- WG Sebald: image, archive, modernity. - badufyjuhi.cf
- Dramaturgie – ein kurzer Exkurs zur Einführung
- A companion to the works of Elias Canetti
Published online: 26 Feb Additional information Notes on contributor Erik A. Article Metrics Views. Article metrics information Disclaimer for citing articles. Login options Log in. Username Password Forgot password? Shibboleth OpenAthens. FreddyE , Das ich da nicht selbst drauf gekomm bin.
Suche eher in Richtung romantische Balladen Matrimony von Gilbert O'Sullivan. Also wir hatte etwas fetzigers: White Wedding -- Arcudaki Blitzableiter , Rainer Z Der Geruch verfliegt aber schnell. Danke schon mal! Werden die einfach durchnummeriert? Werden alte Nummern erneut vergeben? Ich rufe meine EMails mit dem Mozilla Thunderbird ab. Seit heute klappt das nicht mehr, er verlangt jedesmal das Passwort. So, lange Problembeschreibung, kurze Frage: Woran liegt's?
Ich habe ein auf den aktuellsten Stand geupdatetes Windows Vista laufen. Seit heute ist der Task-Manager kaputt. Er besteht jetzt nur noch aus dem Feld, in dem die laufenden Tasks angezeigt werden. Er besteht wirklich nur noch aus dem Task-Feld. Wie bekomme ich ihn wieder repariert?
Ein einfacher Neustart hilft nicht. Das hat funktioniert. Vielen Dank-- Er muss Anfang der er herausgekommen sein. Und wenn ja, wie lange noch? Ist eure Katze eigentlich gesund? Daher kann es bei Boris auch keinen "Mundraub" gegeben haben. Meines Wissens wurde sie daraufhin entlassen.
WG Sebald: image, archive, modernity. - badufyjuhi.cf
Dies ging auch durch die deutsche Presse. Gibt es dazu ne Geschichte? Chiron McAnndra , Hi alle, der taz-artikel ist eine AP-Meldung: Washington ap - [ Am Der Sprecher Doles, Walt Riker, meinte dazu, es habe sich um eine vertrauliche Unterredung gehandelt, doch sei der Raum verwanzt gewesen. Dies entsprach allerdings nicht ganz den Tatsachen, sagte Doles Sprecher jetzt. Oder versuch es mal hiermit  -- Divchino , Kennt jemand ein genaues Datum? Klasse Realschule hernehmen? MfG Javier Kormann -- Symwin07 , Aber das Netz vergisst bekanntlich nichts … wo finde ich dieses "wunderbare" Lied gemirrort?
Wie muss ich suchen, um sie zu finden? Die Version von Pitingo Youtube ist zu laut und unruhig. Dazu hab ich mal 2 Fragen. Nicht immer schmecken sie nur nach Wasser. Sind solche Gurken dann schon verdorben? Oder liegt es daran, dass sie zu wenig Wasser bekommen hat? Das ist das einzige was ich per Google finden konnte: siehe 2. Zitat : "ist die Temperatur allerdings zu kalt, wird das Fleisch weich und glasig. Die Reifen sind ok und fest montiert. Hinten sind die Bremsscheiben etwas angerostet.
Das glaube ich inzwischen nicht mehr, aber es hat meiner Meinung nach mit dem Antrieb zu tun. Was kann da los sein? Hatte ich im Sommer beim Wagen meines Vaters. Und sie haben dabei noch mehr gefunden. Ab in die Werkstatt deines Vertrauens. Frage: Wie ist es aber auf dem Mond? RSX , Prima, vielen Dank. Bei Google habe ich irgendwie nichts passendes gefunden. Heidis Freundin Klara sitzt im Rollstuhl. Kann man spekulieren an was sie litt am Ende des Romans lernte sie ja zu laufen? Was ist eine Flanschplatte? Hat die Elena Verordnung Gesetzescharakter?
Ja genau die. Ne Verordnung ist irgendwie weniger "bindend" glaub ich Jedenfalls soll ich rausfinden ob das Teil Gesetzescharakter hat oder nicht. Hat der Mensch eigentlich eine bestimmte Paarungszeit? Hatte er vielleicht mal eine und hat sie mittlerweile verloren? Vielleicht als man der Natur noch mehr "ausgeliefert" war? So ganz blicke ich da aber noch nicht durch. LG, Dulciamus?? So, hier ist's. Any ideas? Ok, es war anscheinend ein Alpenbock Versuchen kann man's ja, sie im Garten auszusetzen, unter einem Baum am besten.
