A Quote by Philip Kitcher
We find in the novella a seamless interweaving of at least two narrative voices, one of which is that of an observer so sympathetic that his language appears to be Aschenbach's own, the other of which is superficially celebratory (except at the moment of moralistic condemnation) but undercuts Aschenbach by means of an ironic detachment.
Related Quotes
Consider the different narrative styles within the story, and the glee with which the "moralistic narrator" celebrates Aschenbach's fall - maybe, then, this is a hostile verdict and the international fame is warranted after all (given that Mann modeled his protagonist so closely on himself, it would be quite odd if he had intended Aschenbach's literary inferiority to be a fixed part of the interpretation).
Think about Mann's own daily routine (ascribed to Aschenbach), read the extant diaries and the letters in which he discusses the novella's themes, and it won't be so obvious that the attraction to Tadzio is completely unprecedented; it also won't be obvious that what Aschenbach wants is full sexual contact.
Presenting Aschenbach as a composer - based on Mahler - leads to some dreadful scenes (especially those in which Aschenbach is berated by his student), and it surely distorts the character Mann created. Yet, we know that Mann's novella was based on a holiday in Venice he took with his wife and brother, and that while he was there he followed the reports in the German newspapers, describing the dying Mahler's progress as he returned from New York to Vienna.
The classical allusions and the Platonic disquisitions on beauty are no longer a form of cover, but integral to Aschenbach's complex sexuality. Moreover, the wandering around Venice in pursuit of Tadzio isn't a prelude to some sexual contact for which Aschenbach is yearning.
Britten's opera tends to see things in simpler terms. It portrays an Aschenbach who wants a richer form of sexual fulfillment, and who is hemmed in by the social conventions to which he subscribes. But Visconti's use of the Mahler Adagietto is perfect for what I take to be Aschenbach's sexual desire.
We know that he gave Aschenbach Mahler's first name, and also his facial features. So Visconti picks up on something interesting. That led me to think about ways of developing further the Aschenbach-Mahler connection.
Critics who perceive the first level of Mann's irony recognize that the second voice is giving us reasons to be dubious about various aspects of Aschenbach's life and work. But many of them don't appreciate the second level of irony, the one exemplified in setting this narrative voice alongside the more sympathetic one, and inviting us to choose.
Finally, this is one way to reconcile the delight in beauty with the bourgeois life. Aschenbach, on one reading, has spent virtually all of his adult life balancing his restrained homosexuality, which is bound together with his sensitivity to beauty and thus with his artistic vocation, against the demands of conventional society.
I suggest in my own discussion of this episode, Mann invites us to set the attempt to philosophize about his predicament in the context of Aschenbach's life. The literary presentation thus adds to the naked philosophical skeleton.
A performer may be taken in by his own act, convinced at the moment that the impression of reality which he fosters is the one and only reality. In such cases we have a sense in which the performer comes to be his own audience; he comes to be performer and observer of the same show. Presumably he introcepts or incorporates the standards he attempts to maintain in the presence of others so that even in their absence his conscience requires him to act in a socially proper way.
Aschenbach is not only a projection of Mann in the obvious ways - same daily routines, author of the works Mann had planned - nor even in sharing his author's aspirations, doubts, and sexual identity. His watchword, "Durchhalten!" [persevere, keep going] could be Mann's own.
It is rare to find a man who believes in his own thoughts or speaks that which he is created to say. As nothing astonishes men so much as common sense and plain dealing, so nothing is more rare in any man than an act of his own...feel yourself, and be not daunted by things...The light by which we see this world comes out from the soul of the observer.
A human best, which is very little. Its hard to accept the idea that there cannot be an order in the universe because it would offend the free will of God and His omnipotence. So the freedom of God is our condemnation, or at least the condemnation of our pride.
If all the sins of the flesh are worthy of condemnation because by them man allows himself to be dominated by that which he has of the animal nature, much more deserving of condemnation are the sins against nature by which man degrades his own animal nature.
Mann's Death in Venice actually contains a snippet of philosophy about the second question, when Aschenbach, collapsed in the plaza, engages in his quasi-Socratic, anti-Socratic, ruminations.
Love is the expansion of two natures in such fashion that each include the other, each is enriched by the other. Love is an echo in the feelings of a unity subsisting between two persons which is founded both on likeness and on complementary differences. Without the likeness there would be no attraction; without the challenge of the complementary differences there could not be the closer interweaving and the inextinguishable mutual interest which is the characteristic of all deeper relationships.
Related Authors
Alfred Lord Tennyson Quotes
British
Poet
Benjamin Disraeli Quotes
British
Celebrity
Bertrand Russell Quotes
British
Celebrity
C. S. Lewis Quotes
British
Writer
Charles Spurgeon Quotes
British
Priest
George Eliot Quotes
British
Novelist
George Herbert Quotes
British
Poet
George Orwell Quotes
British
Novelist
Jane Austen Quotes
British
Novelist
Jeanette Winterson Quotes
British
Writer
Lord Byron Quotes
British
Poet
Neil Gaiman Quotes
British
Author
Richard Branson Quotes
British
Businessman
Virginia Woolf Quotes
British
Author
W. Somerset Maugham Quotes
British
Novelist
Winston Churchill Quotes
British
Statesman