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Franz Kafka evokes sympathy from the audience towards Gregor, through the use of various stylistic devices. In chapter one of the novella, Kafka utilizes characterization in order to depict Gregor as a victim of the capitalist system. When he is unable to work, his family no longer values his presence. Hence, Kafka metaphorically refers to him as an object; his relationship with his family is merely transactional. The author highlights the negative implications of living in a capitalist system which strips individuals of their humanity

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Kafka garners sympathy from the reader towards Gregor by means of showcasing him as someone who is not compatible with society and is constantly rejected and cannot get ahead with meaningful relationships due to his transactional relationship with his own family. Hence he is portrayed as vermin or a cockroach who can only find comfort within the dark corners of his bedroom where there are no people to be found and exploit him.

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Through the perspective in which Gregor observes things such as him looking up towards the boot sole of his father Kafka manages to evoke pity for Gregor throughout Chapter 2. This is especially tragic because he, once the bread winner of the house, is now physically beneath those he cared for and they treat him like a sub human.

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Through the way Kafka presents gregor's life, he is able to draw out an emotional response from the reader. This began with his busy life as a human that derived him of any time for relationships, and his transaction focused family.
After being transformed into a huge insect, he begins to lose his human side. His increasing lack of interest in the things he once found sentimental are a symbol of this deep transformation. Likewise, the way his family reacts to him and his life in an empty room deprived of human connections, would also have another impact on the audience.

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Kafka evokes sympathy from the reader regarding Gregor through different means, not least through the use of symbolism & imagery through Gregor's family taking away his furniture, as well as his family's treatment of him.

When Grete and their mother take away Gregor's furniture, it is a clever use of symbolism, as it shows Gregor's humanity being taken away piece by piece, and him becoming more accustomed to his new form and way of life. Symbolism is further used through Gregor's rejection of food he once liked, as it shows that he is no longer the same person, and therefore has no interest in the ways of the past. This can also be seen when he hides behind the sofa as the women take away the furniture, as it is mentioned "the existence of whom, he had nearly forgotten" when referring to his mother and sister, a further sign of his detachment with what once made him human. However, this can also be juxtaposed by the fact that he tries his utmost to preserve a framed picture of a woman covered in furs, a symbol of his attempt to return to normal, a further symbol of his desire to have a relationship, and to break away from the constant routine of all work and no play.

Kafka also garners sympathy for Gregor through his interactions with his family, as Grete originally sympathises with her brother and his crisis, but eventually seems to grow tired of him, and starts asserting her own authority and stance in the household, which eventually means that Gregor is essentially left to fend for himself. Gregor's mother is torn between her motherly instincts, and her asthma and repulsion to disgusting objects. She cannot help him due to her own problems, which causes sympathy as a mother essentially is unable to care for her son. Finally, Gregor's father is always condescending on Gregor, never willing to change or to see the situation from Gregor's point of view. Constantly attacking and demeaning him when he only wants his father to notice him favorably provokes deep sympathy for Gregor.

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Kafka evokes an emotive response from the audience towards Gregor in a multitude of ways. For one, in the beginning of the novella it becomes evident to the reader that Gregor does not live an exciting life, Kafka portrays Gregor as lonesome and work oriented and it becomes evident to the audience that Gregor's life resolves around his work. "he found an itching spot covered with lots of little white dots -- for instance when I go back to the boarding house to send off orders..." pg 30 Gregor's mind is seen to switch from his realisation that he has transformed into another creature to thinking about his work, it becomes apparent that he is more bothered about the work that he is facing than his current circumstance. The characterisation of Gregor makes the audience aware that his work takes precedence of most of his life and his thoughts.

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An organism, unaware of its true characteristics, behaviors and mentality. Kafka presents Gregor in a very confused state in the first part of the mini story. Through the audiences perspective about a man who turned into an insect, evokes a sense empathy towards Gregor whereas he undergone metamorphosis due to his unhappiness of his work and his dissatisfaction of his life and love life. In the second part of the mini story, Gregor found himself accustomed to the fact that he himself has turned into a cockroach and has embraced the disgusting characteristics and behavior of the insect he transformed into, faced many difficulties throughout. He found that having less social interaction was mental torture, the way the people in his house used to treat him was no longer the same and the fact that the people he used to serve in the family now dreads him. And on the last part of the second part, it shows how Gregor was clearly disregarded by his father by going after him even to the point that Gregor was put into a near death situation. This progression of Gregor's presentation in the story clearly shows the audiences Gregors plight, thus garnering more sympathy from the audiences. Furthermore, in order to gain the sympathy of the readers, Kafka utilizes irony, irony in how Gregor becomes more human as he expresses more emotions when he's turned into an insect than when he was human.