F , Ich habe seit vier Jahren! Ich habe nicht die leiseste Ahnung, um welches Lied es sich handelt, und dass der Text damals einfach nur aus "Ohohoho Hier habe ich ein jpg hochgeladen, das meinen leider nicht so dollen Notenkenntnissen nach den ersten, sehr markanten Teil der Melodie wiedergibt. Vielleicht hat ja einer von Euch eine Ahnung, um welchen Titel es sich handelt. Das gibts bei youtube. Was hat es mit den Nameservern von Google auf sich?
Die sollen schnell sein. Jetzt mal ohne Hysterie, dass Daten gesammelt werden, ganz objektiv? In unserem Google-Artikel steht davon gar kein Wort, von den Servern, mein ich. Anfang der 90er sah ich Nachts im Fernsehen einen Film den ich seit dem nie wieder gesehen habe. Als es ihm gelingt wird das Spiel Wirklichkeit. Kennt den jemand? Die englische Wikipedia hat auch einen Artikel zu dem Film .
Laut ofdb. Ich tippe mal auf The Last Starfighter nach den wenigen Informationen. Oliver S. Danke Vexillum. Den habe ich gesucht, konnte mich aber nur noch an die Bishop of Battle Szene erinnern. Mit der Bitte um Antwort! Die MPU zeugt von klarem Commerzverhalten. Viele Gutachten sind den Betroffenen suspekt.
After having been helped over one hurdle, the words come to her smoothly. The Christian faith has become a meaningless routine in the bourgeois world, where profit and wealth are the only real principles. The younger Buddenbrook confirms this at the end of the day, when he sides with his father in the further exclusion of his half-brother from the family and its new wealth.
If his faith conflicts with a business decision, he thinks of profit rather than Christian love. Death would relieve him of his failed existence and free him to an eternal presence from which he could enter into a new and happier life. But his bourgeois instincts resist such insights GW 1, He returns to the belief of his forebears, which leaves him dissatisfied GW 1, In the last scene of the novel a group of frustrated women is all that is left of the splendor of the Buddenbrook family.
Tony doubts the religious idea of meeting again in heaven. The novel does not offer a faith; neither does it sustain a valid ideology. This is even true of what appears to be the main theme in the novel. Hanno withdraws; his friend Kai, who also comes from a decadent family, actively enjoys his distance and translates it into writing.
Decadence, decline, degeneration are conditions that are fateful, but also, by providing distance, make individual creativity possible. The theme of fateful decline is discussed early in the text during the housewarming party, when the second Buddenbrook describes the misfortune of the previous owners of the house as fated GW 1, 24— Belief in fate does not agree with the Christian faith.
He accepts this accident as something that belongs to him. Fate is only a strand in the musical theme of decline, which is not fully destined. But Thomas has motivated the sale not long before by perfectly rational business calculations GW 1, They are embellishments, not a validation. But nothing like the collapse of the Usher castle happens in Buddenbrooks. Senator Thomas has a stroke walking in the street, and falls in the dirt; Hanno dies of common typhoid fever; the Buddenbrook houses are simply sold; and at very end there is the assembly of frustrated women. Some critics want to see the decline of the male Buddenbrooks compensated by their intellectual enrichment.
Thomas Mann himself in wanted to see his novel in that light GW 13, Hanno is extremely sensitive but not creative GW 1, There is no progression. What Christian and Thomas have in common is not their intelligence but distance from their commercial family background, a distance that drives Christian from home.
A genius withers in daily routine. Thomas Buddenbrook hides his stagnation by acting, by using a mask, through which he confirms his decadence, like the image Nietzsche painted of Wag49 ner as the master of small details who lost the sense of the whole. His sensitivity has alienated him from his social environment. He represents the danger of distancing oneself from the world, while his friend Kai is able to use this condition creatively. Why is this novel of decline fascinating to read?
