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charming, beautiful boy of about thirteen was wearing a sailor suit with an open collar and very pretty lacings. He caught my husband's attention immediately. This boy was tremendously attractive, and my husband was always watching him with his companions on the beach. He didn't pursue him through all of Venice—that he didn't do—but the boy did fascinate him, and he thought of him often. I still remember that my uncle, Privy
Counsellor Friedberg, a famous professor of canon law in Leipzig, was outraged: "What a story! And a married man with a family!"
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36:
221:. While shipbound and en route to the island, he sees an elderly man in company with a group of high-spirited youths, who has tried hard to create the illusion of his own youth with a wig, false teeth, make-up, and foppish attire. Aschenbach turns away in disgust. Later, he has a disturbing encounter with an unlicensed gondolier—another red-haired, skull-faced foreigner—who repeats "I can row you well" when Aschenbach orders him to return to the wharf.
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singers who entertain at the hotel one night. 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 nearby parapet in a classically beautiful pose. The boy eventually returns
Aschenbach's glances, and although the moment is brief, it instills in the writer a sense that the attraction may be mutual.
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two boys, and Tadzio is quickly bested; afterward, he angrily leaves his companion and wades over to
Aschenbach's part of the beach, where he stands for a moment looking out to sea, then turns halfway around to look at his admirer. To Aschenbach, it is as if the boy is beckoning to him: He tries to rise and follow, only to collapse sideways into his chair.
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Aschenbach begins to fret about his aging face and body. In an attempt to look more attractive, he visits the hotel's barber shop almost daily, where the barber persuades him to have his hair dyed and his face painted to look more youthful. The result is a fairly close approximation to the old man on
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Aschenbach considers warning Tadzio's mother of the danger; however, he decides not to, knowing that if he does, Tadzio will leave the hotel and be lost to him. But
Aschenbach is not rational; "nothing is as abhorrent to anyone who is beside himself as returning into himself.... The awareness that he
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A few days later, Aschenbach goes to the lobby in his hotel, feeling ill and weak, and discovers that the Polish family plans to leave after lunch. He goes to the beach to his usual deck chair. Tadzio is there, unsupervised for once, and accompanied by Jasiu, an older boy. A fight starts between the
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Aschenbach checks in to his hotel, where at dinner he sees an aristocratic Polish family at a nearby table. Among them is an adolescent boy of about 14 in a sailor suit. Aschenbach, startled, realizes that the boy is supremely beautiful, like a Greek sculpture. His elder sisters, by contrast, are so
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As the story opens, he is strolling outside a cemetery and sees a coarse-looking, red-haired foreigner who stares back at him belligerently. Aschenbach walks away, embarrassed but curiously stimulated. He has a vision of a primordial swamp-wilderness, fertile, exotic and full of lurking danger. Soon
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Soon the hot, humid weather begins to affect
Aschenbach's health, and he decides to leave early and move to a cooler location. On the morning of his planned departure, he sees Tadzio again, and a powerful feeling of regret sweeps over him. When he reaches the railway station and discovers his trunk
555:
However, serious doubts about this identification were raised in an article in "Der
Spiegel" in 2002, mainly because of the significant differences in age and physical appearance between the Tadzio figure of the novella and Moes. The same article offers another candidate in the form of Adam von
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Aschenbach at first ignores the danger because it somehow pleases him to think that the city's disease is akin to his own hidden, corrupting passion for the boy. During this period, a third red-haired and disreputable-looking man crosses
Aschenbach's path; this one belongs to a troupe of street
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imagery reveals to him the sexual nature of his feelings for Tadzio. Afterward, he begins staring at the boy so openly and following him so persistently that
Aschenbach feels the boy's guardians have finally noticed, and they take to warning Tadzio whenever he approaches too near the strange,
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Aschenbach next takes a trip into the city of Venice, where he sees a few discreetly worded notices from the Health
Department warning of an unspecified contagion and advising people to avoid eating shellfish. He smells an unfamiliar strong odor everywhere, later realising it is disinfectant.
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ll the details of the story, beginning with the man at the cemetery, are taken from actual experience . n the dining-room, on the very first day, we saw the Polish family, which looked exactly the way my husband described them: the girls were dressed rather stiffly and severely, and the very
275:
solitary man. However, Aschenbach's feelings, although passionately intense, remain unvoiced; he never touches Tadzio or speaks to him, and while there is some indication that Tadzio is aware of his admiration, the two exchange nothing more than occasionally surreptitious glances.
