Essay on Relationship between Art and Life in Death in Venice

Relationship between Art and Life Explored in death in Venice The novella Death in Venice by doubting Thomas Mann examines the temperament of the relationship between art and life. The progression of the main character, Gustave Von Aschenbach, illustrates the concept of an Apollinian/Dionysian continuum. Apollo is the Greek graven image of art, thus whateverthing Apollinian places an emphasis on form. Dionysus is the Greek god of wine and chaos, hence something Dionysian emphasizes energy and emotion. In The Birth of disaster Friedrich Nietzsche suggests that,... the continuous development of art is bound up with the Apollinian and Dionysian duality--just as procreation depends on the duality of the sexes, involving perpetual strife with only sporadically intervening reconciliations.. in the Greek world there existed a terrible opposition, in origin and aims, between the Apollinian area of sculpture, and the nonimagistic, Dionysian art of practice of medicine (33). The Greek s embodied this concept in the clear figures of their gods just as Thomas Mann, a great reader of Nietzsche, embodied it in his characters (33). At the root word of the novel, Gustave is depicted as an extremely, if not overly, civilized man. He is an artist, but he approaches art coldly and rigidly. It is more a job than a felicity for him, and it is actually his urge to seek flight from his rigid, cold, and passionate service that brings him to Venice (Mann 6). Although Gustave loves this service, he is currently in a state of frustration To him it seemed that his work had ceased to be marked by that fiery play of fancy that is the product of joy... (7). His beliefs hobo be summarized in the words mind and art, thus missing the of import ingredients of life and sensuality. Gu... ... painting Figures on Rocks at the Edge of the Sea. Life is build to be problematic if lived at either extreme, a midpoint of some type must be established. A dynamic state of oscillation, the sh ell environment for the cultivation of creativity, would have prevented Gustaves uncontrollable exhibition of previously control Dionysian qualities. The ideal state for the production of art and living in general seems to be a mixture of art, mind, and life. Works Cited Mann, Thomas. Death in Venice and Other Stories. New York Random House, Inc., 1989. Nietzsche, Friedrich. The Birth of Tragedy from the Spirit of Music. 1872. In The Birth of Tragedy and The Case of Wagner. Trans. Walter Kaufmann. New York Vintage Books, 1967. Vibert, Jean-Georges. Figures on Rocks at the Edge of the Sea. Snite Museum of Art, Notre Dame, Indiana.