Index

Aachen (Germany), 52, 80n7, 135

“Abendständchen” (Brentano), 170

abstract expressionist art, 42

acoustics, 99, 132

Adorno, Theodor W., 17, 81, 210; on Beethoven, 105–6; as devil figure, 108, 108n20, 183; dialectical approach of, 141, 171; dissertation of, 55n9; early essays of, 206; influence on Mann, 8, 10n18, 26–27, 44, 84, 96, 139, 140, 141, 145, 171; jazz and, 204; as Jew, 69; as Mann’s musical advisor, 55n9, 105, 200, 224, 226; Mann’s relationship with, 105n13; as Mann’s US neighbor, 8, 26, 55n9; montage technique and, 47; on musical vs. literary composition, 179; polyphony as defined by, 160; works by: “Late Style in Beethoven,” 26, 105–6, 140, 160; Noten zur Literatur, 179. See also Philosophy of New Music (Adorno)

Adventures of Huckleberry Finn, The (Twain), 40

Albertus Magnus, 157

alchemy, 136, 137, 150, 157, 226

Alfred A. Knopf publishers, 28, 69

allegory, 78–79, 114–15. See also Doctor Faustus (Mann)—music theory and political allegory in; Doctor Faustus (Mann)—theological allegory in; Doctor Faustus (Mann)—typological allegory in

Also Sprach Zarathustra (Nietzsche), 131

ambiguity, 122

American Civil War, 193

American Guild for German Cultural Freedom, 78n1

American-German Review, The, 144

anabaptists, 87

Anbruch (music periodical), 206

Andersen, Hans Christian, 182, 229

Animal Farm (Orwell), 79

Antichrist figures, 118–19

anti-intellectualism, 149

anti-Semitism, 62, 174; DF references to, 5, 70–71; German language and, 195; of German student fraternities, 57; Mann and, 68–70, 128

Apocalipsis cum figuris (oratorio; Leverkühn): composition of, 65, 82, 84, 104, 199, 201; Dürer and, 82; as Leverkühn “middle period” piece, 84, 103, 107; modernity and, 104; musical description of, 200, 203–4; polyphonic technique in, 111–12; as premodern composition, 86, 109

Apocalipsis cum figuris (woodcut series; Dürer), 65, 82, 118, 199, 262–66 figs. 5–9

apostasy, 118

Arianna, L’ (opera; Monteverdi), 225

“Art of the Novel, The” (Mann), 47

As You Like It (Shakespeare), 217

“At the Prophet’s” (Mann), 66n23

Auerbach, Erich, 79

Auerbach’s Inn (Leipzig, Germany), 159, 160

Auschwitz concentration camp, 68

Austria, 193

authoritarianism, 113

avant-garde culture, 47, 109, 209, 210

avant-garde music, 20, 96, 203, 206

Bach, Johann Sebastian, 10, 50, 53, 98, 99, 143, 158, 159, 164

Ballets Russes, 193, 210

barbarism, 101–2, 178

Bartók, Béla, 183

Basel (Switzerland), 169

Baudelaire, Charles, 189

Bavarian Soviet Republic, 63–64

BBC, 24

Beebee, William, 189

Beethoven (Bekker), 26

Beethoven, Ludwig van: as Christ figure, 118, 139; deafness of, 85, 85n20; death of, 85; DF lectures on, 87, 88, 139–41, 145, 172, 184, 227; DF typological allegory and, 84–86, 93, 105–8; “early period” of, 106, 139, 140; German music identity and, 10; “Heiligenstadter Testament” of, 85n20; homophony of, 67, 104–8; “late period” of, 85–86, 105–6, 139, 140, 178, 184, 222; Mann’s research on, 26, 27; “middle period” of, 85, 106, 139, 140–41; patrons of, 142; redemption motif and, 195; spiritual liberation vs. political liberty, 94; as syphilitic, 85; “Tenth Symphony” of, 217; Wagner and, 145; works by: Fidelio, 85–86, 94, 121, 133, 147, 195; Missa solemnis, 88, 93, 118; Overture no. 3 (“Leonore”), 147, 195; String Quartet no. 13, 142; Symphony no. 3 (“Eroica”), 85; Symphony no. 8, 140. See also Piano Sonata no. 32 (Opus 111; Beethoven); Symphony no. 9 (Beethoven)

Beissel, Georg Conrad, 87–88, 93, 94, 95, 112–13, 139, 144

Bekker, Paul, 96, 101, 107, 139, 145; works by: Beethoven, 26; The Story of Music, 26, 99, 102, 146, 203

