How we cite our quotes: (Chapter.Paragraph)
Quote #1
His desire sprouted eyes, his imagination, as yet unstilled from its morning labors, conjured for the earth's manifold wonders and horrors in his attempt to visualize them: he saw. He saw a landscape, a tropical quagmire beneath a steamy sky—sultry, luxuriant, and monstrous—a kind of primordial wilderness of islands, marshes, and alluvial channels; saw hairy palm shafts thrusting upward, near and far, from rank clusters of bracken, from beds of thick, swollen and bizarrely burgeoning flora; saw fantastically malformed trees plunge their roots through the air into the soil, into stagnant, shadow-green, looking-glass waters, where, amidst milk-white flowers bobbing like bowls, outlandish stoop-shouldered birds with misshapen beaks stood stock-still in the shallows, peering off to one side; saw the eyes of a crouching tiger gleam out of the knotty canes of a bamboo thicket—and felt his heart pound with terror and an enigmatic craving. (1.6)
Aschenbach's desires are first awakened in the form of a desire for the exotic. Think that's a bit of a leap? Consider this: Some of these images, like the "hairy palm shafts" that are "thrusting upward," have some pretty obvious sexual connotations, implying that the exotic has something to do with the erotic.
Quote #2
What one saw when one looked into the world as narrated by Aschenbach was elegant self-possession concealing inner dissolution and biological decay from the eyes of the world until the eleventh hour; a sallow, sensually destitute ugliness capable of fanning its smoldering lust into a pure flame, indeed, of rising to sovereignty in the realm of beauty; pallid impotence probing the incandescent depths of the mind for the strength to cast an entire supercilious people at the foot of the Cross, at their feet; an obliging manner in the empty, punctilious service of form; the life, false and dangerous, and the swiftly enervating desires and art of the born deceiver. Observing all this and much more of a like nature, one might well wonder whether the only possible heroism was the heroism of the weak. Yet what heroism was more at one with the times? (2.7)
The narrator opens a window into Aschenbach's imagination, in this case, into the world that he invents in his fiction. Still, the idea of an "elegant self-possession concealing inner dissolution and biological decay" sounds a lot like the character of Aschenbach in Death in Venice. We can think of this passage as a sort of blueprint for analyzing Aschenbach's desire for Tadzio as a "smoldering lust" that briefly becomes a "pure flame," rising up into the "realm of beauty" out of a "sensually destitute ugliness." But, does that really jive with how Aschenbach is portrayed?
Quote #3
Eyes glazed over, a cigarette between his trembling fingers, he swayed back and forth in his inebriation, laboriously keeping his balance. Since he would have fallen at the first step, he did not dare move, yet he displayed a pitiful exuberance, buttonholing everyone who came up to him, jabbering, winking, sniggering, lifting a wrinkled, ringed finger as a part of some fatuous teasing, and licking the corners of his mouth with the tip of his tongue in a revoltingly suggestive manner. Aschenbach watched him with a frown, and once more a feeling of numbness came over him, as if the world were moving ever so slightly yet intractably towards a strange and grotesque warping […]. (3.10)
In this passage, the narrator really applies him or herself to depicting this guy's "revoltingly suggestive" antics. This implies that these expressions of lust are gross because the person making them is too old to be sexually attractive. But this guy also foreshadows. Aschenbach's own fate. Are the two characters really equated, or does Aschenbach hold on to some of his dignity?
Quote #4
Hence beauty is the path the man of feeling takes to the spiritual, though merely the path, dear young Phaedrus, a means and no more…And then he made his most astute pronouncement, the crafty wooer, namely, that the lover is more divine than the beloved, because the god dwells in the former, not the latter, which is perhaps the most delicate, most derisive thought ever thought by man and the source of all the roguery and deep-seated lust in longing. (4.9)
Here is the first time Aschenbach thinks about Socrates and Phaedrus, two characters from ancient Greek philosophy that play an important role in Chapter 5. This is where the narrator introduces the topic of beauty as a "path" to spiritual knowledge, but one that also leads to lust and the "abyss" of sexual desire. What does it mean to say that the "lover is more divine than the beloved"? Does this have to do with Aschenbach's role as the artist who is inspired by Tadzio's beauty?