Because of its representation. The same family the plot puts to doom is depicted sympathetically and warmly, though with a dose of melancholy. There are passages in which even Christian elicits empathy, and others in which the disciplined Senator Thomas appears all too human. The reader is led to a sympathy for the family that artfully balances the severe criticism that the plot of the novel implies: the Buddenbrooks renounce love for the sake of acquiring wealth, and with it power.
This criticism amounts to a condemnation of the bourgeois lifestyle. All of the family members feel obliged to render the sacrifice of their happiness, to deny their humanity. Marriages for love are in the background of the plot. Gotthold, a son of a former love marriage by the old Buddenbrook, himself married for love.
Because he thus compromised the status of the family, he is punished by exclusion. His inheritance is cut, and his three daughters remain unmarried for lack of attractive dowries. Thomas Buddenbrook loves Anna, a pretty, lower-class flower girl, but there is no question of marrying her. While the senator lies in state, Anna, pregnant again, comes to see him.
Her former beauty is still apparent; in a musical repetition the text evokes the description that was first given in the love-and-departure scene cf. GW 1, with She is still attached to her former lover, and sons from her would have provided heirs to the firm. The novel uses a musical technique to keep this futility in the memory of the reader: she retains the words of Morten, her true love, in her memory, and utters them repeatedly through the years. With Gerda Buddenbrook and her son Hanno, the family pride dissolves into music, Wagnerian music.
A ring also appears in Buddenbrooks, and it also means power, but a power of a very different sort. In a fairy-tale Kai narrates, the protagonist catches a bubble rising from a swamp. Art, the young Thomas Mann must have believed, delivers one from woeful reality by transforming life into lasting shapes.
Robert Peacock. A copy was made available to me by Dr. GFKA 1. Jahrhundert — Hereafter cited in the text. This poem makes fun of the marriage of Proserpina and Pluto. I suggest, however, that this inspiration might be seen in a more playful, less stringent manner. His deprivation has been that he cannot touch anybody, boy or dog, without the excuse that he is just coming to their aid. This relates to the fear of homoeroticism which largely explains why some men, such as Walt Whitman, Henry James, and many others became nurses of injured soldiers. Mindernickel names his dog Esau, the brother of Jacob in Genesis.
Cristina Klostermann Frankfurt am Main: S. Fischer, , —14, and GW 8, GKFA 1. Also quoted in Mendelssohn, Der Zauberer 1, Heftrich, Verfall, 57— God grants his gift. There is nothing one can do about it, and it is not a disgrace being an ordinary human being. It is something like with the Christ child. One may kneel before a child without feeling ashamed. What the old gentleman claims as an excuse for his failures at the keyboard is the cult of genius, the belief that genius originates in a divine realm. The implicit argument is that not everyone can be expected to be a genius.
Visiting a church and leaving it again after a short but intense prayer, he stumbles upon an art shop displaying the reproduction of a painting of a voluptuous Madonna with the Christ child. He overhears the cynical conversation of two students describing in explicit sexual terms the effect of the sensuous painting of the Madonna. Three days later, the fanatic monk-like figure returns to the art shop and demands that the photographic reproduction of the painting be removed from the window and burned, together with all the other works of art displayed, because it offends his religious feelings.
Hieronymus, as he is called, shares his features and his first name in the German version of the story with Girolamo Savonarola — , the scourge of Florence. He considers modern art blasphemous and shallow, leading the faithful astray and making them doubt the dogmas of the church, in this particular case, the dogma of the Immaculate Conception.
These passages display the extreme poles of the perspectives on art and society represented in the short stories and novellas Thomas Mann wrote between and on the one hand, art as substitute for religion, employing the cult of the artist as creator endowed by God, and, on the other hand, modern art as the negation of true religion, and the artist as shameless charlatan, interested only in promoting his own career, while indulging in the sins of the flesh and thereby desecrating the ideas and symbols dear to the devoted followers of religion. Not only did he try to define his craft as an author by writing them, but they also served to rehearse his stance toward society.
Although he considered himself an outsider, he did not claim the pose of an ivory-tower saint or aesthete. He displayed a concern for humanity as represented in the society of his day, and exploited the tensions between artist and society for the purposes of his craft. Bourgeois life in Central Europe at the turn of the century had been adversely affected by the process of modernization: rapidly increasing industrialization, the application of technology to new areas of production, cycles of financial crises, and the claim of the rising working class for a share of political power.