Benjamin, Walter, 81, 92

Berg, Alban, 226

Bergsten, Gunilla, 46

Berlioz, Hector: Faust adaptations of, 34, 35; as late Romantic composer, 162; Leverkühn and, 10; Mann’s research on, 26; works by: The Damnation of Faust, 35, 137; Symphonie Fantastique, 35, 200, 213

Bermann-Fischer Verlag, 28, 69

Bertram, Ernst, 92, 155

Beßlich, Barbara, 38–39n9

Bible, 125

“Bilse and I” (Mann), 25, 46–47

black magic, 78, 156, 157

“Black Swan, The” (Mann), 114

Blake, William, 187

“Blood of the Walsungs” (Mann), 69

Blue Angel, The (H. Mann), 51

Blüher, Hans, 14–15, 14n24

bodily heat motif, 139, 145

bohemian vs. bourgeois dynamic, 59, 59n15

Böhm, Hans, 135

Bolshevism, 198, 206

Borchmeyer, Dieter, 81n12, 119, 119n6

bourgeois culture, 59, 173, 191, 196, 203

bourgeois humanism, 105, 200

Brahms, Johannes, 10, 166, 172, 217

breakthrough concept, 63, 121–22, 185, 192, 195, 228

Brecht, Bertolt, 78n1, 134, 224

Breisacher, Chaim (character), 100; as allegory, 74; biographical sketch, 231; conservatism as viewed by, 101–2; as Jewish character, 71, 73, 74, 102n11, 209; model for, 61n17, 190, 231; Riedesel vs., 190; völkisch ideology of, 61–62, 102n11, 103, 190

Brentano, Clemens, 164, 170, 217

Brentano Songs (Leverkühn), 57, 110, 167, 181, 217

Breuer, Stefan, 55n10

Brexit referendum, 5

Broch, Hermann, 70

“Brother Hitler” (Mann), 59n15

Brothers Karamazov, The (Dostoevsky), 180

Buchel farm, 42, 60, 89, 103, 118, 132, 170, 173

Buchenwald concentration camp, 5, 70, 223

Budapest (Hungary), 207

Buddenbrooks (Mann), 23; anti-Semitic dog-whistles in, 69; composition history, 176; decaying teeth motif in, 219; illness and allegory in, 114; montage technique in, 46

Bulgakov, Mikhail, 34

Bülow, Hans von, 10, 215, 216

Busoni, Ferruccio, 34

Buxtehude, Dietrich, 169

C major, 35

Calm Sea and Prosperous Voyage (Mendelssohn), 162

“Camps, The” (Mann), 68, 219, 223

Camus, Albert, 4, 38

Capercailzie, Mr. (character), 188

capitalism, 78n1

Catholic Church, 53–54, 157

chapbooks, 31. See also Historia von D. Johann Fausten (chapbook)

Charles V (Holy Roman Emperor), 30

Cherubini, Luigi, 162

Chladni, Ernst, 99, 130, 132

chords, 46

Christ figures, 139

Christian theorists, 79, 114, 115

chromaticism, 107, 108, 146

Chronicle of My Life (Mann), 161

church modes, 146, 165

classicism, 184

Clermont-Tonnère, Duchess de, 209

Cocteau, Jean, 211

coldness motif, 157, 161, 182, 185, 195

Colin, Saul C., 72, 233

collage technique, 48

collective memory, 24–25, 117

“Coming Victory of Democracy, The” (lecture; Mann), 95

communism, 104

concentration camps, 5, 68, 70, 223

Congress of Vienna (1814–1815), 85, 86

conservatism, 190

Conservative Revolution, 54, 149, 171

contritio, 122, 157

cosmopolitanism, 73, 133

counterpoint, 133, 141

Counter-Reformation, 54

courtship triangles, 193, 217

Cracow (Poland), 219

Crimea, Russian invasion of, 5

Crotus Rubanius of Dornheim, 127, 149

“cultic” vs. “cultural,” 128, 129, 143, 144, 146

“cultural Bolshevism,” 206

culture vs. barbarism, 178

Damnation of Faust, The (opera; Berlioz), 35, 137

Danse macabre (Saint-Saëns), 137

Dante Alighieri, 125, 127, 166, 200

Darwinism, sublimated, 65–66

David, Hans Theodore, 144

de Kooning, Willem, 42

de Man, Paul, 63n18

Death in Venice (Mann), 13n22, 23, 38n8, 114, 163

Debussy, Claude, 162

decaying teeth motif, 219

Delacroix, Eugène, 35

democracy, 14–15, 24, 94–95, 178, 202

“Democratic Vistas” (Whitman), 14

Denmark, 193

Derleth, Ludwig, 66, 66n23, 202

Deussen, Paul, 46, 57, 78, 88, 89

Deutschlin, Konrad (character), 56, 82, 155

devil: informal language used by, 180; Kierkegaard and, 55n11; Pythagorean comma and, 99

