In both Metamorphosis and Death in Venice the authors develop the particular theme of illness by creating two characters whose mental and physical traits continuously change. These metamorphoses allow the protagonists to reveal their true nature and personalities, break through all forms of repression, and reach a self-maturity. Apart from indicating the emotional and mental states of the characters, their illnesses have the purpose of freeing them from what could be defined as a mental prison.
The illnesses depicted by Kafka and Mann are very similar for they are both consequences of a long period of constraint for the two protagonists, Gregor and Aschenbach. Gregors repression is determined by two main factors: societys continuous taking advantage of him and his excessive need to satisfy everyone (including his family) except for himself. This can be seen especially when he is described by the author as a mere tool of the chief, spineless and stupid (pg78). Aschenbach, on the contrary, represses his true character and is a slave of conventions and traditions. This aspect is very noticeable in his actions: a sudden pang of delicacy or scandalization, something between respect and shame, caused Aschenbach to turn away as though he had seen nothing, for it goes against the grain of any mature person to exploit, even for private consumption, an accidentally observed moment of passion (pg 170).
In this quote one can see how Aschenbach, as Gregor, actually represents the North European bourgeois culture of the early 1900s: repressed. As a consequence, both characters accumulate tension, which they release later on in the plot during their changes.
The Websters Seventh New Collegiate Dictionary defines illness as an unhealthy condition of body or mind. The two protagonists created in these novellas are both at extremes, therefore, they are in no way balanced and can be seen as mentally unhealthy. Mental illness is often referred to as when there is no proper equilibrium between logic and emotion. Due to the fact that these characters have always lived at extremes, at the end of the novels they are not able to change moderately; on the contrary, they change drastically and therefore become slightly mad. Thomas Mann describes living at extremes as very dangerous for one can become slave of either part.
Although the protagonists repress different aspects of their personality, there seems to be one that is salient in both: rebellion against society and its conventions. In Metamorphosis and Death in Venice, the strength and power of society is continuously emphasized, for it is the main fear of both Aschenbach and Gregor who no longer want to fight it. In Kafkas novella each character represents a different trait of society.
In both Manns and Kafkas works, there are various realms of illness that can be linked to each other. The characters, in fact, both start with an emotional or mental disturbance and then pass onto a negative physical mutation. During the early 1900s and late 1800s scientists and psychoanalysts such as Freud elaborated theories explaining that the physical appearance acted as a mirror on our inner state and therefore was affected by our emotional and mental state. Kafka, born during this period of time, chooses to use this theory and transform his character into a bug: Gregor had always seen himself as one and therefore mentally and physically becomes one. This is why when the character wakes up, he doesnt realize that he is no longer a man and continues to use the logic of a human being: the first thing he meant to do was to get up in peace and quiet, get dressed, and most important of all have breakfast; only then would he think about the next steps, for it was clear to him that he would come to no sensible conclusions by meditating in bed (pg 79).
It seems, according to the details given in the text, that Gregors mental problems all derive from a clear lack of attention and love, consequence of the presence of an obstinate military father and weak mother who never disagrees with her husband. Aschenbach, on the other hand, begins repressing part of his personality and results in an outburst of transgression. The protagonist passes from a very strict Germanic mentality to a very relaxed one such as that found in Venice. This can be seen by his need to use make-up and dye his hair, for it makes him feel younger and more attractive. His desire to change can be considered a response to the losses that come with old age and physical illness experienced by the body of an artist who has learned to appreciate beauty in all its forms.
The changes that the characters go through allow them to become more introspective and realize what their real needs truly are. Gregor, through his metamorphosis, is brought to the knowledge that he has been giving too much attention to the needs of others and has given no satisfaction to his personal needs. His physical illness acts as a handicap and therefore brings him to appreciate certain aspects of his human life that he had never noticed before. Unluckily, or maybe not, there is no way back and Gregor is trapped in the body of a bug until his death and wont have other chances as a human being.
Illness, as described in Death in Venice, takes on a different meaning for it has various subdivisions. Since Aschenbach, as Gregor, passes from one extreme to another, he also assumes a more introspective attitude and discovers his more feminine side. As a result of this, he changes drastically and literally stalks a young boy around Venice. This can be considered an illness because it is an explosion of emotions Aschenbach never knew he had, and because he becomes a slave of his own emotions and desires. His head and his heart were drunk, and his steps were directed by that demon who takes pleasure at trampling mans reason and dignity underfoot. (pg 196) The word drunk here emphasizes the idea of not having control. What seemed to initially be a platonic love mutates into something more physical and the imagery slowly changes with it: the use of darker images with negative connotations increases.
Certain traits of the novellas protagonists prove to be symptoms of a light form of madness, which later on in the texts can clearly be described as true mental illnesses. Both Gregor and Aschenbach seem to each have dual personalities, which are contrasting. Conventions of society and the way in which their family brought them up seem to be the main reasons why they repress one of these sides by them considered negative. In Gregor, this side can be considered relaxation or enjoying the positive aspects of life, while in Aschenbach it is the southern European calm and more relaxed way of facing life. This repression can only lead to an outburst seen through Gregors transformation into a bug and Aschenbachs degradation.
Throughout the novellas there are various references to social structures that have the aim of curing illnesses. In part one, after seeing the picture of his father, Gregor looks out the window towards the hospital. Not only is this window an actual physical object, but it is also an opening onto his thoughts, for he realizes he is ill. Gregor does not understand what his illness is for it is an illness that no doctor can cure nor alleviate. Only he can help himself by finding what his true needs are. Gregors illness is due to a hunger for cultural stimulation, human contact and love, which he never receives from his family who acts as if they were visiting someone who was gravely ill (pg 94).
In both Death in Venice and Metamorphosis the protagonists are brought to a more reflective state of mind and liberated with their deaths. The deaths of Gregor and Aschenbach can be considered one of the many climaxes of the book for the characters are finally freed from the chains that have been mentally imprisoning them. The deaths of both characters are very significant for they both die as a consequence of physical illnesses: Gregor dies because he is a starved bug and Aschenbach because of cholera. The concept of illness truly is one of the many threads that tie these two novellas and their protagonists together.