Quote #5
There is nothing more curious or delicate than a relationship between people who know each other only by sight, who encounter and observe each other daily—nay, hourly—yet are constrained by convention or personal caprice to keep up the pretense of being strangers, indifferent, avoiding a nod or word. There is a feeling of malaise and overwrought curiosity, the hysteria of an unsatisfied, unnaturally stifled need for mutual knowledge and communication, and above all a sort of strained esteem. For a man loves and respects his fellow man only insofar as he is unable to assess him, and longing is a product of insufficient knowledge. (4.16)
The narrator's not just talking about those awkward elevator moments. The narrator is talking about the relationship between Tadzio and Aschenbach as one that depends on the visual, allowing them to remain strangers and giving Aschenbach a sense of being in a secret affair. "Longing," the narrator writes, "is a product of insufficient knowledge." Does this imply that vision and the imagination can fan the "flames" of lust in part because they blind us to the true reality of other people?
Quote #6
For passion, like crime, is antithetical to the smooth operation and prosperity of day-to-day existence, and can only welcome every loosening of the fabric of society, every upheaval and disaster in the world, since it can vaguely hope to profit thereby. And so Aschenbach felt a morose satisfaction at the officially concealed goings-on in the dirty alleyways of Venice, that nasty secret which had merged with his own innermost secret and which he, too, was so intent on keeping […]. (5.5)
Talk about a romantic getaway: Death in Venice suggests that Venice, with its romantic exterior, which barely conceals its seedy characters and "dirty alleyways," is the perfect backdrop for Aschenbach's illicit passion. Venice's "nasty secret"—the cholera epidemic that everyone's trying to cover up—is aligned here with Aschenbach's own secret love for Tadzio.
Quote #7
Yet it cannot be said he was suffering: he was drunk in both head and heart, and his steps followed the dictates of the demon whose delight it is to trample human reason and dignity underfoot. (5.7)
We might wonder why Aschenbach does all the stuff he does. Maybe he's just losing his mind? Well, Death in Venice doesn't give a clear answer to that one, but the story does give us a lot of passages, like this one, that delight in keeping things ambiguous. As he dances according to the "dictates of the demon," we're left to wonder just what motivates him—insanity, despair, or just plain ol' lust.
Quote #8
Thus the addled traveler could no longer think or care about anything but pursuing unrelentingly the object that had so inflamed him, dreaming of him in his absence, and, as is the lover's wont, speaking tender words to his mere shadow. Loneliness, the foreign environment, and the joy of a belated and profound exhilaration prompted him, persuaded him to indulge without shame or remorse in the most distasteful behavior, as when returning from Venice late one evening he had paused at the beautiful boy's door on the second floor of the hotel and pressed his forehead against the hinge in drunken rapture, unable to tear himself away even at the risk of being discovered and caught. (5.10)
Ah, love. And lust. This is another example of the way the narrator portrays, in little descriptive vignettes, Aschenbach's total infatuation with Tadzio. The important moment here is the transition from Aschenbach's secret observations of Tadzio at play to his increasingly bold moves to keep tabs on the boy's every move, "even at the risk of being discovered and caught."
Quote #9
A life of self-domination, of "despites," a grim, dogged, abstemious life he had shaped into the emblem of a frail heroism for the times—might he not call it manly, might he not call it brave? Besides, he had the feeling that the eros which had taken possession of him was in a way singularly appropriate and suited to such a life. Had it not been held in particular esteem amongst the bravest of nations? Indeed, was it not said to have flourished in their cities as a consequence of bravery? Countless warrior heroes in older times had willingly borne its yoke, for no action imposed by a god could be deemed humiliating, and actions that might otherwise have been condemned as signs of cowardice—genuflections, oaths, importunate supplications, and servile behavior—such actions were accounted no shame to a lover but rather earned him praise. (5.11)
We just can't talk about lust in Death in Venice without mentioning the particular form it takes in the novella—that of an older man for a young boy. As we discuss in "Symbols," relationships between men and boys, called pederasty, was culturally acceptable and even prized in ancient Greece. In part, Aschenbach's lust for Tadzio is projected onto that ancient screen. It's also another example of the way Aschenbach's lust looks for different, imaginary, or past worlds in which to live out its fantasies.
Quote #10
But the dreamer was now with them, within them: he belonged to the stranger god. Yes, they were now his own self as they hurled themselves upon the animals, lacerating them, slaughtering them, devouring gobbets of steaming flesh, as they dropped to the trampled mossy ground for unbridled coupling, an offering to the god. And his soul savored the debauchery and delirium of doom. (5.37)
Here's a tasty morsel from Aschenbach's stranger god dream in Chapter 5. As we discuss in "Symbols," this dreams has everything to do with the transformation of Aschenbach's infatuation with Tadzio from one that ostensibly has to do with the boy's beauty into one that is primal lust. The vision of the "stranger god's" revelers devouring raw flesh and engaging in "unbridled coupling" spares no expense in giving us the nitty-gritty of that transformation.