devil figures: Adorno, 108, 108n20, 183; in Chapbook, 181, 188; Fitelberg, 42, 53, 208; informal language used by, 180; Kretzschmar, 54; red-headed porter, 116; Schleppfuss, 41, 42, 54, 151, 160, 185; shape-shifting stranger, 179; in Weber Der Freischütz, 99n7; Zeitblom, 43n15

devil’s pact theme: in Chapbook, 31–32, 158; in DF, 57, 116–17, 162, 179, 214; Paganini and, 165; syphilis and, 116–17, 179; in Weber Der Freischütz, 147, 195

Dialectic of Enlightenment (Adorno and Horkheimer), 143

digressions, 48, 49

“Disorder and Early Sorrow” (Mann), 154

dissonance, 99, 108, 111, 112, 146, 163

Divine Comedy (Dante), 200

Dnieper River, 168

Döblin, Alfred, 47

Doctor Faustus (Mann), 46, 154; anti-Semitism as addressed in, 70–71; Author’s Note in, 16, 28, 110, 173, 230; central theme of, 4–5; chapter divisions in, 41–44; characters in, 231–42; Christological aspects of, 119, 142, 148, 156, 176, 177, 194, 227; composition history, 23–27, 30, 31–32, 89, 126; devil’s pact theme in, 57, 116–17, 162, 179, 214; edition choice, 16–18; extra-German dimension of, 10, 10n19; geographical references in, 13n22; as German vs. American novel, 29; historical lateness of, 44n19; humor in, 4, 11–12, 56, 129, 166; Jewish characters as portrayed in, 68, 71–74, 102n11, 209; laughter motif in, 131; literary parallels, 4, 12; Mann’s acquaintances as characters in, 164, 165; Mann’s intentions for, 3–4, 3n2, 4nn4–5, 44n19, 48, 92; montage in, 26–27; narrative structure of, 34, 168; as “Nietzsche novel,” 57, 89, 194; parody in, 7, 109, 159, 169, 212; publication history, 27–29, 43; questions to consider, 19–20; redemption motif in, 35; research behind, 25–27, 80–81, 87, 189, 222; Rodde episodes in, 58–59; structure of, 10; timeline of, 50, 243–48; vagueness of, 5

Doctor Faustus (Mann)—as modernist novel: Faust tradition and, 36; Joyce and, 37–38; medium specificity in, 41–44; montage technique in, 46–49, 136–37; narration style and, 12, 38–44, 48–49; polyphonic technique in, 44–46, 49, 77–79

Doctor Faustus (Mann)—current relevance of: democratic backsliding and, 4–6, 8–9; music as allegory, 6–11, 42–44, 43n15; politics of inevitability/eternity and, 8–9; as queer text, 12–15, 13n22

Doctor Faustus (Mann)—historical settings of: German Revolution (1918-1919), 63–65, 69–70; Halle an der Saale (Germany), 53–57; Kaisersaschern (fictional), 50–53, 80, 80n7; Leipzig (Germany), 57; montage technique and, 50–51; Munich (Germany), 58–59, 60–62; Palestrina (Italy), 59–60; Pfeiffering (fictional Bavarian town), 60; significance of, 50; World War I, 62–63. See also specific historical setting

Doctor Faustus (Mann)—music theory and political allegory in: homophony and, 104–8; polyphony and political culture, 100–103; Pythagorean music theory and, 97–100; significance of, 96–97; strict style and, 108–13

Doctor Faustus (Mann)—theological allegory in: illness and, 114, 115–17; lamentation and redemption, 119–22; Leverkühn as Christ figure, 117–19

Doctor Faustus (Mann)—typological allegory in: Beethoven and, 84–86, 105–8; Beissel and, 87–88; difficulty of, 91–92; Dürer and, 80–82, 134; Kaisersaschern and, 79–80, 134; Luther and, 82–84; Nietzsche and, 88–91; polyphonic technique and, 77–79

dodecaphony. See twelve-tone music

Dostoevsky, Fyodor, 180

Doyle, Arthur Conan, 38n8

Dürer, Albrecht, 11; death of, 85; DF typological allegory and, 80–82, 93; historical settings and, 50, 134, 136; Italian travels of, 181; Leverkühn works inspired by, 65, 199; Mann’s research on, 26; Nietzsche and, 82, 155; portraits of, 115, 130, 133; as syphilitic, 115; works by: Apocalipsis cum figuris, 65, 82, 118, 199, 262–65 figs. 5–9; Knight, Death, and the Devil, 82, 155, 161, 165, 261 fig. 4; Master-Builder Jerome of Augsburg, 136, 260 fig. 4; Melencolia I, 11, 81–82, 150; Portrait of a Young Venetian Woman, 133, 259 fig. 2; Portrait of Philip Melanchthon, 258 fig. 1; “Self-Portrait at Twenty-Eight,” 80

