Death in Venice Summary
Description
Here you will find a Death in Venice summary (Thomas Mann's book).
We begin with a summary of the entire book, and then you can read each individual chapter's summary by visiting the links on the "Chapters" section.
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Last Updated: Monday 1 Jan, 2024
Chapters Death in Venice Summary Overview
Gustav von Aschenbach, an elderly German author, epitomizes stoic decorum and meticulous self-regulation. He firmly adheres to the belief that authentic art is only manifested in unwavering defiance against the erosion of passion and physical frailties. Feeling an urge to travel, Aschenbach convinces himself that new surroundings might spark his creative muse. His subsequent journey to Venice represents a notable shift from his previously strict self-denial, marking the initiation of his personal downfall. Aschenbach surrenders to the relaxed Venetian ambiance and rhythmic sway of the gondolas, leaving him vulnerable. At his lodging, he is captivated by a strikingly handsome young Polish boy, Tadzio, vacationing with his family. Initially, Aschenbach maintains that his fascination with the boy is purely aesthetic. However, he soon finds himself consumed by an intense, unreciprocated infatuation for Tadzio. Days blur into one another as Aschenbach dedicates his time to watching Tadzio frolic on the beach and tracking his family through the Venetian streets. A cholera outbreak engulfs the city, which the authorities attempt to hide from the visitors. Despite learning the truth about the deadly disease, Aschenbach, unable to part from Tadzio, chooses to remain in Venice. His pursuit of the boy becomes increasingly reckless, reducing him to a deplorable state, devoid of all his former dignity, until he eventually succumbs to the cholera, a pitiful victim to his own passions.
chapter 1
Gustav von Aschenbach, a renowned author living in Munich, takes a stroll one day after a strenuous writing session. The setting is the early 1900s, a time in which Europe's peace is under threat. As a storm approaches, Aschenbach heads home on deserted streets near masons' yards, which resemble graveyards with headstones for sale. He reads some golden letters on a Byzantine funeral chapel about the afterlife and comes across an unusual red-haired man. The man, appearing as a tourist, is staring at him fiercely with a grin exposing his teeth and gums. This encounter prompts Aschenbach to yearn for travel, although nothing comes of this strange meeting. Aschenbach slips into a dreamlike state, picturing a vibrant tropical marshland expressing fertility and decay, sensuality, and the odd. He regains control over his longing to travel and goes back to his usual rigid lifestyle marked by self-control, moderation, and focus on efficiency. He believes that artistic talent stems from perfectionism and that excessive passion can obstruct a writer's quest for brilliance. Nevertheless, he thinks that a touch of spontaneous inspiration could boost his work and ultimately resolves that taking a short break could be beneficial. He looks for the red-haired man again, but he has disappeared just as abruptly and inexplicably as he had come.
chapter 2
Aschenbach, the son of a high-ranking Prussian official and a music director's daughter from Bohemia, developed into an artist due to the blend of discipline and passion from his parents. His early rise to fame did not allow him to experience a relaxed youth, pushing him to constantly create. However, his commitment to work severely affected his already weak health. The primary theme in his life and work is that all greatness is born out of suffering and difficulty. To Aschenbach, art represents victory over hardships such as illness, poverty, and corruption. His books' heroes embody this victory, which resonates with his generation who see their struggles mirrored in his work. Although Aschenbach was headstrong and intellectually radical in his youth, he takes pride in the dignity he has managed to achieve.
chapter 3
About two weeks after the incidents in the previous chapter, Aschenbach heads off on his journey. He visits an Adriatic island but leaves for Venice after ten days dissatisfied by its dreary weather and simplistic lifestyle. On his boat to Venice, he encounters a decrepit hunchbacked seaman and a goatee-sporting man acting as a circus director. He's put off by their overly servile behavior. He also observes a group of young men, one of whom turns out to be an old man in disguise, which startles Aschenbach. As the boat pulls away from the shore, he feels unsettled but soon falls asleep. Upon arriving in Venice, he finds the sky clouded over, unlike his previous sunny visits. He spots the disguised old man again, now in a revolting drunken state. As Aschenbach disembarks, the man approaches him with a fake smile, repulsing him further. Aschenbach then boards a gondola, which he associates with death. However, instead of fear, he feels a sense of luxury. He argues with the gondolier when he realizes they are heading out to sea, but the boatman refuses to change course. He disappears after taking Aschenbach to the shore, and an old man reveals that he is a known criminal. At the hotel, Aschenbach observes the international array of guests, including a Polish family comprised of three girls, a boy, and their governess. He is captivated by the boy's beauty and riches. Their eyes meet as the boy follows his mother into the dining room. The next morning, the boy's beauty continues to stun Aschenbach. He spends his time watching the boy play on the beach and feeling seduced by the sea's immensity. He believes he hears the boy's name as "Tadzio." Returning to his room, Aschenbach reflects on his age in the mirror. He shares an elevator ride with Tadzio and notices his pale, ill appearance, which oddly comforts Aschenbach. He decides to leave Venice for a resort near Trieste due to health concerns and arranges for transportation. However, when he learns that his luggage was accidentally sent to a different location, he gleefully returns to the hotel. He realizes that Tadzio is the real reason he was reluctant to leave Venice and accepts this fact with a resigned gesture.
