You make some really interesting observations about the ending! I’ve divided your more salient comments into the three categories I asked you to look at more closely.
Who is responsible for Georg’s decision at the end?
Roshelle (and Brian agrees) suggests that Georg is responsible for his own death. She rightly points out that he is often in a state of escaping reality (and her quotes support this). Chi says that both he and his father share the guilt (and Kamran agrees) and I think this is an interesting, and valid, way of looking at these very complex characters. Kafka is quite interested in the idea of guilt, and that no one is entirely innocent. Radia feels that his father pushes Georg to an extent, and that Georg isn’t able to express his frustration, but that Georg is finally responsible his own actions. Zeyu makes an excellent comment, when he points out that it is the “traffic” or society as a whole that we see at the very end, and that society is ultimately responsible, for the way it has constructed itself to ignore the problems of the individual. Zuzanna points out the father’s “power of language” in pronouncing his judgment on his son.
Unrealistic nature of the ending:
Jonathan points to the realistic aspects of the ending, the “merciless chiding of Georg’s father” and Georg simply wanting to escape this. Myra makes the very interesting (and perceptive) comment that the unrealistic aspects actually begin about mid-way in the narrative. She sees an “evil” aspect, which she defends with a few choice quotes. William agrees that this is a realistic ending, a son who is depressed from “not getting his father’s approval.” Mel makes the interesting comment that the ending, showing the world’s indifference, is both real and unreal, and Kafka is a master, I think, of bringing these two aspects together, and this is something we’ll talk more about in class. Vyonna makes an important comment, when she points out that who, when commanded to jump off of a bridge, will actually do so? She points out that Georg’s sense of reasoning seems to be deteriorating, and point of view is very important, as well, in “The Metamorphosis.” Elizaveta points out that this is “unrealistic” in that it represents the inner pain of Georg, and this is something we’ll discuss more on Tuesday. Emily points out, too, that this ending is realistic, and is a result of severe mental illness.
The last line of the narrative:
Crystal makes the very astute observation that this symbolizes the indifference of society to the pain of the individual, and this is something Kafka was very much interested in. Diana seems to agree, and she points out that even so, Georg dies with “love” for his parents, even the parent that condemned him to death. Kelly makes the comment that the last line indicates the repetitiveness of life, and ultimately, life’s absurdity (and meaninglessness?). Kafka was certainly interested in this idea. Sabera sees this as indicating the “weight of Georg’s life” giving him one final push. Mark points out Georg’s essential impotence as an individual, that it is up to him to move forward, and this is also a question we will confront in “The Metamorphosis.” Denny makes an excellent comment, when he points out that the last line signifies the life that Georg has lead, ultimately a life of silence. Yes, we never really hear Georg’s true voice, do we? As many of you point out, he never expresses he real frustrations with his father and with his life. Bory’s points out that the last line could well represent the overwhelming sense of lack of control that Georg feels.