The Absurd in The Metamorphosis and Endgame

Ed Lohr

The Bedford Glossary of Critical and Literary Terms

defines the Absurd as “A phrase referring to twentieth-

century works that depict the absurdity of the modern human

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condition, often with implicit reference to humanity’s loss

or lack of religious, philosophical, or cultural roots. Such

works depict the individual as essentially isolated and

alone, even when surrounded by other people and things.”

(Murfin 2) Franz Kafka and Samuel Beckett were two of the

more influential writers in this movement, as both The

Metamorphosis and Endgame contain examples of this genre.

While the Absurd did not fully develop until after his

death, it owes much of its development to Kafka.

The Absurd as a genre developed in between two world

wars and the authors of this time were so used to shocks and

catastrophes that these qualities were of course included in

their writings. “Life held little intrinsic meaning to the

characters which populated Kafka's novels and short stories.

Man was isolated and constantly subjected to unknown and

terrifying forces -- forces without direction, forces

without control.” (Kreis 1)

The entire plot of Metamorphosis revolves around an

instance of absurdity, as Gregor Samsa wakes up one morning

to find himself an insect. Kafka’s “characters … react in a

common-sense way when such a response (given the situation)

is utterly grotesque.” (Mack 2299) “All events and incidents

seem improbable yet the casual acceptance of Gregor’s

transformation by the characters creates a sense of

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mystery.”(Belur 1) Kafka mixes everyday reality with

dreamlike or nightmarish elements. There is never an

explanation given as to why Gregor changes, he simply does.

Gregor, surrounded by his formerly loving family, yet

is completely alone in his misery. Even his sister, who

Gregor had come to expect compassion from, eventually turns

against him. His family for two reasons isolates him, the

first and most obvious is because of his appearance.

Secondly, since he was the only wage earner in the house,

others must go out into the world to support the family.

They depended on Gregor and now he cannot fulfill his duties

to them. While eventually leading to his death, this

withdrawal enables his family members to regain aspects of

themselves that they had lost. “They withdraw from him, try

to contain the damage, but in the process begin to change

their own [lives] … as well--Gregor's father, who had been

disabled, … goes back to work; he changes from being an "old

man" to a bank official "holding himself very erect."

Gregor's sister also gets a job and seems on the verge of a

new life.” (Coulehan 1)

Martin Esslin comments that “This earlier tradition [of

the absurd] had included the assumptions that human beings

are fairly rational creatures who live in an at least

partially-intelligible universe, that they are part of an

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ordered social structure, and that they may be capable of

heroism and dignity even in defeat.” (10) This mirrors the

end of the novella, as Gregor chooses to die rather than

burden his family. “He thought back on his family with deep

emotion and love. His conviction that he would have to

disappear was, if possible, even firmer than his sister’s.”

(Mack 2338)

“After the 1940s, however, there was a widespread

tendency … to view a human being as an isolated existent who

is cast into an alien universe, to conceive the universe as

possessing no inherent truth, value, or meaning, and to

represent human life … as an existence which is both

anguished and absurd.”(Esslin) This theme, although evident

in The Metamorphosis, forms the basis of Samuel Beckett’s

Endgame.

The characters never seem to progress at all, instead

repeating the same routine every day. “Nell: Why this farce,

day after day?” (Mack 2475) The lack of a coherent plot was

one of the more apparent conventions of the Absurd. Endgame

follows no set direction, with the characters merely

conversing about seemingly random topics. “…Scenes, actions,

and dialogue are usually disconnected, repetitive, and

intentionally nonsensical.” (Murfin 2) Another play by

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Beckett, Waiting for Godot exemplifies this in one quote.

"Nothing happens, nobody comes, nobody goes, it's awful."

All the usual conventions of literature are flouted

throughout Endgame, as Beckett rejects plot, narrative,

conflict, and rounded characters. Instead, emphasis is

placed on situations rather than events and on stasis rather

than action and development. "What passes in [this] play are

not events with a definite beginning and a definite end, but

types of situation that will forever repeat themselves"

(Esslin 110).

There is no significance placed on the mundane or the

extraordinary. When his mother Nell dies, Hamm expresses no

emotion at this, perhaps being accustomed to death, but his

father quietly grieves in his can. The entire setting of the

play could be assumed to occur in a bomb shelter and the

outside world is transformed into the “other hell.”( Mack

2479) This would mirror the political climate in the actual

world in which Beckett was writing. He had lived through

both World Wars and had to have witnessed the atrocities

committed during those times. The mundane and the

extraordinary had occurred side by side throughout and so

this aspect of the play would not be seen as odd to the

audiences of the time.

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While the play deals with a very serious subject

matter, the audience cannot help but laugh at the characters

dialogue. “...These characters are never fully conscious of

who they are or where they are or what they are supposed to

be doing. So there is no moment of truth here, no full

recognition of the true nature of things, as there is in

tragedy.” (Esslin 112) Characters once thought of as minor

and comic relief now occupy key roles.

An overall sense of despair permeates the play, as the

characters are waiting for nothing other than death. Hamm

constantly asks Clov whether or not it is time for him to

have a painkiller, and every time is told “No!” (Mack 2483)

Finally, when it IS time for the painkiller, Hamm is nearly

frantic when told that there are not anymore. This simple

petty act by Clov exemplifies another aspect of the Absurd,

the love\hate, dependent relationship of Hamm and Clov. Both

of the men constantly argue but both need each other to

exist. Clov’s exit at the end of the play gives a ghost of

an ending, as we must assume that Hamm and Nagg too will die

without him. This is a departure from Becketts other works,

and the Absurd in general, as any type of an end was usually

not employed. The play completes the greater circle in that

it ends almost as it began, but in reverse as Hamm addresses

his handkerchief and is again covered by cloth. Typically,

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Beckett's characters carry on, even if in a life without

purpose, trying to make sense of the senseless and to

communicate the incommunicable.

Works Cited

Belur, Roopa Malavally. Absurdity as Convention in

Franz Kafka’s Works. 19 Mar. 2001. 27 Nov. 2002.
<http://www.sawf.org/newedit/edit03192001/column.asp>
Coulehan, Jack. Kafka, Franz: The Metamorphosis. 29
Jan. 1997. Literature, Arts, and Medicine Database. 26 Nov.
2002. <http://endeavor.med.nyu.edu/lit-med/lit-med-
db/webdocs/webdescrips/kafka98-des-.html>
Esslin, Martin. The Theater of the Absurd. New York:
Overlook Press, 1969
Kreis, Steven. Lecture 12: The Existentialist Frame
of Mind. 25 July 2002. The History Guide. 27 Nov. 2002.
<http://www.historyguide.org/europe/lecture12.html>
Mack, Maynard, ed. The Norton Anthology of World
Masterpieces.
New York: W. W. Norton & Company, 1987.
Murfin, Ross and Surpryia M. Ray. The Bedford
Glossary of Critical and Literary Terms. Boston: Bedford
Books, 1998.