Style and Technique

(Comprehensive Guide to Short Stories, Critical Edition)

The principal characteristic of Mann’s style in this story is irony. The story about the professor’s dedication to the past and his conflicting emotions about the younger generation’s ways is told in the present tense; in addition to giving the narrative dramatic immediacy, the use of the present tense highlights the underlying theme. Mann’s distinctive use of telling details is particularly evident here; even minor characters such as the good-for-nothing young manservant and the blue-faced nurse spring to life in a few sentences. The professorial protagonist is characteristically thoughtful, serious, courteous, and restrained; his feelings are merely suggested or briefly mentioned, while his thoughts are expressed clearly and forcefully. Thus, Mann avoids bitterness, contempt, or sentimentality. In the end, the effect of this restrained and controlled style is deeply moving.

Disorder and Early Sorrow Historical Context

Germany of the Post War Period
‘‘Disorder and Early Sorrow’’ was first published in 1925, midway between the end of...

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Disorder and Early Sorrow Literary Style

Point of View and Setting
In ‘‘Disorder and Early Sorrow,’’ the story is narrated in a limited third-person point of...

(The entire section is 819 words.)

Disorder and Early Sorrow Compare and Contrast

1924: To curb inflation, Germany issues a new Reichmark. Each new Reichmark is worth one billion of the old marks, which are...

(The entire section is 259 words.)

Disorder and Early Sorrow Media Adaptations

‘‘Disorder and Early Sorrow’’ was adapted by Franz Seitz for the film ‘‘Disorder and Early Torment,’’ Jugendfilm, 1977.

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Disorder and Early Sorrow What Do I Read Next?

A Man and his Dog (1919) by Mann. This is an autobiographical story about life in Munich. This story, a ‘‘depiction of idyllic...

(The entire section is 265 words.)

Disorder and Early Sorrow Bibliography and Further Reading

Sources

Bolkosky, Sidney. ‘‘Thomas Mann’s ‘Disorder and Early Sorrow’: The Writer as Social Critic,’’ in...

(The entire section is 241 words.)