Death in Venice as a Window to Modernity Essay Example

Its influence can be perceived in various aspects of the narrative. Upon arriving in Venice, Aschenbach encounters prominent public structures like Palladio's church of San Giorgio Maggiore. Aschenbach's writing style is characterized by formality and mimics the literature of Ancient Greece, which was also oriented towards the public sphere. The author of the novella draws parallels between contemporary society's public life and that of ancient Greece.

Thomas Mann highlights the contrasting moral standards of his contemporary society compared to the ancient world. One notable difference is the perception of homosexuality. In Athens, relationships between men and boys were considered a normal part of public life, whereas modern society vehemently censors any public displays of same-sex love. As a result, homosexuality has shifted from being openly practiced to becoming a hidden private desire. Additionally, Aschenbach's fascination with classicism seemingly influences his homosexuality in some manner.

Aschenbach is amazed by the stunning beauty of a young man's face, which reminds him of the exquisite forms depicted by Greek artists in their sculptures. "Aschenbach noticed with astonishment the lad's perfect beauty. His face recalled the noblest moment of Greek sculpture-pale, with a sweet reserve, with clustering honey-coloured ringlets, the brow and nose descending in one line, the winning mouth, the expression of pure and godlike serenity." (Mann "Death in Venice", p. 25)

Mann explores the connection between art and desire by examining how the appreciation of the human body in classic sculptures brought forth Aschenbach's homosexual desires, which were forbidden by prevailing ethical norms. This exploration of the relationship between art and desire has been a topic of philosophical debate for a long time. Specifically, the

debate has focused on whether art sublimates or unleashes desire. It was initiated by Burke (On the Sublime and Beautiful) and continued by Kant, who proposed his own definition of aesthetic experience in his essay on the sublime.

Stendhal's viewpoint on aesthetic experience as 'une promesse de bonheur' opposed Kant's perspective, which Nietzsche later compared and questioned with his famous query: 'Who is right, Kant or Stendhal? '. In the exploration of desire and art, Aschenbach eventually leans towards physical passion. Similarly, the protagonist declares a preference for Dionysus' philosophy over Apollo's: “I am a disciple of the philosopher Dionysus, I should prefer to be even a satyr to being a saint.” (Nietzsche, Esse Homo, Preface).

The text presents Aschenbach as a contemporary individual grappling with the challenges of modern society. It highlights his background in a family of officials and how he has inherited their disciplined lifestyle. As an intellectual and diligent resident of town L, Aschenbach holds a demanding job that necessitates constant focus and conscientiousness.

Aschenbach’s strength as a character is evident in his thoughtfulness and his ability to reason and make logical judgments based on his observations. Aschenbach embodies the idea of a successful person as defined by the practicality and pursuit of wealth in modern society: "From childhood onwards, he was constantly pushed to achieve, and achieve in a way that was extraordinary; thus, he never experienced the carefree laziness and joyful embrace of life that youth typically enjoy." (Mann "Death in Venice", p. 9)

The protagonist in the novella experienced a challenging upbringing and has sacrificed personal happiness to pursue public aspirations. Nevertheless, as a contemporary

individual, Aschenbach senses a lack of purpose in his life, causing him to ponder the source and importance of values. This is closely connected to Nietzsche's nihilism, which proclaimed "God is dead" and diminished the significance of traditional philosophical and religious values.

In the absence of a deity, there is a necessity to fill the emptiness with alternative principles. Mann depicts Aschenbach as someone who fully commits himself to his profession, finding significance in it. Nonetheless, as Aschenbach ages, he must reassess his principles and morals. Consequently, his steadfast faith in work as a means of purpose is doubted and ultimately substituted by emotions. Nietzsche contends that individuals who deny their instincts for counterfeit ideals cannot attain happiness.

According to Nietzsche, the lie of the ideal has caused mankind to become deceitful and false even in its most basic instincts, which has led to the worship of values that do not guarantee its health and future. As a result, loneliness is not surprising considering the context of Aschenbach's story as it affects both spiritual and physical health, which are ensured by feelings, instincts, and emotions.

