cts as a projection of himself as the embodiment of evilö (Jacobs). In this case, the devil is the protagonistÆs spiritual father. Despite Goodman BrownÆs outward spiritual fervor, he is captivated by sin and unable to extricate himself without the help of his lost faithùa double entendre playing on the name of his wife, Faith. Unlike Gregor, Goodman Brown wants to serve God rather than the devil, and he labors against evil to the point of fanaticism. However, he lacks the underlying faith to support his convictions, and with very little effort, the devil draws him in. Both men want to do right. Whereas Gregor is honest and forthright, though, Goodman Brown is a hypocrite. Both men are weak and submissive to their father figures, but Goodman Brown puts on a show of resisting while finding himself inexorably drawn into the world of evil.
The distinction between the relationships in the two stories is highlighted by a difference in the manipulation of their primary themes. KafkaÆs story deals with sacrifice, paralysis, and stifled longings with heavy Oedipal undertones within the family unit (Weinstein, 1993, 25). GregorÆs jealousy of his father and his subconscious desire for his mother and sister are played against his sacrifice of his own life and personal aspirations in subjugation to his fatherÆs laziness and parasitic exploitation. Gregor seems paralyzed with respect to breaking out of the prison of his tedious life that consists totally of meeting his fatherÆs endless needs. After his transformation, GregorÆs father fails to return the favor, and it is likely that Gregor would have sta
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