XXXIX
During a visit to Zurich, L. makes the acquaintance of the French Swiss stage designer Marie Godeau. Soon after, he announces to a surprised Z. that he intends to marry her. (Z. does not yet know that by doing so L. would transgress against the pact discussed in chapter XXV). We also get an overview of Munich social life during the mid-1920s, which has changed quite a bit from what we saw in chapter XXXIV.
Time of composition: September 7–22, 1946. Time of narration: In or after July 1944. Narrated time: 1924–1925.
| | Z. is referring specifically to the informal pronoun of address du, which Rudi has been using with L. ever since their stay in Hungary. |
| In the final days of 1923 | An error on Woods’s part. The original has “1924,” which is consistent with the chronology established in chapters XXXVI and XXXVIII. |
| the Swiss Chamber Orchestra […] Herr Paul Sacher | Another real-life ensemble, though not founded until 1926 as the “Basel Chamber Orchestra.” |
| | |
| Dr. Schuh, the excellent music critic | Willi Schuh (1900–1968), music critic of the Neue Zürcher Zeitung, publicly defended TM against his ultra-nationalist critics following the publication of TM’s controversial Sorrows and Greatness of Richard Wagner (1933). |
| the most beautiful black eyes | Godeau’s black eyes and dark brown hair move her into the vicinity of Rosaline in Love’s Labour’s Lost, and through Rosaline also to the “Dark Lady” from Shakespeare’s sonnets. See 231/315. |
| resemble Elsbeth Leverkühn’s voice | A resemblance that possibly elevates Godeau into the company of the various protective mother figures that populate DF. |
| | |
| You once tendered me kindred disclosures | In chapter XXII, when Z. announced his impending marriage to L. |
| the affair was almost beyond belief | But only “almost,” since this episode actually took place and received extensive news coverage. On Gleichen-Russwurm, see 215/294. |