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Apollo vs. Dionysus Thomas Mann alludes to Greek mythology throughout his novella Death in Venice. One of the Greek mythological themes alluded to in Death in Venice is the struggle known as Apollonian vs. Dionysion. Thomas Mann was strongly influenced by the philosopher Friedrich Nietzsche and his teachings on the Apollonian vs. Dionysion struggle. According to Nietzsches teachings every individual contains characteristics from both Greek gods and the two are forever in an internal struggle to dominate said individuals personality. Without striking an appropriate balance between the two sides, truly great art can never be mastered (Keis). The readers of Death in Venice are witnesses to the Apollonian vs. Dionysion struggle that takes place inside of the novellas protagonist, Gustav von Aschenbach. Apollo is known as the Greek god of light and order. Apollonian characteristics include reason, control, and clarity. (Taylor). These characteristics are often associated with 19th century philosopher, Arthur Schopenhauers, principal of individuation in that all types of form or structure are Apollonian, since form serves to define or individualize that which is formed (Keis). Sculpture is the most Apollonian of art since it relies on form for its effect. Apollonian characteristics are used to minimize needless suffering caused by natural desires of the body (Kreis). Gustav von Aschenbach is introduced to us as the protagonist of Death in Venice. As we read, it becomes very clear that Aschenbach is a very disciplined and rational man, possessing a majority of Apollonian characteristics: At forty, at fifty, even at an age when others squander and stray, content to put their great plans aside for the time being, he started his day at an early hour. ,he would spend two or three fervently conscientious morning hours sacrificing on the altar of art the powers he had assembled during his sleep (8). We are told that Aschenbach

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was born into a well-respected family and was expected to continue to make a respectable name for the family (7). He achieved great success while he was still in high school through his writing, thus causing him to mature into an adult seemingly overnight. He has therefore never known sloth, never known the carefree, laissez-faire attitude of youth (8). Aschenbach is so driven by his ambition to succeed as a writer that he learns how to repress his more impulsive side. It is this denial of spontaneity that will ultimately lead Aschenbach down the path to his own demise. Aschenbach is in his late fifties to early sixties when Death in Venice begins. It seems as though Aschenbach has managed a lifetime of Apollonian quality with no threats of Dionysian uprisings. Aschenbach is content with his life of routine until he comes across a strange looking man with red hair and dressed as a tourist on a walk one afternoon. The narrator describes the man as grimacing and displaying his long white teeth and gums (4). The men stare at each other for a few minutes. Although the meeting of the two men comes to nothing, Aschenbach is left in a state of wander lust. He envisions a tropical swampland, which the narrator describes in highly charged language that evokes feelings of eroticism and grotesqueness all at the same time. The daydream inspires Aschenbach to take a holiday and travel, thus the Dionysus in him begins to peek out from behind Apollo. Dionysus is the Greek god of wine. As the god of wine, Dionysus represents drunkenness, ecstasy, and madness (Thro). Common Dionysion characteristics include passion, spontaneity, imagination, excess, and frenzy. Those who are overly Dionysus in character are not individualistic like Apollonianites, instead the Dionysion individuals tend to give up their individuality and submerge themselves into a greater whole (Kreis). The most Dionysion of arts is music because it appeals to a mans chaotic emotions rather than his rational mind.

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It is in Venice, Aschenbachs final destination point, where he falls in love with a boy seemingly around the age of fourteen. He first spots the young boy, whose name is Tadzio, while waiting for dinner in his hotel. The narrator describes the boy as perfectly beautiful (21). At first, Aschenbach tries to keep his Apollonian characteristics in place and it seems that he just has a fascination with Tadzio. Aschenbach even tries to leave Venice due to concerns for his health, but because his luggage was sent to the wrong place, he returns to the hotel. It is after this return that Aschenbach realizes that he is in love with Tadzio and he completely surrenders himself to it: Then he raised his head and with both his arms, which were hanging limp over the arms of his chair, he made a slow circling and lifting movement that turned his arms forward, as if to signify an opening and extending of his embrace (34). Here is where we can say good-bye to the Apollonian side of Aschenbach and hello to the Dionysion side. In the beginning of his infatuation, Aschenbach is content with just observing Tadzio playing with his companions at the beach and with his family during meals at the hotel. But as Aschenbach learns of the cholera spreading throughout Venice he becomes terrified that the Polish family may leave. It is this fear that pushes all rational thought from him and he becomes fully obsessed with Tadzio, as the narrator tells us with this passage: He was intoxicated in head and heart, and his steps followed the instructions of the demon whose pleasure it is to crush under foot human reason and dignity (46). Even after learning of the deadly disease sweeping through Venice, Aschenbach cannot bear the thought of leaving his loved one and returning to the mundane and disciplined life he once lived. Aschenbach no longer leaves sightings of the young boy up to chance, instead taking matters into his own hands by stalking the boy and his family throughout Venice. There are periods in which the Apollonian side of Aschenbach tries to regain control as stated in this

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passage: Still, there were moments when he paused and half came to his senses. How has this come to pass? He wondered in alarm. How did I come to this? (47). But the Dionysion side of Aschenbach is proving to be too strong to push back down and cover up as it once was. It is evident that the Dionysion side has clearly prevailed over the Apollonian side once Aschenbach begins to wear make-up, dyes his hair, and dresses in eccentric clothing in hopes of impressing the object of his desire. He continues to follow the Tadzio and his family around Venice despite the fact that he is feeling ill and feverish. After returning from one of these stalking excursions, Aschenbach learns from the desk clerk of the hotel that the Polish family will be departing that afternoon. Saddened by this news, Aschenbach embarks on one final trip to the beach to watch Tadzio interact with his companions for the last time. It is here where Aschenbach collapses in his chair and is later pronounced dead. Death in Venice is a perfect example of what happens when an individual represses his or her passions for too long. In the beginning of the story, Aschenbach appears to be a man who is very rational in thought and disciplined in life. He has seemingly mastered his passions and managed to keep them stifled. But as was illustrated in this novella, one can only keep passions repressed for so long before they will rise up. As Aschenbach embarks on his journey and begins to let his guard down, the Dionysion side of him rises up in a seemingly redoubled force. Once Aschenbach has permitted sensuality into his life, represented by Tadzio, his moral standards break down and he is a slave to beauty and desire. Because Aschenbach has never had a balance between the Apollonian and Dionysion characteristics, he undergoes a complete transformation from one extreme to the other. It is this transformation that ultimately leads Aschenbach to his unfortunate death.

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Works Cited Kreis, Steven. Nietzsche, Dionysus, and Apollo. The History Guide. 13 May 2004. 18 March 2009. <http://www.historyguide.org/europe/dio_apollo.html>. Mann, Thomas . Death in Venice. Trans. Clayton Koelb. New York: W.W. Norton, 1994. Taylor, Nancy. Apollonian Vs. Dionysian. California State University. 18 March 2009.

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<http://www.csun.edu/~hceng017/ad.html>. Thro, Michael. Apollo vs. Dionysus. 2 Nov. 1996. 19 March 2009. <http://www.vccaedu.org/inquiry/vcca-journal/thro.html>.