Essayist Eliseo Vivas in "Kafka's Distorted Mask," points out that Kafka's use of artistic symbols, i.e. symbolic metaphors, are similar in nature to masks which act as shields from reality. "The light which rests on the distorted mask" is Truth, but "the mask on which it shines. . . is distorted" by Truth or, in Kafka's case, symbolism (Gray, 143). Thus, in The Metamorphosis, symbolism runs rampant and can

His observation "So I didn't need the locksmith" (100) also indicates that Gregor Samsa is symbolically the master of his own fate and does not require the assistance of some otherworldly being (i.e. the locksmith) to enter this new and compelling environment. Biographically, Kafka did exactly this when, as a result of being denigrated by his father, "Kafka refused to take up his father's business, instead choosing his own path" (Batson, "Kafka/Samsa," Internet).

At this point in The Metamorphosis, it is abundantly clear that Gregor Samsa's life has been utterly transformed, much like his physical body, and that he considers himself to be a vermin, akin to a rodent living in a trash heap. Batson agrees with this assumption, for when Samsa became an insect, he "crossed over an imaginary line to a point where there is no turning back, much like that of any person with a chronic illness," a reference to a period in Kafka's life when he began to experience the symptoms of tuberculosis, such as "insomnia, recurring coughs, night sweats, and similar difficulties" ("Kafka/Samsa," Internet), symbolic symptoms fully experienced by Gregor the insect.

In the very first paragraph of The Metamorphosis, Kafka relates that Gregor Samsa, the main protagonist in the tale, "awoke one morning" and "found himself transformed in his bed into a gigantic insect" with an "armoured-plated back. . . (a) domelike brown belly divided into stiff arch segments. . ." and "numerous legs. . . pitifully thin" which "waved helplessly before his eyes" (89). Robbie Batson views the symbolism in this description as being biographical in nature, for instead of referring to the theme, Kafka is symbolizing certain aspects of his personal life and in doing so, "leaves a simple story that stands only for an objective view of his own thoughts and dreams" with a focus upon "a single character that symbolizes himself and his life. . . " ("Kafka/Samsa," Internet).

In Part II of The Metamorphosis, Gregor Samsa, after awaking from "a deep sleep, more like a swoon than a sleep" (Kafka, 105), goes into the family living room and climbs "under the sofa" where he feels comfortable yet somewhat cramped because "he could not lift his head up" and his body "was too broad to get the whole of it under the sofa" (Kafka, 107). This is another example of symbolism, for it creates the image that Gregor Samsa, the cockroach-like insect, is indeed experiencing the effects of his transformation, due to instinctually wanting to crawl under the

Some common words found in the essay are:
Gregor Samsa, Kafka/Samsa Internet, Gregor Samsa's, Robbie Batson, Camus Kafka's, November December, Franz Kafka, Mask Kafka's, Truth Kafka's, gregor samsa, Biographically Kafka, kafka/samsa internet, chest writing desk, kafka 107, writing desk, gray 58, distorted mask, symbolically gregor, unfortunate son, chest writing, bedroom door, indicates gregor samsa,
Approximate Word count = 1688
Approximate Pages = 7 (250 words per page double spaced)