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contained themes similar to those found in Mann's novella, such as the author's fascination with and idealization of the purity of youthful innocence and beauty, as well as the eponymous protagonist's quest to restore healing and youthfulness to
Anfortas, the wounded, old
412:. Mahler had made a strong personal impression on Mann when they met in Munich, and Mann was shocked by the news of Mahler's death in Vienna. Mann gave Mahler's first name and facial appearance to Aschenbach but did not talk about it in public. The soundtrack of the 1971
282:
Freshly dyed and rouged, he again shadows Tadzio through Venice in the oppressive heat. 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
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during a summer 1911 vacation in Venice were additional experiences occupying his thoughts. He used the story to illuminate certain convictions about the relationship between life and mind, with Aschenbach representing the intellect. Mann also was influenced by
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Over the next days and weeks, Aschenbach's interest in the beautiful boy develops into an obsession. He watches him constantly and secretly follows him around Venice. One evening, the boy directs a charming smile at him, looking, Aschenbach thinks, like
178:, published in 1912. It presents an ennobled writer who visits Venice and is liberated, uplifted, and then increasingly obsessed by the sight of a boy in a family of Polish tourists—Tadzio, a nickname for Tadeusz. Tadzio was likely based on a boy named
536:, the second son and fourth child of Baron Aleksander Juliusz Moes. He was aged 10 when he was in Venice, significantly younger than Tadzio in the novella. Baron Moes died on 17 December 1986 in Warsaw and is interred at the graveyard of
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it is criticized for its "puritanism", which saw Lowe-Porter "tone down Mann's treatment of sexuality, especially homoeroticism". The author considers the result "disastrous" and sees "a reworked, sanitized version of the text" by Mann.
389:. There are allusions to his poems about Venice in the novella, and like Aschenbach, he died of cholera on an Italian island. Aschenbach's first name is almost an anagram of August, and the character's last name may be derived from
529:, whose first name was usually shortened as Władzio or just Adzio. This story was uncovered by Andrzej Dołęgowski, Thomas Mann's translator, around 1964, and was published in the German press in 1965.
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has been misplaced, he pretends to be angry, but is really overjoyed; he decides to remain in Venice and wait for his lost luggage. He happily returns to the hotel and thinks no more of leaving.
470:, writing that, although the two never met, "Diaghilev knew Mann's story well. He gave copies of it to his intimates". Diaghilev often stayed at the same hotel as Aschenbach, the
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The novella is rife with allusions from antiquity forward, especially to Greek antiquity and to German works (literary, art-historical, musical, visual) from the 18th century.
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After a false start in traveling to Pula on the Austro-Hungarian coast (now in Croatia), Aschenbach realizes he was "meant" to go to Venice and takes a suite in the
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Next, Aschenbach rallies his self-respect and decides to discover the reason for the health notices posted in the city. After being repeatedly assured that the
745:, about an Englishman's longing for a young boy in Venice, with tragic consequences, published in 1959 as one of a collection of eight short stories in
574:
in 1924 over three issues (vol. LXXVI, March to May, issues # 3–5, Camden, NJ, USA). This translation was published in book form the following year as
704:
378:, the god of excess and passion. The trope of placing classical deities in contemporary settings was popular at the time when Mann was writing
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Henzel-Dzieduszycki, a Polish-Austrian, who was also on vacation in the same hotel in the summer of 1911 and was 15 years old at the time.
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Mann's original intention was to write about "passion as confusion and degradation" after having been fascinated by the true story of
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However, the authorities adamantly deny that the contagion is serious, and tourists continue to wander obliviously round the city.
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460:, it is possible that Mann was crediting Wagner's opera by referencing the author of the work that had inspired the composer.
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author in his early 50s who recently has been ennobled in honor of his artistic achievement (thus acquiring the aristocratic "
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smiling at his own reflection. Disconcerted, Aschenbach rushes outside, and in the empty garden whispers aloud "I love you!"
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family). However, the name has another clear significance: Aschenbach literally means "ash brook". It "suggests dead ashes (
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Letter to Carl Maria Weber dated July 4, 1920. In: Thomas Mann: Briefe I: 1889–1936, ed. Erika Mann. Fischer 1979. p. 176f.
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Later, after spying the boy and his family at a beach, Aschenbach overhears Tadzio, the boy's name, pronounced
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called it the definitive translation, but it is unclear to what other translations Auden was comparing it.
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is the only health risk, he finds a British travel agent who reluctantly admits that there is a serious
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in Polish by his mother, and conceives what he first interprets as an uplifting, artistic interest.