This process was part of the secularization of the European mind in the nineteenth century. Especially the educated Protestant middle class began to question the Bible as revelation and turned to literature, music, and philosophy as sources of inspiration, seeking edification, from the Weimar classics to Nietzsche. Architecture resorted to historicism, camouflaging modern buildings such as railroad stations and banks as Gothic cathedrals and Italian Renaissance palaces, while in opera, Richard Wagner provided the middle class with a medium to transfer its familial and political conflicts into a myth of a supposedly common Germanic past.
On the other hand, the churches became associated with political movements, as evidenced by the Kulturkampf against the Catholic Church, or by the anti-Semitism of the Christian Social Movement founded by the reactionary Protestant minister Adolf Stoecker. Nineteenth-century German philosophers had reflected on the function of art in modern society. Mann exploited these tensions between Nietzsche and Wagner for use in his own works that could 14 be considered a rewriting of Wagner in the spirit of Nietzsche. When he moved to Munich in , the local opera provided even more opportunities, with the added attraction of first-rate productions.
It is the polarity between the Apollonian and Dionysian that takes the form of the polarity between creative and imitative art, or between life and morality in Mann. Yet this polarity is not static, but is constantly deconstructed, even within the same story. The narrator records a spectrum of opinions that includes even a condemnation of the artist as a type. The businessman calculating the receipts of the evening admits that, besides financial profits, art brings some luster to life.
The only people untouched by the performance are three members of the aristocracy: a young, blond, blue-eyed woman and her two brothers, young lieutenants. The artist follows the three young people with envy in her eyes until they disappear around a corner. For this reason, the music composed and played by the child prodigy is also said to exploit cheap effects. He does not tire of describing this radiance in repeated words of praise for the flourishing of the arts in this Florence of the North.
These words are an homage to the function of art as transcendence of everyday life. Without any reservation, the narrator declares that art rules over this city. But the satiric stance prevails — and is especially noticeable when the protagonist is forcefully removed from the art shop — until shortly before the end, when the narrator yields to the Savonarola perspective of the protagonist. The narrator does not hesitate to pronounce his verdict in the first paragraph, denouncing the events to come: This is the end: ice, purity, and nothingness.
No compact is binding here, no concession given, no forbearance granted and no values considered. Here is the air so rarified and pure that the miasmas of life cannot endure. Here rules defiance, absolute logic prevails, the enthroned, 25 desperate I, liberty, madness and death. This initial indictment by the narrator sets the tone of the story, but the narrative perspectives presented include those of the guests as well as that of the novelist.
The audience acts as if released from a slightly embarrassing but entertaining performance that has taxed its physical endurance. The novelist makes up for the lost evening by attending to his private affairs. His comments are most revealing when he reflects on genius and must admit that all the conditions of genius are present in Daniel: The isolation, the freedom, the spiritual passion, the magnificent vision, the belief in himself, yes, even the approximation to crime and madness. What is there lacking? Perhaps the human element? A little feel26 ing, a little yearning, a little love?
Although the success of the Buddenbrooks novel had earned Mann the acceptance of his middle-class readership, there is no narratorial endorsement of his new status, as the last sentence indicates. But as the author pushes his own agenda, he also displays a healthy self-confidence in his craft. His name is finally mentioned after eight pages. She plays Chopin and then the never-mentioned Wagner. Mutely, Spinell shows her the title page of the score. Critics have reconstructed in detail the intertextuality of this scene.
Spinell-Tristan will survive. There is a serious angle to this Wagner parody. Looking at the approaching Spinell, the baby, sitting in his stroller, bursts out with joy and laughter. That the religion of art in its decadent Wagnerian form is rejected in favor of a society of businessmen and taxpayers is certainly not the moral of this novella. He presents them in the perspective of constant equivocation of Nietzschean irony. Fiorenza took seven years to complete, and Mann invested more time in it than any other project during this period; it was finished shortly before his wedding in Although the first performance of the drama in Frankfurt in was a moderate success, later performances more or less failed and none ever satisfied the author.
