The dehumanization of the protagonist is a common thematic element in both Kafka's The Metamorphosis and O'Connor's "A Late Encounter with the Enemy", although the various aspects of dehumanization differ between the two works. Dehumanization plays a role in the deaths of both Gregor and General Sash; both authors describe the enormous pressure placed on the characters by society, especially through the lens of each character's view of their own dehumanization. This degradation has consequences, both positive and negative, that affect the families of each character. The full extent of Gregor and General Sash's dehumanization is slowly revealed through the exposition and escalating action of both stories until, in a climactic moment, their deaths resolve their struggles and bring peace to their suffering spirits . Tragically, this corruption of their moral and even physical selves comes not only from their society, but also from their families; in fact, in both cases, families benefit from their dehumanization and determine it. The different attitude of Gregor and General Sash towards their impending death is another point of contrast: General Sash is so corrupt that he accepts his dehumanization and even desires it, while Gregor, a young man, still sees his dehumanization as a prison to escape from. he can't escape. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Gregor's dehumanization in Kafka's Metamorphosis is evident from the novel's first sentence: "When Gregor Samsa awoke in his bed one morning from troubled dreams, he found himself transformed into an enormous insect" (612). This transformation , from human to insect, creates the tension of the story, as Gregor is literally dehumanized from the beginning. Also significant is the fact that Gregor transforms into a insect, as this creature symbolizes Gregor's spiritual transformation. Gregor's spiritual degradation is revealed in the exposition of The Metamorphosis through Gregor's perspective on his job as a traveling salesman and his boss, the Director The Director acts as a dictator over Gregor's life, and Gregor despises his work: “'Oh, God,' he thought, 'what a strenuous profession I have chosen: traveling day after day are much greater work commitments on the road than in the home office, and also they are burdened by the hassles of travel: worry about rail connections; irregular and bad meals; a social life limited to passing acquaintances who never become true friends. To hell with it!'” (612). Gregor's focus on job security is prevalent even after his transformation into an insect; he only seems to care if he gets fired. This fear is significant in the exposition of Gregor's situation because it shows the hold that society's expectations have on his life. Gregor, like an insect, has a specific job to do, and if he fails to do it, he will be replaced. He hates his situation and questions the merits of his profession after the transformation: “Why was Gregor condemned to work in a company where the slightest infraction immediately attracted the greatest suspicion? All the employees then, without exception, were scoundrels; Were there no loyal and devoted individuals among them?” (615). The significant word in this passage is “individuals”; there are no individuals in Gregor's company, and therefore he, as an individual and as a human being, does not exist. Gregor's dehumanization is increased through his relationship with his family. His family's initial reaction is shock andhorror; however, Grete, his sister, chooses to help Gregor survive. Although Gregor has to lock himself in his bedroom, Grete still treats him like a human being and her actions, such as giving him a selection of food to eat, show her concern for him (623). Gregor also cares deeply about his family and tries to make his existence more bearable for them: “[He was] consumed by worries and vague hopes that all led to the same conclusion: that for the moment he should remain calm. and, by exercising patience and the utmost consideration for his family members, try to make bearable the discomfort that in his present condition he would inevitably cause them" (622). Unfortunately, Gregor's transformation leaves his family trapped, both financially and physically; They are left with barely enough money to survive and have no way of changing apartments with Gregor. Furthermore, their efforts to please Gregor and treat him like a human being are harmful to both Gregor and themselves. The food they give them leaves them with less food; and the removal of furniture from his room, intended to allow Gregor freedom of movement, only furthers Gregor's alienation. Gregor, expressing the tension between his humanity and his bestial nature, ultimately decides that he must keep his humanity alive: “Of course, he could crawl undisturbed in all directions, but at the same time he would forget, quickly and completely, his human past » (628). This tension builds until Grete, Gregor's last human connection, denies it and convinces his parents that the insect is not a human. “'You just have to try to free yourself from the thought that it's Gregor. Our real misfortune is that we believed it for so long. But how can it be Gregor? If it had been Gregor, he would have seen long ago that such an animal cannot live with humans and would have left voluntarily” (638). The tragic irony in this moment is that Gregor is able to feel his sister's humiliation towards him. Gregor, out of love for his family, is convinced that he must die: “His conviction that he must disappear was even firmer than that of his sister” (639). Gregor's dehumanization creates problems for both his family and himself that are an indirect cause of his death, but as he lies dying, he finds himself in a state of "empty and peaceful contemplation", suggesting that, through death, he is finally freed. Like Kafka, Flannery O'Connor uses the dehumanization of General Sash in “A Late Encounter with the Enemy” to show a man corrupted by modern Southern values. Social expectations for General Sash are very high: he is put on display at various events for the public to see in his general's uniform and sword. For example, each year “it was packaged up and loaned to the Capitol City Museum where it was displayed in a musty room filled with old photographs, old uniforms, old artillery and historical documents. All these were carefully preserved in glass cases so that children would not put their hands on them” (139). The word "all" in this passage is purposely ambiguous to include both the documents and General Sash himself, significantly demonstrating that the General is simply a historical object to be displayed in a glass case. The passage goes on to say that “there was nothing about him to indicate that he was alive” (139), and in this statement the dehumanization of General Sash becomes evident. However, unlike Gregor, General Sash desires his dehumanization. The only significant memory in his mind is “the first” in Atlanta, when he received his general's uniform. General Sash likes to sit "on any stage" and living "must have been such a habit for him that he could not conceive of any other, 1971.