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The novella's physical description of Aschenbach was based on a photograph of the composer
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Lee, Seong Joo (2011). "The Reception of the Odyssey in Thomas Mann's Death in Venice".
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made use of Mahler's compositions, particularly the "Adagietto" 4th movement from the
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recalls that the idea for the story came during an actual vacation in Venice at the
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Met ‘Dood in Venetië’ heeft Luk De Bruyker doodgewoon zijn meesterwerk geschreven
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The Arrow and the Lyre: A Study of the Role of Love in the Works of Thomas Mann
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Aschenbach's name and character may be inspired by the homosexual German poet
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as a middle-aged writer who becomes obsessed with a young actor portrayed by
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The Real Tadzio: Thomas Mann's "Death in Venice" and the Boy who Inspired it
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1341:(1994). "Thomas Mann's Iridescent Interweaving". In Koelb, Clayton (ed.).
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notes the similarities between Aschenbach and the Russian choreographer
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963:"Death in Venice: Translations — The Greatest Literature of All Time"
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Stavenhagen, Lee (1962). "The Name Tadzio in Der Tod in Venedig".
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202:" in his name). He is a man dedicated to his art, disciplined and
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The novella was dramatised by Peter Wolf for BBC Radio 3 in 1997.
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This article is about Thomas Mann's novella. For other uses, see
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Erläuterungen und Dokumente zu Thomas Mann: Der Tod in Venedig
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of beauty amid the ruins of his own once-formidable dignity.
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420:, and made Aschenbach into a composer instead of a writer.
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was complicit, that he too was guilty, intoxicated him...."
847:, New York: Liveright Publishing Corporation, 2023, p. 181.
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to the point of severity, who was widowed at a young age.
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whom Mann had observed during his 1911 visit to the city.
995:& Warburg, Ltd., 1922. The first American edition of
197:
615:(1988), Clayton Koelb (1994), Stanley Applebaum (1995),
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The main character is Gustav von Aschenbach, a famous
1143:
The Oxford Guide to Literature in English Translation
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Deaths in Venice: The Cases of Gustav von Aschenbach
914:
723:
588:
authorized translation, published in 1922 in Mann's
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on the Lido, which they took in the summer of 1911:
335:and his views on dreams, as well as by philosopher
1488:"Oh Boy. Tadzio, Adzio, and the secret history of
1267:Especially the section "The Loves of Two Artists:
881:Letter to Wolfgang Born dated March 18, 1921. In:
594:Oxford Guide to Literature in English Translation
548:. Ironically, while in the novella Aschenbach is
1874:
1347:. W. W. Norton & Company. pp. 195–206.
1117:. Cambridge University Press. pp. 235–248.
525:The boy who inspired "Tadzio" was perhaps Baron
865:Searls, Damion, Introduction to Mann, Thomas,
707:transformed the book into a stage play titled
1555:
1368:Death in Venice: Making and Unmaking a Master
374:, the god of restraint and shaping form, and
885:, ed. Erika Mann. Fischer 1979. p. 185.
494:stayed and where he set action in the novel.
437:, whose reimagining and continuation of the
225:severely dressed that they look like nuns.
195:
57:
1375:
943:(in German). No. 52. 2002. p. 152
843:Damion Searls translation in Mann, Thomas,
450:. Given Mann's obsession with the works of
1562:
1548:
1344:Death in Venice: A Norton Critical Edition
1240:
279:the ship who had so appalled Aschenbach.
210:afterward, he resolves to take a holiday.
34:
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326:in Vienna and Mann's interest in the boy
270:One night, a dream filled with orgiastic
678:A stage production in 2013, directed by
481:
423:Aschenbach's name may be an allusion to
339:, who had visited Venice several times.
301:
1437:Kenneth Burke's English translation of
1286:. New York: Columbia University Press.
1278:
606:Helen and Kurt Wolff Translator's Prize
552:, it was Moes who was really Silesian.
1875:
1139:
1115:The Cambridge Companion to Thomas Mann
1024:
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877:
875:
540:. He was the subject of the biography
294:His body is discovered minutes later.
1543:
1199:
532:Moes was born on 17 November 1900 in
318:, which had led Goethe to write his "
1614:Lotte in Weimar: The Beloved Returns
1492:" by Allen Barra. December 3–9, 2003
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1221:
1168:
1152:10.1093/acref/9780198183594.001.0001
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920:
619:(1998), Martin C. Doege (2010), and
611:Other translations include those by
568:was published in periodical form in
327:
179:
1316:
1247:. Dordrecht: Springer Netherlands.