The scene is set in Florence on a day in April of , the day on which Lorenzo de Medici is going to die. In his dying hour the Magnifico has called for the fanatic monk who had condemned him from the pulpit for his worship of the arts, literature, Greek philosophy, and the sciences, as well as for his sinful life in the pursuit of beautiful women. Even though the Prior rejects that characterization, he cannot deny that they are united in the worship of their egos, their pursuit of ascetic ideals to overcome deficiencies, and in their contempt of the masses.
If that prospect horrifies you — desist! Instead of willing nothingness, rather cease willing at all. Desist from the use of power! Be a monk! The critic Erich Heller has identified the Nietzsche-Freud influence on the psychological construction of the drama, explaining that Lorenzo is suffering from the same problem as Savonarola. Yet the play is an important variation on the theme of art and its religious valorization within society. But more important, in this novella the conflict between art and society, the problem of the other novellas of this period, is resolved.
Like a monk, he takes a vow of chastity. In part four, which is a conversation between Tonio and a Russian painter named Lisaweta, Tonio elaborates on his concept of the artist, comparing the artist to the papal castrati, who sing like angels. Tonio has come a long and arduous way to reach this stage. The novella presents the different stations along the way, from the sufferings of youth to the insights expressed by the mature artist at the end of the novella.
The narrator relates his qualities and accomplishments in detail: Hans Hansen was a first-rate student, and a regular fellow to boot, who was excellent at horse-back riding, gymnastics, and swimming, and was very popular. His teachers were almost tender with him, calling him by his first name, and favored him in every way; the other students curried favor with him; even grown-up gentlemen and ladies stopped him in 42 the streets. It is remarkable that Tonio makes no attempt to be like Hans Hansen.
But he wants Hans to love him just as he is, and wants him to read Don Carlos, so that they will have something to talk about. Half-German, half-Spanish, he is a combination of the blonde and dark nationalities of his parents, and this is presented as a factor contributing to his artistic nature. Even his first name and family name are markers for this almost stereotypical combination.
In most respects, Tonio resembles his dark-haired mother, who represents the artistic side, playing the piano and mandolin, but he does not identify with her values. Since he is not willing to change, he fully realizes that his socialization in the bourgeois world is fraught with never-ending problems, because he is unwilling to adapt to majority taste GW 8, Hopelessly in love with her, he realizes that she will never even notice him, except as a ridiculous figure at their weekly dancing class.
Tonio, however, intends to love her as long as he lives, although he is separated from her by an unbridgeable gulf. These girls are, like Tonio, outsiders in the extrovert world of the well-adjusted blondes. In this respect, Magdalena and the Danish girl are like his mother, understanding him and accepting him as he is because they share his values and appreciate his artistic accomplishments.
Only Lisaweta Iwanowna, the Russian painter in Munich, is in a class by herself. This disgust is caused by the knowledge of his limitations as artist, the disproportion between his passionate feelings and the cold observations of his art. His conversation with Lisaweta in section four proposes a program for literature that is beset by the problems of artistic decadence.
After his long conversation with the Russian painter, Tonio decides to return to his origins, the city on the Baltic Sea and Denmark, the land of Hamlet and his blond countrymen. Here he experiences a return of his youthful longings during a dance at the bath-hotel. Mann entrusted the problem of truth and transcendence to the narrator, or even to a fictional character, for instance Zeitblom in Doktor Faustus.
That Zeitblom prays at the end of the novel clearly indicates the transcendence that was dear to the author. This combination, however, distinguishes them as more than mere period pieces; they are integral parts of a narrative oeuvre that is characterized by continuity and change.
Notes 1 GW 8, — Munich: Beck, , There is no doubt that Nietzsche inspired Mann to write in the vein of Wagner. Geburtstag, ed. Munich: Fink, , Peter-Klaus Schuster Munich: Prestel, , offers a convincing counterproposal with his reference to the commercial art house of Hanfstaengl in Munich, which specialized in reproductions of art. Stories of Three Decades, trans. LowePorter New York: Knopf, , vi.
