The Magic Mountain: Part 6, Chapter 8: A Good Soldier Summary & Analysis

Joachim has been keeping in touch with Hans ever since he left. At first he writes with good news, detailing his rise through the ranks. By April, he’s become a lieutenant. Joachim was made to serve in the military, and his postcards convey his happiness at his new life in the service. But in late spring, things take a turn for the worse: he’s been put on a sick list and put on bed rest. Things improve by June, but then he’s ordered to rest again. It’s clear that he’s worried he’ll miss out on major tasks. At last, Hans receives a telegram from Joachim’s mother telling him that the military has recommended Joachim return to the Alps and to reserve two rooms. Reading this, Hans is overcome with joy: Joachim will be back! He laments Joachim’s bad luck, though, noting the misfortune that his body has turned on him. 

When Hans relays the new to Behrens, Behrens isn’t surprised at all. Hans spreads the news of Joachim’s return to all the residents, and they receive this news with a mix of sadness and happiness. Soon, Joachim and his mother Luise Ziemssen arrive, and it’s just like Hans’s arrival, only the reverse. Hans is shocked to see Joachim dressed in civilian clothing—he’d been picturing Joachim in his uniform. Joachim calls him naïve. Luise greets Hans, trying to appear happy, but it’s clear she’s very worried about her son.

In the dining hall, Frau Ziemssen remembers that she recently met a young woman, a fellow patient, who wanted her to pass on her regards to Hans. Joachim confirms, quietly, that the woman is Frau Chauchat. Hans manages to conceal his emotions, feigning nonchalance. Frau Ziemssen explains that Clavdia plans to go to a sanatorium in Spain but wants to return to the Berghof that winter. Though Hans tries to conceal how Frau Ziemssen’s news has affected him, it’s made obvious by the ensuing awkward silence . 

Joachim settles back into life at the Berghof, and Hans accepts it as his job to comfort and reassure his cousin. He insists that Joachim’s time here will heal him and that he’ll return to his service before he knows it. Settembrini stops by to welcome Joachim back, and Hans and Joachim resume their visits to Naphta, too. In short, things pick up where they were before Joachim left.

On one of Hans’s visits to Naphta, Naphta broaches the subject of freemasonry, noting that Settembrini belongs to the society. Naphta, of course, speaks critically of the organization, emphasizing the historical excesses of their rituals as well as its influence in world politics. When Hans later confronts Settembrini for his insider’s perspective, Settembrini dismisses Naphta’s criticism about the society being political, noting that “everything is politics.” And, what’s more, the task of the Freemason is a noble one: it's about governance and the improvement of humanity.

Hans next asks if Settembrini or the Freemasons in general believe in God. While there is no unified group of Masons, Settembrini explains that if there were one, their motto would be Écrasez l’infâme (“crush the evil thing,” meaning the Catholic Church). In general, Masons would maintain that metaphysical are evil, since they distract people from the important task of improving life on earth. When Hans muses that it's “terribly Catholic” to deny God in this way, Settembrini launches an attack on the Protestantism of Hans’s native Germany, suggesting that Protestantism and Luther, its creator, possess dangerous “Eastern” traits.

Settembrini continues, expressing his concern for the fate of modern Europe, which lies in Germany’s hands. The country must choose between the Eastern and Western spheres it is trapped between. When Hans doesn’t respond, Settembrini criticizes Hans and Germany’s profound silence and rejection of “the articulate world,” which he deems dangerous.

One day, Settembrini and Naphta engage in a very public altercation outside, which Hans, Joachim, Ferge, and Wehsal witness. The altercation takes place in front of the Kurhaus. The four Berghof boys are there having food and drinks when they run into Settembrini, and then Naphta stops by too. The conflict kicks off after Naphta criticizes Virgil, whom Settembrini values above all poets. Settembrini shoots back that the early Church would go out of its way to warn people against the lies of ancient poets and philosophers, but what they really feared was education. Ultimately, Settembrini concludes that his and Naphta’s fight is a conflict “between literature and barbarism,” and Settembrini is confident he knows which side the intelligent, impressionable youth will always take.  Hans can’t help but think this last comment is directed at him.

Settembrini and Naphta fight back and forth, with Settembrini asserting the voice of reason, progress, and humanism, and Naphta standing as the voice of “disciplined love” and religious experience. Hans is a bit distracted throughout the argument, though, noting how sickly Joachim appears. On the way home, Hans convinces Joachim to get his sore throat examined and get something to alleviate his suffering. The head nurse comes by Joachim’s room later, peers down his throat, and confirms that he’s come down with a cold. She leaves him with some medicine and bandages. After Behrens examines him, it’s clear that Joachim won’t be making another “fraudulent” exit from the Berghof. He needs to make a full recovery if he wants to return to his military service.

Hans starts seeing a fearful expression in Joachim’s eyes. Once, he sees this expression in the dining hall when Joachim chokes on something and coughs so hard he can’t catch his breath. He runs from the dining hall to finish his coughing in private. He returns a while later, smiling and apologetic.

Later, Behrens examines Joachim’s throat and determines that it will have to be painted every day. He sets to work preparing the cauterant. Later, Hans tries to comfort Joachim, insisting that Behrens knows what he’s doing and will cure him. Joachim doesn’t respond. Gradually, the “honor-loving” Joachim grows dismal and obstinate. He stops making eye contact and spends a lot of time alone out on his balcony.

After many failed attempts, Hans manages to get Behrens alone to interrogate him about Joachim’s health. Surely, Hans asks the doctor, Joachim’s condition is “harmless,” right? Behrens scoffs at Hans for always wanting everything to be “harmless.” He accuses Hans of asking him to sugarcoat the truth in order to comfort him—of not being able to accept struggle. Joachim, Behrens declares, is just the opposite: he sees things how they are, accepts them, and says nothing. He knew the possible consequences of his choice to return to the military, and now he’s accepting what’s come his way. In short, he’s a real man.

Hans realizes the implication and confirms that things don’t look good for Joachim. Behrens explains that Joachim’s larynx is rapidly deteriorating. He urges Hans to be good to Joachim these next six to eight weeks. From then on, Joachim has his throat painted daily. He can’t eat normal foods anymore, for fear of choking, and he’s served stew and porridges instead. Hans and Joachim continue to take daily walks together, but Joachim keeps his head down and doesn’t speak much. His eyes look sad all the time. When Hans accidentally walks in on Joachim talking with Marusya—whom, out of honor, he never once  dared to speak with in all the months they sat at the same table—Hans knows that all is lost.

Soon, Joachim is bedridden. It’s clear from his eyes that he wants his mother there. Behrens signs off on this, and Frau Ziemssen arrives as soon as possible. When she looks in Joachim’s eyes, it’s clear to her and Hans that Joachim knows he’s dying. After his mother arrives, it becomes difficult for Joachim to shave, and a week later he has a thick, black beard. His face changes too, and it seems to Hans that in Joachim’s final hours of life, he becomes an old man. 

Joachim dies at seven o’clock in the evening. Hans and Frau Ziemssen are in the room with him. When it happens, Luise Ziemssen runs from the room crying, so it falls to Hans to gently “close the eyelids of the motionless form that no longer breathed.” A nurse notifies Behrens, who comes to the room and silently observes Joachim’s corpse. Behrens remarks that Joachim’s “honor was the death of him,” or perhaps it’s the opposite: “death did him the honor.” Not long after, arrangements are made for Joachim’s body to be transported home. Soon, the coffin arrives. Hans lifts the corpse from the bed and places it inside. Two days later, Joachim appears to smile under his beard, and Hans is glad the professionals will soon pick up the coffin and take it away.