Abstract

Abstract At his death in 1955, Thomas Mann had a unique reputation. He was acknowledged not merely as the greatest modem German novelist, but as something like a living sum of German culture. In part this view derived from his work. It was markedly intellectual and rich in literary and philosophical allusion. It rested, as he often pointed out, on foundations in the art and thought of the nineteenth century-Schopenhauer, Nietzsche, Wagner. From his middle years, Mann began to link himself with the greatest figure in German literary culture, Goethe, and eventually celebrated a ‘mystical union’ with him in the novel Lotte in Weimar, where quotation and allusion, from being a favoured technique, became the continuous substance.

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