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This is demonstrated through Grete’s decision to remove all the furniture in Gregor’s room: “They were clearing his room out; taking away everything he loved; the chest in which he had kept his fretsaw and other tools was dragged off; they were now loosening the writing desk which had almost sunk into the floor, the desk he had done all his homework when he was at the commercial academy, at the grammar school before that and, yes, even at the primary school” (46) and how “Grete did not let herself be dissuaded from her mother (45). Although Grete claims she is acting on her brother’s behalf, she separates Gregor from all his remaining physical attachments, that are his only link to the outside (human) world. Thus, as Gregor’s physical needs and abilities shift from human to insect, it is his family who forces him to adapt to his new identity regardless of his resistance to give up his human past and the possibility of returning to it. Her inconsideration illustrates a much different Grete than the one portrayed at the beginning, when she exhibits genuine concern for her brother’s preference and needs. In addition, this is the first-time Grete is no longer portrayed as a weak and meek individual. It is Grete’s role to attend to the demanding, and sometimes revolting, needs of Gregor, and although she does take a more authoritative role, she still exhibits compassion and still believes, arguable immaturity, that her brother is still there. She is no longer in the foreground; she has the authority to make decisions. Through this role of an authoritative, mature, and considerate decision maker, in respect to Gregor’s needs, she displays maturity, and is completely independent in that matter. Through the portrayal of Grete’s role, the author seems to suggest that Grete undergoes a metamorphosis of her own, that is parallel to her brother’s. As Gregor’s physical and emotional state transform, Grete also has a respective transformation; she gains her independence and maturity. This progression in Grete’s role points to the positive caused by Gregor’s metamorphosis, the symbolic golden lining behind a storm cloud, that although the events that take place are tragic, it does lead to a development in Grete’s personality. At face value, after reading this novella, it may seem to depict the situation and the human condition as one of despair and isolation. However, by focusing on the role of Grete, it is evident that Kafka, by giving Grete a drastic transformation, could also be depicting the human condition as one of hope and rebirth. However, Grete’s affection and warmth for her metamorphosed brother is genuine, and well intentioned, but it cannot survive the disparity between their personal situations, nor the growth and maturity, and her ultimate emergence from adolescence. Although she honors the memory of her brother, Grete understands that “things can’t go on like this” (67). She stops cleaning his room and providing him food. Her detachment is evident when she refers to Gregor as it. Grete has reached the level of maturity where she can 

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