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At the end of part II in particular, when Grete and Gregor's mother are trying to rearrange the room to allow Gregor to move in more space, this garners sympathy from the reader as we know Gregors thoughts and that he is very much a human except his actual body. Changing his room indicates that his mother and Grete have accepted him as vermin now and that he is not the same whilst the reader and Gregor understand that really only his body has changed. The end of part II also garners sympathy from the audience as they see Gregor having to resort to physical means of communication to communicate with his family and his room, arguably the last piece of his identity, is being changed.

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Kafka invokes pathos into the reader through a variety of different techniques, specifically through the use of techniques that the audience can relate to. An example of this could be seen through his description of the emotional pain he feels after being threatened by his own family "Gregor stood in Terror". By invoking humans emotions that could be shared by the reader if they were in the same situation, it resonates with them and allows them to empathise with Gregor.

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Kafka's presentation on Gregor throughout both chapters had garnered sympathy from the reader due to him being treated as not a human. Gregor had always been the financial supporter of the family and he was respected by that by his Mother and Father, however due to his transformation and how he evidently cannot work, he is slowly losing connection from his family as his Father doesn't treat him as a Son and his Mother and Sister is afraid of him. He is excluded from conversations and this builds emotion among the reader as they garner sympathy for the character.

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Kafka uses symbolism by presenting Gregor's furniture as his last connection/grasp on any form of humanity. Despite Grete's good intentions of removing the furniture to facilitate Gregor's newly found habit of crawling over the walls and ceiling, to Gregor this appears as someone is ripping away his last form of humanity, which Gregor desperately fights for, fearing that this would be what would cause him to disregard human past and transcend into oblivion. The reader sympathizes with Gregor due to how helpless he  is in the situation, being unable to communicate with his mother and sister. The magazine clipping which Gregor has framed on his window not only acts as a symbol of his connection to humanity, but also as a symbol of the tolls which capitalistic societies leave on the lower class. As a traveling salesman, Gregor never had the opportunity to make long-lasting connections with people, and never truly finding intimacy with another person, out of fear that he would be fired due to the expend ability of his position at work. Instead Gregor resorts to building artificial intimate connections with the photo, which he desperately clings onto when his furniture is removed, evoking a sense of pity towards Gregor felt by readers.

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Kafka uses various elements to garner sympathy from the reader. One of these techniques is pathos through symbolism, Kafka weaves pathos through his work as he exhibits the struggle Kafka faces as he "changes". The interrelationships between his family is showcased here and hence the effects of capitalism is consequently brought to light. Gregor is portrayed as the victim throughout. For instance, as Gregor morphed into this insect, his parents wanted to have nothing to do with him although he was the sole provider of the family. This shows the mere transactional relationship between Gregor and his family. Another symbol utilized by Kafka was the photo of a woman in the magazine on the wall, this is interesting because photos are more commonly used to highlight more meaningful events such as memories, however Gregor ironically places a photo of a random woman onto his wall instead of his family. Further emphasizing the effects of capitalism and demonstrating how Gregors relationships and life was superficial, giving insight to Gregor's actual stance. Through this, the reader sympathizes with Gregor and realizes the toll capitalism plays on our lives.

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Throughout chapter 1 and 2 in the metamorphosis, Kafka presents Gregor as a victim in order to garner sympathy from the reader. Firstly, Gregor is seen protecting an image on his wall of a women torn from a magazine page, as his sister attempts to redecorate his room in order to appease the new Gregor. This creates the notion that the protagonist possesses no personal connections, as his job as occupied much of his time. This allows the readers to feel sympathy towards his need for human touch, as his family disregards his humanity, hidden inside the body of a pest. Furthermore, the relationship between Gregor and his family is extremely transactional, which reflects the ideologies of the capitalist system. Sympathy is presented as the readers observe the protagonist becoming unprofitable to his parents, as he is no longer able to provide for the family.