Death in Venice


Thomas Mann

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Travel, Geography, and Climate Theme Analysis

Themes and Colors
Art and the Artist Theme Icon
Repression, the Mind, and the Self Theme Icon
Beauty Theme Icon
Youth, Age, and Time Theme Icon
Travel, Geography, and Climate Theme Icon
LitCharts assigns a color and icon to each theme in Death in Venice, which you can use to track the themes throughout the work.
Travel, Geography, and Climate Theme Icon

In terms of plot, Death in Venice is primarily a story of travel. Aschenbach’s journey to Venice can be seen as operating on multiple levels. Not only does he physically, literally travel to Italy, but he also travels symbolically to the realm of his unconscious and temporally to ancient Greece through his visions and dreams. Venice is continually described as a hazy, dreamlike city, part fantasy and part reality, heightening the sense of Aschenbach’s travel as highly symbolic. It is particularly important that Aschenbach travels south. Mann’s novella takes advantage of some stereotypical associations of particular regions of Europe. Aschenbach is from Germany, in northern Europe, which is associated with a cold, austere, disciplined lifestyle. His trip to Italy is a journey to a more relaxed, warm, indulgent place. The climate of Venice often symbolically reflects Aschenbach’s inner state, with its oppressive heat and haze mirroring the heat of Aschenbach’s desire and his intoxication with Tadzio’s beauty.

The idea of travel is thus full of symbolic weight in Mann’s story. By leaving his home, Aschenbach seeks not only a foreign locale, but also a change of lifestyle. Importantly, Aschenbach hopes to travel only temporarily. He only wants a vacation in Venice, a temporary respite from his normal life, his normal climate, and his normal self. However, the novella shows that taking a short trip to one’s unconscious, the realm of one’s fantasies and inner desires, can be dangerous. Aschenbach is overwhelmed by the climate of his destination and the inner state it seems to encourage in him. As his downfall shows, the journey to one’s inner desires and unconscious fantasies can be dangerous, and is often a one-way trip.

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Travel, Geography, and Climate ThemeTracker

The ThemeTracker below shows where, and to what degree, the theme of Travel, Geography, and Climate appears in each chapter of Death in Venice. Click or tap on any chapter to read its Summary & Analysis.
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Travel, Geography, and Climate Quotes in Death in Venice

Below you will find the important quotes in Death in Venice related to the theme of Travel, Geography, and Climate.
Chapter 1 Quotes

He was most surprisingly conscious of an odd expansion within himself, a kind of roving unrest, a youthfully ardent desire for faraway places, a feeling so intense, so new or at least unaccustomed and forgotten for so long, that he stopped short as if rooted to the spot, his hands clasped behind him and his eyes fixed on the ground, in order to examine the nature and purpose of this sensation. It was an urge to travel, nothing more; but it presented itself in the form of a real seizure, intensified to the point of passionateness; in fact, it was like a delusion of the senses.

Related Characters: Gustav von Aschenbach
Page Number: 3
Explanation and Analysis:

Too occupied with the tasks set for him by his own ego and by the European spirit he represented, too burdened with the obligation to create and too undisposed to diversions to be a proper admirer of the colorful outside world, he had been perfectly satisfied with the view of the earth’s surface that anyone can acquire without venturing far away from his own circle of interests, and he had never even been tempted to leave Europe.

Related Characters: Gustav von Aschenbach
Page Number: 4
Explanation and Analysis:
Chapter 3 Quotes

If you wanted to reach someplace overnight that was incomparable, different as a fairy tale, where would you go? But that was obvious! . . . A week and a half after his arrival on the island, in the early morning haze, a swift motor launch carried him and his luggage back across the waters to the naval base, where he went on land only long enough to ascend a plank gangway onto the damp deck of a ship that lay under steam and was heading for Venice.

Related Characters: Gustav von Aschenbach
Related Symbols: The Sea
Page Number: 12
Explanation and Analysis:

Who could avoid experiencing a fleeting shudder, a secret timidity and anxiety upon boarding a Venetian gondola for the first time or after a long absence? The strange conveyance, handed down without any change from ages of yore, and so peculiarly black—the only other thing that black is a coffin—recalls hushed criminal adventures in the night, accompanied only by the quiet splashing of water; even more, it recalls death itself, the bier and the dismal funeral and the final taciturn passage. And have you observed that the seat in such a boat, that armchair painted black like a coffin and upholstered in a dull black, is the softest, most luxurious and enervating seat in the world? Aschenbach noticed this when he sat down at the gondolier’s feet opposite his luggage, which was arranged neatly at the prow.

