Lecture Notes, Thomas Mann

 

Questions to Consider:

 

  • Examine how A Death in Venice is a modernist text.

 

  • Why does Aschenbach ignore the “disturbing events of the outside world”?

 

  • What disease plagues Venice?

 

  • How does the story predict Europe’s slide into WWI?

 

  • Is Aschenbach’s death inevitable?

 

Discussion Quotes:

 

“He felt a sudden, strange expansion of his inner space, a rambling unrest, a youthful thirst for faraway places, a feeling so intense, so new—or rather so long unused and forgotten—that he stood rooted to the spot, his hands behind his back and his gaze to the ground, pondering the essence and direction of his emotion” (1841).

 

“It was wanderlust and nothing more, but it was an overwhelming wanderlust that rose to a passion and even to a delusion” (1841).

 

“He had to admit it to himself; it was the urge to escape that was behind this yearning for the far away and the new, this desire for release, freedom, and forgetfulness” (1842).

 

“Even as a young man, to be sure, he had considered perfectionism the basis and most intimate essence of his talent, and for its sake he had curbed and cooled his emotions” (1842).

 

“Gustav Aschenbach, the author of the clear and vigorous prose epic on the life of Frederick the Great” (1843).

 

“Early on an observant critic had described the new type of hero that this writer preferred, a figure returning over and over again in manifold variation; it was based on the concept of an ‘intellectual and youthful manliness which grits its teeth in proud modesty and calmly endures the swords and spears as they pass through its body’” (1845).

 

“…he realized with something like horror that this youth was not genuine” (1849).

 

“The man had a disagreeable, indeed a brutal-looking appearance” (1853).

 

“A broad horizon, tolerant and comprehensive, opened up before him. All the great languages of Europse melded together in subdued tones” (1855).

 

Aschenbach noted with astonishment that the boy was perfectly beautiful” (1855).

 

“When Aschenbach opened his window, he thought he could detect the stagnant smell of the lagoon” (1857).

 

“He cast his writing materials aside and turned his attention back to the sea” (1860).

 

“There he spent a considerable length of time in front of the mirror looking at his gray hair and his severe, tired face” (1986).

 

“He had had occasion to notice, however, that Tadzio’s teeth were not a very pleasing sight” (1862).

 

“For the second time, and this time definitively, it became clear that this city in this weather was particularly harmful to his health” (1862).

 

“This conflict between the inclination of his soul and the capacity of his body seemed to the aging traveler suddenly so weighty and so important, his physical defeat so ignominious, so much to be resisted at all cost, that he could no longer grasp the ease with which he had reached the decision yesterday, without serious struggled, to acquiesce” (1864).

 

“The traveler, not twenty minutes after his arrival at the station, found himself once again on the Grand Canal on his way back to the Lido” (1865).

 

“Too late! He thought at that moment. Too late!” (1870).

 

“But today he seemed paler than usual” (1873).

 

“In the fourth week of his stay on the Lido Gustav Aschebach made a number of disturbing discoveries regarding events in the outside world” (1874).

 

“Thus Aschenbach felt a dark satisfaction over the official cover-up of events in the dirty alleys of Venice” (1875).

 

“How has this come to pass?” (1877).

 

“Obsessed with finding out the latest and most reliable new about the status and progress of the disease” (1877).

 

“Reliable information was simply not available” (1878)

 

“They prompted the authorities stubbornly to maintain their policy of concealment and denial” (1883).

 

“The black-haired boy, apparently instantly regretting his transgression, caught up with him and tried to make up” (1889).

 

“Minutes passed before anyone rushed to the aid of the man who had collapsed to one side in his chair” (1890).

 

Sample Short Essay Answer Questions: Explain why you agree, agree in part, or disagree with the following statements. Make sure you explain your answer, using textual evidence. You may use your textbook to locate quotes; do not use any outside sources.

 

  • Thomas Mann believes that it is human nature to hide behind masks.

 

  • In The Death in Venice, first published in 1912, Thomas Mann produces a psychosocial story that predicts the disintegration of Europe.

 

  • Aschenbach, in The Death in Venice, believes that art should provide an “intensified version of life” (1848).