Was fehlt? Vielleicht das Menschliche? For the anti-Semitic stereotypes involved in the representation of Spinell, see Elsaghe, 94— Martin Travers, Thomas Mann. Modern Novelists New York: St. This is a passage dated December 25, , concerning August von Platen, and containing the same citation from First Corinthians 13 see Vaget, Kommentar, And the thought may arise that their author must have been an unhappy young man indeed. Not, of course, all at once or right away. To clarify matters once and for all, the narrator bluntly explains to her that he appreciates the compatibility of their spirits but feels an abhorrence for her body.
She accepts his declaration with apparent calm but returns his frankness by revealing that she had once had a sexual affair. Thomas Mann repeatedly protested that all his writings were based on his own life. The abrupt and clumsy proposal issued by the narrator certainly does not suggest sexual experience, and his tepid reaction to being rejected sounds more like relief than disappointment. No — what was autobiographical in this story was only the mood of bitter alienation and disenchantment. But now a profound change was about to occur, a development that in the course of a few years would lead Mann to a new and different view of himself and the world.
My affection for the younger one, Paul [. A calm and rational account, which omits all the passion, suffering, and bliss that were actually involved. Paul Ehrenberg bore a striking resemblance to Armin Martens. In a letter to his brother Heinrich he writes: I shall have a winter behind me of incredible inner turmoil.
Depressions of a truly bad kind, with utterly serious plans for doing away with myself, have alternated with an indescribable, pure, and unexpected exultation. This was due to experiences which I cannot relate, of which the very hint sounds like bragging. But they have proven to me [. It is crazy and ridiculous. I never seem to emerge from puberty [. What is involved is not a love affair, at least not in the ordinary sense, but a friendship which, to my amazement, is understood, reciprocated, rewarded, but which [. Grautoff claims that I am simply in love like a teenager.
The whole thing is simply a feast [. My need for [. Mary vanished, having planted the seed of a development that would mature some years later. The original stimulus for it was a newspaper report about a married woman who, jealous of her lover, had shot him on a streetcar. The theme of jealousy was a painfully acute one for Thomas because Paul, an incurable flirt, gave him much occasion for it.
But increasingly these became amalgamated and confused. Paul, under the name of Rudolf, was to become the faithless lover of the novel. The jilted husband, Albrecht, a sickly admirer of Renaissance sensuality, brutality, and splendor, would be modeled after Heinrich. And the jealous wife, Adelaide?
Dramaturgie – ein kurzer Exkurs zur Einführung
Progressively, in the notes, she fuses with Thomas, and he becomes Adelaide. Her envy for the fullness of his manly existence, while she just feels and loves. Similar complaints alternate with dithyrambs, such as: These are the days of living feeling! You have enriched my life — it blooms. I thank you, my salvation, luck, and star!
Oh my God [. Is it so fair, so sweet, so dear, to be human? But the hero of the novel is to be called Rudolf! Who will say yes — unflinchingly? Without letting himself be intimidated and estranged by apparent coldness? Deep silence. As a consequence his prompt visit. He is after all a bit embarrassed. Genuine love and contempt, misery and brief bliss — they continue to be recorded in meticulous and astutely insightful observations, such as may come in handy for future literary efforts.
Did Paul ever seduce Thomas Mann sexually? There is no evidence for such an occurrence at all. Finally he had again managed things such that he could comfortably rest his arm on my shoulder. No, though Thomas Mann was all his life moved and inspired by homoerotic feelings, cherished male beauty above all other, and at one point even publicly proposed homoeroticism as the political basis for the Weimar Republic ; GW 11, —50 , he had a finicky aversion to sweaty male physicality.
Its goal seems to lie in contemplation and an admiration which, though erotic, will have nothing to do with common sense or even just sensuality. This is probably due to the impact of reality-awareness on fantasy: it permits the delight, but 12 confines it to the image. It lacks the blessing of nature and of life [. Nothing comes of it; it does not lay the foundations for anything. Was he brainwashed by the society in which he lived into denying or repressing his homosexual instincts?
The chances are that such matters were never mentioned in his parental home. The exuberant, romantic-homoerotic friendships of the early s were a thing of the past — such as, for instance, the abundant kisses and turgid expressions of love between Hans Christian Andersen and the Grand Duke of Weimar, of which nobody thought ill,13 and the sexual revolution of the turn of the nineteenth century was just beginning.