Related Characters: Gustav von Aschenbach, The Gondolier
Page Number: 16
Explanation and Analysis:

“What do you charge for the ride?”
And, looking past him, the gondolier answered:
“You will pay.”

Related Characters: Gustav von Aschenbach (speaker), The Gondolier (speaker)
Page Number: 18
Explanation and Analysis:

But at that moment he felt this casual greeting die away and grow silent in the face of the truth that was in his heart; he felt the enthusiasm in his blood, the joy and pain in his soul, and realized it was for Tadzio’s sake that the departure had been so hard on him. . . Then he raised his head and with his two hands, which were hanging down limply over the armrests of the chair, he made a slow turning and lifting motion, bringing the palms upward, as if he were opening his arms and holding them out. It was a gesture that bespoke an open welcome, a calm acceptance.

Related Characters: Gustav von Aschenbach, Tadzio
Page Number: 32
Explanation and Analysis:
Chapter 4 Quotes

Day after day now the god with the glowing cheeks, nude, steered his fiery team of four through the regions of the sky, his yellow tresses floating behind him in the east wind that was also vigorously blowing. A whitish silky sheen covered the expanse of the indolently rolling pontos. The sand burned. Beneath the silvery, glittering blue of the aether, rust-colored canvases were spread in front of the cabanas, and in the sharply outlined patch of shade that they afforded people spent the morning hours. But the evening was also delicious, when the plants in the park emitted a balmy fragrance, the heavenly bodies up above went through the paces of their round dance, and the murmuring of the benighted sea, quietly rising, cast a spell over the soul.

Page Number: 33
Explanation and Analysis:

It was the smile of Narcissus bending over his reflection in the water, that profound, enchanted, long smile with which he holds out his arms to the mirror image of his own beauty—a very slightly twisted smile, twisted by the hopelessness of his endeavor to kiss the lovely lips of his reflection, coquettish, curious and quietly tormented, deluded and deluding. He who had received this smile dashed away with it as with some fatal gift. . . . He threw himself onto a bench; beside himself, he inhaled the nighttime fragrance of the plants. And, leaning back, with arms dangling, overcome and repeatedly shuddering, he whispered the standard formula of longing—impossible in this case, absurd, perverse, ludicrous and yet even here still sacred and respectable: “I love you!”

Related Characters: Gustav von Aschenbach, Tadzio
Page Number: 42
Explanation and Analysis:
Chapter 5 Quotes

That was Venice, the obsequious and untrustworthy beauty—this city, half fairy tale, half tourist trap, in whose reeking atmosphere art had once extravagantly luxuriated, and which had inspired composers with music that gently rock you and meretriciously lulls you to rest. The adventurer felt as if his eyes were drinking in this luxuriance, as if his ears were being wooed by these melodies; he also recollected that the city was sick and was disguising the fact so it could go on making money; and he was more unbridled as he watched for the gondola that glided ahead of him.

Related Characters: Gustav von Aschenbach
Related Symbols: The Disease
Page Number: 45
Explanation and Analysis:

For several years, Indian cholera had shown an increasing tendency to spread abroad and travel. Engendered in the hot swamps of the Ganges delta, arising from the mephitic exhalations of that wilderness of primordial world and islands, luxuriant but uninhabitable and shunned by man, in whose bamboo thickets the tiger crouches, the epidemic had raged throughout Hindustan unremittingly and with unusual violence, had spread eastward to China, westward to Afghanistan and Persia, and, following the main caravan routes, had brought its horrors as far as Astrakhan and even Moscow. But while Europe trembled in fear lest the phantom might enter its territory from that point, and by land, it had been carried across the sea by Syrian merchants, had appeared in several Mediterranean ports simultaneously, had raised its head in Toulon and Malaga, had shown its mask repeatedly in Palermo and Naples, and seemed to be a permanent fixture throughout Calabria and Apulia. The north of the peninsula had been spared. But in the middle of May of this year the fearful vibrios had been discovered in Venice twice in the same day, in the emaciated, blackened corpses of a cargo-ship crewman and a female greengrocer. . . . In fact, it seemed as if the epidemic had experienced a revivification of its strength, as if the tenacity and fertility of the germs that caused it had redoubled.

Related Symbols: The Disease
Page Number: 52-53
Explanation and Analysis: