The concept of the artist as a heroic figure on a noble quest for beauty has a long-standing tradition in Western literature, especially in romantic and modern texts. Mann depicts von Aschenbach as an artist who has sacrificed his emotional life and distanced himself from sensory pleasures in order to craft beauty through his narratives. In the second chapter, the narrator observes about von Aschenbach, “Even as a young man . . . he had considered perfectionism the basis and most intimate essence of his talent, and for its sake he had cooled his emotions.” As a writer motivated by ideals and a moral obligation to pursue beauty at any cost, even at the risk of his health, von Aschenbach views himself as similar to heroic figures like Socrates and St. Sebastian, an early Christian martyr, both of whom dedicated their lives to a higher purpose. A critic in Mann’s novella points out that the type of hero von Aschenbach admired in his stories was defined by “an intellectual and youthful manliness which grits its teeth in proud modesty and calmly endures the swords and spears as they pass through its body.” Von Aschenbach felt pride in this portrayal, believing it accurately captured the essence of his work. Mann explores the repercussions when von Aschenbach loses control over his passions and can no longer distinguish between art and life.

Death in Venice has established itself as a pivotal work in gay literature, even though the novella contains no sexual encounters and does not openly discuss homosexuality. Despite this, von Aschenbach’s feelings for Tadzio, which he justifies as admiration for the boy's beauty, are undeniably sexual. His intense attraction becomes apparent through his physical reactions when he sees Tadzio. Mann delves into the theme of same-sex love mainly through references to Greek mythology. He draws comparisons between von Aschenbach’s infatuation with Tadzio and Socrates’s affection for Phaedrus, as well as Apollo’s love for Hyacinthus. Ancient Greek society was famous for its homosexual relationships, particularly the love older Greek men had for younger boys. Death in Venice is not a warning about the dangers of homosexual love. Instead, Mann uses their relationship to underscore the risks of letting emotions dominate reason and to highlight the link between desire and death.

In Death in Venice, Mann explores how the pursuit of erotic beauty, at the expense of reason and self-discipline, can lead to downfall and demise. Before traveling to Venice, von Aschenbach represents rationality and a commitment to strict artistic beauty in his literary work. However, upon his arrival in Venice, he meets Tadzio, who embodies erotic allure and sexual possibility—something von Aschenbach has long suppressed in himself. His obsession with Tadzio causes von Aschenbach to rationalize or ignore actions he would have once deemed unacceptable. He begins wearing jewelry, dyeing his hair, and dressing extravagantly to capture Tadzio's attention. By choosing to remain in Venice despite being aware of the cholera outbreak, von Aschenbach puts his life in jeopardy. Mann further highlights the link between erotic beauty and death through symbolic imagery, such as von Aschenbach's dream of a jungle where primitive people engage in a Bacchanalian orgy, worshipping a colossal phallus. The setting of Venice—a city that is both alluring and decaying, corrupt and hazardous—also reinforces this theme.

At the heart of the novella lies Mann's concern for the future of classical humanism. This type of humanism, which focuses exclusively on the formal mastery of life, has consistently overlooked and failed to recognize the more persistent and destructive elements of human nature. In contrast to his...