Thomas Mann’s Death In Venice, first published in 1912 is a novel describing the death and final time of the fictional author Gustav von Aschenbach. It is a story portraying the theme of conflict between life and art which Mann is known for exploring and it has been said that Death In Venice is a reflection of his own trip to Venice with his wife where Mann had a reported fascination with a young boy from an Austrian family who were sharing the hotel with the couple. Although at first glance it may appear that von Aschenbach endeavours a physical journey to Venice, upon a deeper inspection it is seen that he also endures a mental journey of exchange between his original controlled morals and self-dignity to his unfamiliar passion-driven alter-self.

The novel commences with Aschenbach as a distinctly different character to the person that he ends up being, as his morals are incomparable from start to end. As a concentrated writer, Aschenbach was determined to write and do nothing but, seeing indulgences as unnecessary and exorbitant. His remarkable solitary lifestyle means that the author had previously shunned travel, unless it was for the purpose of this writing, and he had no previous desire to travel to exotic destinations. His wanderlust appeared after inspecting a red-haired stranger, with “appearance of a foreigner, of a traveler from afar” – and this instigates his interest in getting away from his work for self-indulgent purposes rather than for his writing and signifies the beginning of his mental and physical journey.

At the beginning of the novel, he suffers from an unhealthy mentality and physicality, due to exhaustion from his work, in particular; the mental disability of writers block. After considering his choices, Aschenbach decides that he wants to travel to Venice, as can be seen in this extract “If one wanted to travel overnight to a fantastic mutation of normal reality, where did one go? Why, the answer was obvious”. Aschenbach’s journey from Germany to Italy also carries symbolism, as northern Europe is known for being disciplined and orderly, whilst the southern European countries such as Italy are known for being passionate and sensuous. This change is evident in Aschenbach himself, as he exchanges his previous submissive and conventional self, for a more fiery and impassioned view on life.

In the third chapter upon the beginning of his physical journey, von Aschenbach encounters an old man on the boat to Lido, clearly attempting to appear visually younger than his real-age, surrounded by a group of younger men. Von Aschenbach finds this sight repulsive based on the old mans aesthetics. This sets off Aschenbach’s mental journey, as it should be noted that what repels him about the old man, his false teeth, wig, dyed moustache and fake rosy cheeks, will eventually become a part of himself as he undergoes a mental journey through the discovery and awakening of new passion, love and vanity.

He transforms from his repressed sexuality and fear of showing overt emotions, to putting himself and his feelings on show, resulting in loss of dignity for Aschenbach although he does not appear to actively notice this, despite turning into everything he detested in the old man he encountered on the boat. This particular extract also signifies the beginning of von Aschenbach’s loss of dignity and morality as he goes against his original personal principles and is blinded by his new fascination of the young boy.

His obsession with the young Tadzio eventually becomes fatal, as he is constantly thinking of him, stalking him around the town and the beach, and gets uneasy when he cannot find him. He is blinded by his newfound passion and this is evident in the final chapter of the novel, as Aschenbach finally receives the news of the deathly cholera outbreak but simply ignores the possibility that he may contract the disease as he does not want to leave the boy. Aschenbach became a slave to his obsession and by risking his life for Tadzio, he dies.

Eventually, Aschenbach admits to the readers that he has undergone a transformation, stating, “at the same time he sensed an infinite distance between himself and any serious resolve to take such a step. It would lead him back to where he had been, give him back to himself again; but to one who is beside himself, no prospect is so distasteful as that of self-recovery”. This extract demonstrates Aschenbach’s view on his personal mental transformation through his travel to Venice and in particular to the discovery of the young Tadzio who enabled him to undergo this renewal. Although Tadzio played a pivotal role in Gustav von Aschenbach’s mental transformation, he is also the dangerous obsession that causes his death.

He is taken captive by Tadzio’s fascinating beauty and slavishly follows him, firstly being careful not be noticed, but eventually carelessly pursuing and analysing his every move. This obsession with the young boy could be said to be an outlet of his previously repressed emotions and a means of release of his recent mental frustration, as he needed this spontaneity in his otherwise orderly life.

“Death In Venice” is a reflection of not just Gustav von Aschenbach’s physical journey from his home country of Germany to the Italian city of Venice, but also a mental journey. Through this spontaneous vacation, Aschenbach is awoken to youthful emotions and passion, found through his fascination of the young Tadzio whom he finds on his journey. His fiery obsession with Tadzio fuels his mind and body to constantly think about him and shadow his every move, not necessarily out of love, but also as he sees Tadzio as a form of art which he pursues to a fatal extent.

The metaphorical blindness that this dangerous obsession results in consequently leads Aschenbach to chose Tadzio’s beauty over his own well-being. All the while, Aschenbach is oblivious to the decisions that he takes with the young boy in mind. All in all, the transformation from his previous controlled morals and conventional self, to a loss of dignity and a passion-driven alter-self is fed by art taken to an extreme during his physical journey.

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