Thomas_Mann_Analysis

Jordan Nachbar World Literature Mrs. Susan Schliep 30 April 2012 Thomas Mann: A Life of Reflection Thomas Mann’s writing consisted of three main characteristics: (1) theme, specifically the contrast between spirit and life, (2) the use of leitmotifs and musical parallels, and (3) comedy and satire. The first important characteristic of Mann’s work is the reoccurring search for “spiritual meaning in one’s life, and the dichotomy between spirit (Geist) and life (Leben)” (Barricelli). Mann’s concern for the “spiritual” aspect of life led him to incorporate his philosophical thought into his writing. He understood the idea of Geist as the “battle between the life-energy known as the will and the struggle of the saint, the artist, the individual of refinement to subdue, deny, or otherwise contain the will’s destructive tendencies within society” (Barricelli). Due to Mann’s personal history, he related to this idea authentically because Mann himself was both a member of the upper bourgeoisie and creative artists classes via his differing parents. As a result, most of Mann’s earliest stories revolve around the problems of the “creative artist” who struggles with the meaninglessness of existence, yet at the same time, Mann’s works highlight a longing for the ordinary life (Hilger). Mann’s writing emphasizes the problems mankind faces in the twentieth century, such as World War Two, the lost of personal and cultural identity, and the infliction of totalitarian governments on modern society (Hilger). According to Barricelli, Mann “struggled to bridge the gap in his writing between the body and spirit, and as a result, his writings are extraordinarily complex and filled with metaphors and other types of allusions.” The second characteristic of Mann’s writing is his usage of the leitmotif and musical parallels. According to the literary dictionary at Carson Newman University, a leitmotif originally was coined by Hans von Wolzuegen to “designate a musical theme associated with a particular object, character, or emotion.” In literature, “it is a recurring device loosely linked with a character, setting, or event. It gives the audience a "heads-up" by calling attention to itself and suggesting that its appearance is somehow connected with its appearance in other parts of the narrative.” Interestingly, leitmotifs are most closely associated with the music of Richard Wagner (Werlock). For example, Mann directly incorporates the musical structure of Wagner’s Tristan und Isolde into the literary structure of his writing (Bolduc). The difference between musical structure and literary structure is that “literary structure refers to the plot structure, narrative details, thematic and character development, use of symbols, and setting, while musical structure refers to repetition, contrast, variation, and concentration (Bolduc). Several of Mann’s works share similar narrative lines, plot divisions, settings, characterizations, symbols, and language to Wagner’s operas. Mann uses leitmotifs in his writing to add suspense, irony, and to interweave important themes (Bolduc). A final characteristic of Thomas Mann’s writing is his use of comedy and satire. While noted for his morbid and somber subject matter, many critiques fail to recognize the comedic and satiric tone that accompanies Mann’s writing (Grim). Mann himself once said "I always feel a bit bored when critics assign my own work so definitely and completely to the realm of irony and consider me an ironist through and through, without also taking account of the concept of humor."(Barricelli). In writing about his serious views on society, Mann uses comedy and satire to mock his dark subject matter. In summary, these three characteristics of Mann’s writing- (3) comedy and satire, (2) leitmotifs and musical parallels, and the (1) reoccurring search for “spiritual meaning in one’s life, and the dichotomy between spirit (Geist) and life (Leben)” (Barricelli) – along with others define Thomas Mann’s writing. Works Cited Bolduc, Steve Ann. "A Study of Intertextuality: Thomas Mann's "Tristan" and Richard Wagner's "Tristan und Isolde"." Rocky Mountain Review of Language and Literature. 37. (1983): 82-90. Web. 16 May. 2012.  Barricelli, Jean-Pierre. "Thomas Mann." Critical Survey of Long Fiction, 4th ed. (2010): 1-11. Literary Reference Center. Web. 14 Feb. 2012. Grim, William E. "Thomas Mann." Magill’s Survey of World Literature, rev. ed. (2009): 1-8. Literary Reference Center. Web. 14 Feb. 2012. Hilger, Christine Marie. "Mann, Thomas." Ed. Michael D Sollars. The Facts on File Companion to the World Novel, 1900 to the Present. New York: Facts on File, Inc., 2008. Bloom's Literary Reference Online. Facts on File, Inc. Web. 14 Feb. 2012 Werlock, Abby H.P. “leitmotif.” The Facts on File Companion to the American Short Story. 2nd ed. New York: Facts on File, Inc., 2009. Bloom’s Literary Reference Online. Facts on File, Inc. Web. 8 March. 2012