He felt he had already revealed himself quite plainly 22 homoerotically. But he did not desire to do so, and he was not the only one to draw this line. His contemporary Stefan George, a masterly and sonorous poet, not only idealized heroic male beauty, but literally deified — and thereby rendered tabu — a fourteen-year-old youth he named Maximin. There he encounters a wretched, shivering derelict — wild eyed, hollow cheeked, and red bearded. Indeed, the sun was rising — the sun of fame.
Buddenbrooks was becoming a great critical and popular success. And for the first time since childhood he once again felt like a prince, a prince who is seeking a princess. He found her, looking down from the gallery of the concert hall to the parterre, where she sat in a row with her four brothers, elegant and lovely; he found her once more on a streetcar where, briskly and peremptorily, she told off the conductor; and — oh miracle of fate — he was actually finding her again, because years ago he had been in love with a picture, cut from a newspaper and pinned above his boyhood writing desk, of her and her brothers in harlequin costumes.
Thomas, smitten, maneuvered to be properly introduced to the 27 Pringsheims, and by February he had succeeded. And he won her utterly for his cause. Katia did not surrender so easily. At the time of the streetcar incident she was a student, enjoying her life, her studies, her tennis club, her 31 brothers — she was in no hurry to get married. As before, during the Paul Ehrenberg days, Mann immediately turned experience into literature.
Wishing to put his best foot forward, he wrote letters to Katia — not just carefully phrased letters of love but also letters in which he painfully tried to explain himself to her: I know very well that I am not the sort of man who would arouse simple, immediate, clear-cut feelings [. I do not think this should be held against me. You know what a cold, impoverished, purely creative, purely formal life I have led all these years [.
A companion to the works of Elias Canetti
A cure is possible only in one way: through good fortune, through you, my wise, sweet, kind, beloved little queen! Be my affirmation, 34 my justification, my completion, my redemptrix, my — wife! This charming tale has been criticized for its operetta-like happy ending. It had not been planned that way. Initially, the prince, doubly isolated by his rank and by a birth injury that stunted his left arm, was merely to represent the example of a high-level loner, analogous to the artist isolated by genius.
But the story takes a turn with the appearance after some two hundred pages of an American millionaire, Mr. Spoelmann, and his daughter Imma, a lovely creature. But she finally comes around. In a moving little scene she openly comments on the embarrassing — and always anxiously hidden — crippled left arm and by way of total acceptance kisses it. There apparently occurred a similar scene between Katia and Thomas. There they could be alone, and there she finally — what? Could it possibly have been that heretofore, where he had loved, he had always loved his own sex?
We do not know. But we do know that Katia, during their entire life together, was extraordinarily tolerant of his repetitive homoerotic infatuations. Because you are neither a bourgeoise nor an aristocrat; because, in your own way, you are something extraordinary — because you are, as I understand the word, a princess. And I — now you may laugh, but you must understand me — I who have always seen myself as a sort of prince, I have surely found in you my predestined bride and companion.
Well, yes and no. On the whole theirs would be an enduring, solid marriage, and it certainly produced an abundance of offspring: three girls and three boys, all highly complicated, gifted, and productive. But some difficulties, some misgivings were built in. And he was ambivalent about their wealth. What would? I am Christian, from a good family; I have merits that these people in particular 40 esteem highly.
Alfred Pringsheim had refused baptism, and though his wife Hedwig and the children were baptized, they were quite indifferent to such matters. Klaus of course had figured in the photograph of the Pringsheim children we have mentioned earlier, the one Thomas had pinned up by his desk.
They do look very much alike in that painting — only close attention reveals that one of the five is a girl. And during the courtship Klaus often acted as mediator and as a sometimes blind and deaf chaperone. He favored the marriage and maintained all of his life that it was really he who had brought it about. Was it in response to this fixation of his that his children Erika and Klaus, though one year apart, experienced and openly presented themselves to the public as twins?
Is it because he is reluctant to break his bridges to normalcy, to life? He is writing about Gide, but he is — as always — also talking about himself. Be this as it may. Following a luxurious honeymoon they settled into their comfortable apartment. Katia promptly became pregnant and changed from being a studious tomboy to becoming an exemplary mother, while Thomas wrote and gave lectures and in every way lived up to the demands of his new position in life.
