because it allows to the reader to see that Hamlet cannot speak to anyone about how he feels. As an effect to his decision of not speaking out, this allowed for rage and discomfort to grow inside him which will be one of the main reasons as to why he is legitimately going insane. With these various stressors in his life, it gives more evidence and reasoning to why he often experienced constant signs of depression and suicidal thoughts.
In his new state, Gregor is especially helpless against his relative 's misuse. His guardians and sister, the general population who ought to acknowledge him unequivocally and ensure him as indicated by the conventional code of family connections, are the individuals who misuse him the most. His dad wounds him profoundly with a daily paper and a mobile stick. Poor Gregor stays unfazed. Despite the fact that injured, he over and again endeavors to associate with his family, and he stays fit for being moved by excellence and human expression.