Have you ever visited a relative in a convalescent home and
ended up falling ill yourself and staying there for years? Nor have I, but that
is the backdrop to Thomas Mann’s novel.
Typically for Mann, it is a novel of ideas rather than
sensations. Mann writes characters. These characters represent ideas, and between them they battle for the ‘problem child’s’ soul, the young hero Hans
Castorp. A matrix to assist you:
Settembrini
|
Naphta
|
Peeperkorn
|
|
Speech
|
Loquacious
|
Acerbic
|
Rambling
|
Taste
|
Thrifty
|
Luxurious
|
Munificent
|
Political eschatology
|
World republic
|
Roman Catholic world-state
|
Apolitical
|
Spiritual allegiance
|
Freemasonry
|
Society of Jesus
|
No allegiance
|
Century
|
19th century
|
Medieval
|
Contemporary (post-WWI)
|
Political system
|
Nation state
|
Spiritual communism
|
N/A
|
Nietzschean symbol
|
Apollo
|
Dionysus (Chandala)
|
Dionysus (aristocratic)
|
Clavdia Chauchat I exclude because she
doesn’t represent what is for Castorp an ideal, even though symbolically she
represents lust to the reader - lust for the exotic, boorish, energetic East. So too Castorp’s cousin, who represents duty,
something which never tempts our protagonist.
Castorp's choice between antagonists? He doesn't really choose. Overall result of the novel: a loose baggy monster.
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