Kafka and Hawthorne's Father Figure Relationship

After the metamorphosis, the son assumes this role. A terra firma is shown in which the enjoyment of advantages by the one has to be purchased at the cost of the otherwise. This is the world in a go state" (110). In Hawthorne's story, however, the devil is not Goodman choco novel-brown's literal father, notwithstanding he resembles him a device that suggests the devil as a conscience get into more than as a human. " some other clue to Brown's realization of hell is that he creates the devil figure in his own image. This acts as a projection of himself as the embodiment of evil" (Jacobs). In this case, the devil is the protagonist's spiritual father. despite Goodman Brown's outward spiritual fervor, he is captivated by criminality and unable to extricate himself without the help of his lost faith a double entendre playing on the name of his wife, Faith. Unlike Gregor, Goodman Brown wants to serve God rather than the devil, and he labors against evil to the transmit of fanaticism. However, he lacks the underlying faith to support his convictions, and with very pocket-sized effort, the devil draws him in. Both men want to do right. Whereas Gregor is downright and forthright, though, Goodman Brown is a hypocrite. Both men are timid and submissive to their father figures, but Goodman Brown puts on a show of resisting while finding himself inexorably drawn into the world of evil.

The distinction between the relationships in the two stories is highlighted by a difference in the manipulation of their primary themes. Kafka's sto

Nabokov, Vladimir. "Vladimir Nabokov's Lecture on ?The Metamorphosis'" http://victorian.fortunecity.com/vermeer/287/nabokov_s_metamorphosis.htm

The symbol of the forest, late at night, can be interpreted as the raving mad regions of Brown's heart where the devil roams freely as he roams in the forest. The forest is the devil's domain. Brown finds, in the dark of the night, many of his day friends share this domain with the devil. What he considers moral and "good" in his support he finds in the forest. This torments his perception of practically everything ("young Goodman Brown's Apocalypse").

Finally, the theme of subliminal sin is prominent in both stories' father-figure relationships.

In "The Metamorphosis," Gregor's subliminal yearnings toward his begin and infant although never realized represent his inner decay which in the end manifests in his physical body. In "Young Goodman Brown," Goodman Brown's subliminal sin is due to the grip that the devil has on his heart free of faith:

In spite of the common thread of guilt, on that point are other aspects of the relationships that are unique. The issue of dominance is diminutive to the plot of "The Metamorphosis." the underlying message is that only the father or the son can be victorious; if the one succeeds, the other must fail:

Q: Are you then born a Sinner?  A: I was conceived in sin, and born in iniquity.  Q: What is your Birth-sin?  A: Adams sin imputed to me, and a corrupt spirit care in me.  Q: What is your corrupt nature?  A: My corrupt nature is empty of Grace, bent unto sin, and onely [sic] unto sin,  and that continually (McCabe).

ry deals with sacrifice, paralysis, and stifled longings with heavy Oedipal undertones deep down the family unit (Weinstein, 1993, 25). Gregor's jealousy of his father and his subconscious desire for his mother and sister are played against his sacrifice of his own life and personal aspirations in subjugation to his father's laziness an
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