By Sir Arthur Conan Doyle
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Extra info for Adventures of Sherlock Holmes - The Adventure of the Empty House
But in Kafka’s fiction, the rational and the irrational intertwine menacingly. Often these irrational elements spring from the minds of his characters and manifest themselves physically. Ideas are metamorphosed into reality, with little effort on the characters’ parts. Here Gregor’s idea, originating in his “unsettling dreams,” has followed him into the real world. The echo and confirmation of this reality comes in the second paragraph: “It was no dream” (p. 7). Unlike Lewis Carroll’s Alice, who, after transforming several times, wakes up, Gregor’s most bizarre adventure is real, and has only just begun.
Kafka’s parables not only fall apart once we interpret them, they are impossible to put into practice. If anything, his parables guarantee the failure not only of his characters, but of readers wishing to abstract any lessons applicable to their own lives. Failure, it seems, is Kafka’s true subject. To get at this conundrum, we must explore discretely the dichotomies Kafka himself con flates—dreams versus reality, idleness versus work, vermin versus human, child versus adult. For Kafka, each of these antagonistic pairs represents an authorial relationship.
44). We have no indication that Gregor Samsa enjoyed music while he was human; his intention to send his sister to the Conservatory was to him a financial endeavor, an investment in her future. Yet to be moved by music is essentially human; it reflects sensitivity. The life Gregor led as a human being left no room for this kind of appreciation. But, by regressing into an animal, his sensibility has become refined rather than coarsened. As vermin he comes closer to a spiritual liberation, of which human beings at their best are capable.
Adventures of Sherlock Holmes - The Adventure of the Empty House by Sir Arthur Conan Doyle