Fascinating stuff here and above. The idea of artistic creativity being akin to disease pervaded Thomas Mann, especially in its German romantic form of unfulfillable longing ("Sehnsucht"), being ultimately a death wish and an urge that places the artist not just apart from normal society but from life itself (I can't help thinking of Kafka's Gregor Samsa waking up to discover that he had turned into a beetle overnight). The incipient artistic bent of Tonio Kröger, the hero of Mann's novella of the same name, is seen by his patrician Hamburg family as like becoming a "gypsy in a green wagon", a phrase which becomes a recurring leitmotiv. When Hans Castorp visits the sanatorium on the Magic Mountain he puts aside his wholesome reading matter, a technical volume about ocean steamships, and succumbs to the delights of the artistic speculations of the gallery of "sick" people who inhabit the place. Gustav Aschenbach went off to the festering but seductive plague-ridden Venice to die an artist's death, like Richard Wagner had done in real life.



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