The adjustment to marriage did not come easily. There had to be a safety valve. Thomas Mann asserted that he never invented erfinden but that, like Turgenev, Goethe, Schiller, and even Shakespeare, he used what he found finden GW 10, 13—15 ; and he claimed that any indiscretion this might entail must lose all offensive quality since it was also — and in the first instance — directed against his own person. Herr Aarenhold emerges from his library.
He collects precious books; Samuel Spoelmann collects glass; Alfred Pringsheim had an important Majolica collection. Frau Aarenhold descends heavily carpeted stairs. Aarenhold cannot possibly be a takeoff on Mrs. Or can she? Her first sentence is already bitchy, and emphasizes her preoccupation with money. She implies that their expected guest and future son-in-law will be on time for brunch because he is broke and needs a free meal.
By implication, he is just a gold digger. Kunz — the very name is arch-German; sabre cuts are acquired in student dueling organizations, which usually do not admit Jews and which generally are despised by Jews. They obviously are trying very hard — too hard — to act assimilated, to be German. And Siegmund and Sieglinde? The twins are slender as saplings and physically immature for their nineteen years. They dress with exquisite care and wear expensive jewelry. The suitor, Beckerath, does arrive late, and is full of apologies.
At lunch Aarenhold speaks of his humble origins. Alfred Pringsheim was not a self-made millionaire. Thin camouflage indeed! The twins at first do not take part in the conversation; they hold hands between their chairs and convey an intimacy to which, from the outside, there exists no access. Some of their derision must have percolated through to him. And now, with loving care and sensuous voyeurism, the author presents his young man in all meticulous detail: how he appears in domestic undress pink silken drawers and socks, red morocco slippers, a quilted house coat ; the gleam of his naked, yellowish body as he washes himself all over with scented water; the detailed sequence of his formal dressing, down to his cuff links and waistcoat buttons.
By contrast, Sieglinde rates only one paragraph, fully clothed. They ride to the opera in their own coach, the curtains drawn for intimacy. They sit in their own loge, feed each other cognac-filled chocolates and watch, transfixed, as the other Siegmund and Sieglinde on the stage recognize that they are brother and sister and end up making love. The twins return home as in a trance. Sieglinde visits her brother in his bedroom; he says something incoherent about Beckerath and revenge; she tries to soothe him; their caresses turn into a frantic tumult, and culminate in a sobbing.
So it ends. But this is not the original ending. This is how the story ended originally. But Thomas Mann was a bit uneasy about it. Before sending it off to the publisher, he read the whole thing to Klaus and Mrs. It was almost completely printed by the time the editor 54 began to take offense at the ending.
Thomas consulted Heinrich, who advised against any change. A bookstore in Munich had received from the S. Which twins and which family had served the author as models was patently obvious [. It was said that, revolver in hand [. I reviewed the novella in my mind and found that with all its innocence and independence it was not exactly suited to kill the rumor. And I must recognize that humanly, socially, I am no longer free [.
I cannot quite rid myself of an [. I am sure you are calling me a cowardly bourgeois. You are absolute. I however have deigned to submit to a constitution. So cold, so cynically-hostile, so lacking in love? So he goes on and on, proclaiming an innocence he himself does not quite believe in. The novella did not appear again until , in a limited deluxe edition with the amended ending. But a French translation came out in , was severely condemned by the French critics, and caused Mann much grief GW 11, — By the time he lived in the United States the anti-Semitic slant of the novella became increasingly embarrassing.
I do not wish to have it reproduced. Not only was anti-Semitism — and sensitivity to it — not as harsh and acute before Hitler, but for him the point of the story lay elsewhere. Thomas would have felt a degree of empathic satisfaction when, on stage, Alberich subjugates his brother Mime 67 and Fasolt slays his brother Fafner. She is too lazy for it. She is dirty under all her finery! This time Thomas seems to have written about something he had not himself experienced. Katia was anything but indolent.
She was, while Thomas incubated his anecdote, in charge of the infant Erika and either pregnant with or recently delivered of their second child, Klaus; and on top of all this, she ran the household. There was simply not the slightest suspicion of her deceiving him. In any case he got busy with other things.