chapter 4
Despite his luggage being returned, Aschenbach chooses to remain in Venice. Constant interaction with Tadzio, either within the hotel, the city, or the beach, becomes a staple in his daily routine. Aschenbach's fascination with Tadzio intensifies as he studies the boy's physical characteristics and movements, believing he is gazing upon pure Beauty. He has a vision of Socrates educating Phaedrus about desire and virtue under an Athenian tree. According to Socrates in the vision, Beauty is the sole spiritual aspect that can be sensed and serves as the lover's gateway to the spirit. This spiritual connection makes the lover more divine than the beloved, Socrates suggests. An urge to write about an "important cultural problem," a "question of taste," he's noticed during his travels, takes over Aschenbach. He chooses to write this piece in Tadzio's presence, utilizing the boy as his muse. The writing process fills him with a joy so profound it leaves him drained and guilty, as if he's committed a forbidden act. Aschenbach contemplates introducing himself to Tadzio at the sea but backs out at the last moment. The narration indicates that Aschenbach, deemed the "aging lover," may want to preserve his illusions rather than face the reality of the boy's persona. The narrator sheds light on Aschenbach's declining ability for self-criticism and introspection. Aschenbach becomes oblivious to time, with his usual productive routines swallowed by his intense emotions. His sleep is disturbed, and he often wakes early, interpreting the sunrise in terms of Greek mythology. He associates Eos, the goddess of dawn, and her brother Helios, the sun god, with the sunrise. The rest of his day is similarly marked by mythological figures, like Poseidon and the figure Hyacinthus. Thrilled, Aschenbach realizes that Tadzio is cognizant of his admiration. Their eyes often meet, and Tadzio seems to stroll past Aschenbach's cabin intentionally. Despite Aschenbach's hidden emotions, Tadzio's gaze expresses a sweet curiosity. One evening, Aschenbach, caught off guard by Tadzio's family's absence, is unable to hide his fondness. In response, Tadzio graces him with a curious yet troubled smile, reminiscent of Narcissus. Overwhelmed by this "fateful gift," Aschenbach retreats to the hotel garden, whispering a confession of his love for Tadzio.
chapter 5
Despite the approaching tourist season, the hotel where Aschenbach is staying is losing guests. Mention of "the sickness" by the hotel barber and the smell of bactericide in the air hint at a potential epidemic. Public warnings urge people to avoid shellfish, produce, and canal water. German newspapers carry conflicting reports about possible diseases, leading to all German-speaking guests leaving the hotel. Aschenbach initially feels uneasy about the potential danger but soon becomes excited by the idea that an epidemic could force Tadzio and his family to stay in Venice. Aschenbach starts following Tadzio's family daily, his obsession with the boy growing. Venice is depicted as a labyrinth with a dubious beauty. Aschenbach slips deeper into this atmosphere, occasionally questioning his actions and comparing his artistic lifestyle with his ancestors' dignity. Despite this, he continues to research the spreading disease and maintains that the disinfection of the city is precautionary. One night, while watching street musicians in the hotel garden, Aschenbach enjoys the performance despite its low quality because of his infatuation with Tadzio. He tries to suppress any outward signs of his feelings, especially since it seems Tadzio is pulled away by his governess whenever he is near Aschenbach. Questioning one of the performers about the disinfection, he is told it's merely a preventive measure. Aschenbach later learns from a travel agent that Asiatic cholera is spreading from India and has reached several Mediterranean ports. The Italian authorities are hiding the news due to its potential impact on tourism. The clerk advises Aschenbach to leave soon as a quarantine could be imposed anytime. Despite considering warning Tadzio's family and leaving, Aschenbach decides to stay, tempted by the chaos that could provide opportunities to be with Tadzio. In a dream, Aschenbach sees himself amidst a primitive, chaotic worship ritual, symbolizing his growing passion. He wakes up feeling enslaved to this uncontrollable desire. With the cholera news spreading, tourists are leaving, but Tadzio's family remains. Aschenbach starts lavishly dressing and using cosmetics to hide his age, encouraged by the barber who dyes his hair and applies makeup. One day, Aschenbach gets lost in the city, showing signs of fever. He ends up at the spot where he had initially decided to leave Venice. Aschenbach's earlier dignity is contrasted with his current state of debasement. The narrator quotes Socrates' view on how artists' pursuit of beauty inevitably leads them into chaos and despair. Upon learning that Tadzio's family is leaving, Aschenbach goes to the deserted beach to watch Tadzio play. A violent playfight ensues and Tadzio almost suffocates, but eventually walks away into the water. For the first time, Tadzio and Aschenbach's eyes meet. Aschenbach's head sinks, but in his mind, he sees Tadzio beckoning him. After collapsing in his chair, Aschenbach is taken away and the news of his death shocks the world later that day.
