ABSTRACT
This paper examines the references to classical Greek and Roman mythology as the foundation for the artistic conflict in Mann’s Death in Venice. The early chapters establish the conflict between the skillful, dedicated Apollonian artist—represented by Aschenbach—and the sensual, arousing appeal of Dionysian art—represented by Tadzio and the Venice surroundings. Mann’s inspiration for this conflict is Nietzsche’s The Birth of Tragedy, which establishes the Apollonian and Dionysian models of art, proposes how they must be balanced in order to produce art of the highest degree and how its failure to become balanced among Germanic artists will lead them to their art’s corruption and their artistic self-destruction.
Keywords: Thomas mann, Greek and roman mythology.