872:
600:A translation published in 2005 by
13:
1193:
477:
322:". The May 1911 death of composer
14:
1994:
1773:Reflections of a Nonpolitical Man
1503:
1415:
1241:Hirschbach, Frank Donald (1955).
688:Death in Venice/Kindertotenlieder
576:Death in Venice and Other Stories
314:'s love for 17-year-old Baroness
1903:German novels adapted into plays
1893:German novels adapted into films
1456:
1226:(in German). Stuttgart: Reclam.
883:Thomas Mann: Briefe I: 1889–1936
799:I Just Want to See the Boy Happy
763:and a pastiche/homage to Mann's
726:
671:adapted it for a ballet for his
23:Death in Venice (disambiguation)
1787:The Coming Victory of Democracy
1569:
1113:. In Robertson, Ritchie (ed.).
1086:
1072:"Hamburg Ballett John Neumeier"
1064:
1034:
980:
955:
782:, based on Gilbert Adair's book
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901:
888:
859:
850:
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826:
626:
520:Katia Mann, Unwritten Memories
116:1924 (periodical), 1925 (book)
1:
814:
771:Love and Death on Long Island
755:Love and Death on Long Island
741:"Ganymede", a short story by
387:August von Platen-Hallermünde
819:
808:Ringleader of the Tormentors
538:Pilica, Silesian Voivodeship
342:
7:
1948:German philosophical novels
1898:Novels adapted into ballets
1883:1912 German-language novels
1506:"Mann, Thomas (1875-1955):
1466:public domain audiobook at
1146:. Oxford University Press.
1140:France, Peter, ed. (2000).
937:"Tadzios schönes Geheimnis"
719:
16:1912 novella by Thomas Mann
10:
1999:
1908:Novels adapted into operas
1755:The Road to the Churchyard
1635:Confessions of Felix Krull
1532:In Our Time, BBC Radio 4,
1434:— German language version.
1319:Germanic Notes and Reviews
1102:
833:Image of the first edition
686:theatre in Berlin, titled
564:An English translation by
297:
20:
1928:Novels about ephebophilia
1803:
1764:
1725:
1688:Disorder and Early Sorrow
1644:
1577:
1253:10.1007/978-94-017-4776-9
675:company in December 2003.
586:Helen Tracy Lowe-Porter's
414:film based on the novella
134:
120:
112:Published in English
110:
102:
92:
82:
74:
66:
52:
42:
33:
997:Stories of Three Decades
988:Stories of Three Decades
785:"Grey Gardens", song on
711:in Ghent, Belgium, with
590:Stories of Three Decades
1973:S. Fischer Verlag books
1918:Novellas by Thomas Mann
1607:Joseph and His Brothers
1497:20 January 2021 at the
1275:", pp. 14 et seqq.
544:(Short Books, 2001) by
401:) clogging the stream (
185:
1943:Novels with gay themes
1843:Elisabeth Mann Borgese
1780:On the German Republic
1734:Little Herr Friedemann
1695:Mario and the Magician
1123:10.1017/CCOL052165310X
1109:Buck, Timothy (2001).
523:
495:
425:Wolfram von Eschenbach
307:
196:
167:
58:
1855:Júlia da Silva Bruhns
1709:The Tables of the Law
1222:Bahr, Erhard (1991).
1076:www.hamburgballett.de
690:, took elements from
512:
508:Grand Hôtel des Bains
488:Grand Hôtel des Bains
485:
472:Grand Hotel des Bains
305:
263:epidemic in Venice.
215:Grand Hôtel des Bains
1938:Novels set in Venice
1933:Novels about writers
1702:The Transposed Heads
1379:The German Quarterly
1371:. Twayne Publishers.
867:New Selected Stories
845:New Selected Stories
662:, his last, in 1973.
427:, the author of the
1983:Works about cholera
1968:German LGBTQ novels
1953:Roman à clef novels
1748:Tobias Mindernickel
1363:Reed, Terence James
1178:. New York: Knopf.
1015:, pp. 240–244.
617:Joachim Neugroschel
337:Friedrich Nietzsche
316:Ulrike von Levetzow
53:Original title
30:
1978:1900s LGBTQ novels
1963:1912 German novels
1888:1910s LGBTQ novels
1600:The Magic Mountain
1520:on 4 February 2015
1481:2016-03-06 at the
1426:Der Tod in Venedig
1175:Unwritten Memories
1052:on 4 December 2008
967:www.editoreric.com
759:, 1990 novella by
748:The Breaking Point
602:Michael Henry Heim
500:Unwritten Memories
496:
443:Chrétien de Troyes
429:Middle High German
308:
168:Der Tod in Venedig
59:Der Tod in Venedig
28:
1870:
1869:
1681:A Man and His Dog
1475:Mahler in Venice?
