Thomas Mann was an economical and oblique writer. Dionysus is the Greek god of wine and chaos, hence something Dionysian emphasizes energy and emotion. He loses sight of the boy in the heart of the city; then, exhausted and thirsty, he buys and eats some over-ripe strawberries and rests in an abandoned square, contemplating the Platonic ideal of beauty amidst the ruins of his own once-formidable dignity.
He sees the boy through his window and is delighted at having more time to spy on Tadeusz. It's not funny, though, because it offers us no sense of resolution.
Aschenbach listens entranced to songs that, in his former life, he would have despised — all the while stealing glances at Tadzio, who is leaning on a near-by parapet in a classically beautiful pose. Far from being dumbstruck by love, Aschenbach discovers a new power of writing: its ability to derive its force not just from manly discipline, but also from erotic desire and love.
He has a vision of a primordial swamp-wilderness, fertile, exotic and full of lurking danger.
The plot would remain largely intact. Origins[ edit ] First print Mann's original intention was to write about "passion as confusion and degradation", after having been fascinated by the true story of Goethe 's love for year-old Baroness Ulrike von Levetzowwhich had led Goethe to write his " Marienbad Elegy ".
Rudiger Campe, Yale University: Deaths in Venice is a thorough discussion of the possible relation of literature, and art in general, to philosophical thinking.