The author emphasizes the protagonist's loneliness multiple times in the text. According to the author, the protagonist grew up without companions and realized early on that he belongs to a group of people whose talent is not ordinary but relies on a unique physical foundation for its fulfillment. Aschenbach's loneliness sets him apart from society but also strengthens his belief that he is exceptional and destined to fulfill a superhuman mission.

According to Mann, Aschenbach's isolation enabled him to cultivate self-reflection and rational thinking. In his

work "Death in Venice" (p. 24), Mann states that a person who is solitary and not accustomed to sharing their thoughts and emotions undergoes more profound yet less articulate mental experiences compared to someone sociable. Hence, Mann underscores the disparity between an individual and society, exemplifying the clash between the individual and collective aspects of modernism.

The protagonist undergoes a crucial moment of change and transformation when he leaves his country, according to Joseph Brennan in his book The Novels of Depaysement. Brennan suggests that the experience of being taken out of one's familiar environment and placed in an exotic location can have a significant impact on a person's moral perspective. This theory is supported by literature that explores the idea of individuals being transported to unfamiliar surroundings and undergoing a shift in their core values.

Brennan points out that when a man undergoes a moral transformation, his family and friends often perceive it as a decline or loss of moral values. Therefore, it can be inferred that Aschenbach's journey to Venice leads to his transition from a rational individual to one driven by his senses. This shift in behavior is not accepted by the societal morals and causes Aschenbach to confront the conflict between his personal desires and the established moral and public codes of conduct.

In Mann's novella "Death in Venice," the main character, Aschenbach, grapples with the age-old conflict between reason and passion. This contradiction is a central theme throughout Aschenbach's literary works, as he explores various aspects of it. One such aspect is the aristocratic self-control that gradually deteriorates internally, while outwardly concealing the effects of aging from

the world. This facade of decay hides the burning embers of desire, which have the potential to ignite into a fierce and captivating beauty that rivals all others.

Both Nietzsche's "Esse Homo" and Forster's work explore the contradiction emphasized by Nietzsche. In his book, Nietzsche contrasts Apollo, a sculpture symbolizing reason and control, with Dionysius, a sculpture representing passion. Forster suggests that Mann's "Death in Venice" incorporates this duality (Apollo and Dionysius) as evidence of Nietzsche's profound impact (Gillinspie, Comparative Literature, vol. 37, #1).

Many philosophers believe that the moderation and beauty of the Greek world were a result of profound insight and suffering. The powers of Dionysius were responsible for demonstrating these qualities. Aschenbach, like the protagonist in Esse Homo, had to go through tragedy and destruction to discover eternal truth and delve into his inner self. Nietzsche argued that only by experiencing tragedy can the opposing forces of Dionysius and Apollo be reconciled, ultimately revealing a singular truth.

Many critics view Aschenbach's alienation as a manifestation of Dionysius, while his homosexuality demonstrates the influence of Dionysian forces. Therefore, some critics interpret Aschenbach's ultimate surrender to instinctual excess as a departure from Nietzsche's concept of sovereign individuality. Overall, the novella Death in Venice can be seen as a modern endeavor to reconcile the conflict between passion and reason explored in classical literature. (Gillinspie, Comparative Literature, vol. 37, #1)

The novella delves into the juxtaposition of various forces, including the protagonist's rationality and homosexuality, the merging of art and desire, and the distinction between public and private realms. Nietzsche's influence is evident in several aspects of the novella, such as

portraying the main character as a superman and his quest for power through artistic pursuits. It also explores life's meaninglessness from a nihilistic standpoint.

Mann explores Nietzsche's theory of art in his analysis of The Birth of Tragedy. He highlights several aspects, including the artist protagonist, the protagonist's focus on classicism, and their concerns with reason and passion. Additionally, Mann presents his own critical interpretation of traditional classical discourse in his novella. Specifically, he shows that sensuous pleasure in art can take different forms, some of which may be unsettling like love or a desire for destruction. Nevertheless, Mann recognizes the importance of sensuous elements in classicism.