1431:Project Gutenberg
1310:10.7312/kitc16264
1292:10.7312/kitc16264
1262:978-94-017-4586-4
1185:978-0-394-49403-6
1132:978-0-521-65370-1
1111:"Mann in English"
999:was published by
923:, pp. 60–63.
774:(1997), starring
743:Daphne du Maurier
715:in the lead role.
697:Kindertotenlieder
680:Thomas Ostermeier
498:In her 1974
441:Quest romance of
431:medieval romance
370:contrast between
366:, and second the
174:by German author
150:
149:
103:Publication place
87:S. Fischer Verlag
1990:
1923:Modernist novels
1794:Listen, Germany!
1564:
1557:
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1541:
1540:
1529:
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1525:
1516:. Archived from
1504:Jones, James W.
1473:Michael Chanan,
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1334:
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1082:on 25 June 2011.
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652:Benjamin Britten
646:Luchino Visconti
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490:in Venice where
468:Sergei Diaghilev
306:First print 1912
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154:Death in Venice
145:Internet Archive
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94:Publication date
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29:Death in Venice
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1674:Death in Venice
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1628:The Holy Sinner
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1534:Death in Venice
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1508:Death in Venice
1499:Wayback Machine
1490:Death in Venice
1483:Wayback Machine
1463:Death in Venice
1457:
1439:Death in Venice
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1418:
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1280:Kitcher, Philip
1273:Death in Venice
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1207:. Short Books.
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1194:Further reading
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1765:Other works
1653:Gladius Dei
1571:Thomas Mann
1339:Luke, David
1170:Mann, Katia
1056:30 November
1027:, pp.
1025:France 2000
941:Der Spiegel
869:, p. xviii.
713:Koen Crucke
627:Adaptations
580:W. H. Auden
492:Thomas Mann
486:The former
448:Fisher King
368:Nietzschean
176:Thomas Mann
47:Thomas Mann
1877:Categories
1845:(daughter)
1839:(daughter)
1825:Klaus Mann
1821:(daughter)
1819:Erika Mann
1813:Katia Mann
1524:30 January
1161:0198183593
991:, London:
907:Eksteins,
894:Eksteins,
815:References
684:Schaubühne
613:David Luke
1863:(brother)
1831:Golo Mann
1741:The Clown
1514:glbtq.com
1400:0016-8831
1331:0016-8882
1013:Buck 2001
921:Mann 1975
820:Citations
803:Morrissey
776:John Hurt
640:starring
357:Symposium
343:Allusions
272:Dionysian
242:Narcissus
160:‹See Tfd›
83:Publisher
1857:(mother)
1645:Novellas
1495:Archived
1479:Archived
1468:LibriVox
1365:(1994).
1282:(2013).
1203:(2001).
1172:(1975).
1003:in 1936.
972:28 April
947:28 April
720:See also
703:In 2023
658:into an
648:in 1971.
623:(2023).
604:won the
571:The Dial
550:Silesian
518:—
457:Parsifal
434:Parzival
376:Dionysus
363:Phaedrus
192:Silesian
129:71208736
67:Language
1660:Tristan
1103:Sources
1095:(Dutch)
1029:333–334
757:(novel)
682:at the
534:Wierbka
395:Kishkin
391:Ansbach
328:Władzio
298:Origins
261:cholera
257:sirocco
217:on the
204:ascetic
180:Władzio
172:novella
170:) is a
106:Germany
78:Novella
1815:(wife)
1805:Family
1578:Novels
1451:Part 3
1449:, and
1447:Part 2
1443:Part 1
1408:402303
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898:, p. 2
801:", on
399:Aschen
372:Apollo
312:Goethe
230:Tadjoo
164:German
70:German
43:Author
1851:(son)
1833:(son)
1827:(son)
1404:JSTOR
1306:JSTOR
792:Poses
660:opera
504:Katia
439:Grail
75:Genre
1526:2015
1396:ISSN
1349:ISBN
1327:ISSN
1296:ISBN
1271:and
1257:ISBN
1228:ISBN
1209:ISBN
1180:ISBN
1156:ISBN
1127:ISBN
1058:2008
974:2024
949:2024
403:Bach
360:and
186:Plot
135:Text
123:OCLC
98:1912
1429:at
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