Ecce Homo (Nietzsche), 117, 149, 161, 225

Eichendorff, Joseph von, 139

Eisenach (Germany), 154

Eisenstein, Sergei, 47

Eisleben (Germany), 50

Eisner, Kurt, 63, 64

El Greco, 229

elegy, 195

Elizabethan literary conventions, 32–33

Ellison, Ralph, 4, 38

“End, The” (Mann), 219

“end of history” thesis, 9

Enlightenment, 222

Ephrata community (United States), 87, 103, 112–13, 139, 144

epic tradition, 50

Erb, Karl, 204

Esmeralda (character): biographical sketch, 232; devil’s pact theme and, 57, 162; foreshadowings of, 152, 205, 207; in Hugo Hunchback of Notre Dame, 133; Hungarian background of, 207; Leverkühn contracts syphilis from, 57, 115, 162; Leverkühn’s first encounter with, 78, 158; Wagner Parsifal and, 163

Esméralda (unfinished opera; Massenet), 211

eternity, politics of, 8–9, 11, 48, 113, 121

“Evening Song” (Brentano), 170

Everyman’s Library edition, 16

eye motif, 45, 171, 174, 214, 216, 220, 222

fascism, 48, 202; ethos of, 235; German youth culture and, 154; Leverkühn and, 119, 235; Nietzsche and, 89–90, 93

Faust (Goethe): DF allusions to, 155, 159, 160, 171, 172, 206, 209, 225; influence on DF, 33–34; operatic adaptation of, 211; pentagram in, 98–99

Faust (opera; Gounod), 35, 211

Faust myth: apostasy themes and, 118; historical origins of, 30–31; in literature, 31–34, 127; melancholia and, 81, 81n12; in music, 34–35

Faustus (historical figure), 30–31

“Festival of Spring, The” (Klopstock), 187–88

Fidelio (opera; Beethoven), 85–86, 94, 121, 133, 147, 195

fifths, circle of, 97–99, 100, 112, 136, 138

figura, 79, 81

Finnegans Wake (Joyce), 7, 109

Firebird Suite (Stravinsky), 162

Fischer, Ernst, 52

Fitelberg, Saul (character), 32; as allegory, 74; biographical sketch, 233; chapter devoted to, 207–12; as devil figure, 42, 53, 208; as Jewish character, 72–73, 74, 209; models for, 72, 233

flagellants, 116

Fleurs du mal, Les (Baudelaire), 189

Flying Dutchman, The (opera; Wagner), 35, 163

Fontane, Theodor, 50

Ford, Ford Madox, 12

Förster-Nietzsche, Elizabeth, 89

France, 193

Francke, August Hermann, 53

Frank, Bruno, 198

Frankfurt School, 105n13

fraternities, 55–57, 153

“Frederick the Great and the Grand Coalition” (Mann), 193

Freideutsche Position, Die (fraternity newsletter), 56–57, 154

Freischütz, Der (opera; Weber), 35, 99n7, 147, 160, 181, 195

French music, 53, 155, 162

French Revolution, 105

From Caligari to Hitler (Kracauer), 51

fugue, 142, 172

Fukuyama, Francis, 9

Gay Science, The (Nietzsche), 235

Generation of 1914, 153, 173, 191, 192

generational identity, 56, 154

geometry, 81–82

“German Catastrophe,” 4, 4n5

German culture: as cosmopolitan, 52; fascism and, 154; Luther and, 149; youth culture, 154

German film, 51

German identity, 180, 211

German Pietism, 53

German Revolution (1918-1919), 24, 63–65, 69–70, 82, 86, 206

German Romanticism, 164

German Studies, 105n13

German university life, 54–57

Germanness vs. Jewishness, 72–73

Germany: as “belated nation,” 155; Second Reich, 193. See also Nazi Germany

“Germany and the Germans” (lecture; Mann), 89, 92; on Luther and German culture, 83, 94, 152; on music as order/chaos, 97; on Nazism and the German character, 77–78, 219, 224

Gesammelte Werke (GW) edition, 16–17, 17n2

Gesta Romanorum, 33, 63, 181, 193

Gesta Romanorum (puppet opera; Leverkühn), 120, 192, 194, 195

Gestapo, 185

Gewandhaus (Leipzig, Germany), 160

Godeau, Marie (character): biographical sketch, 233; DF dramatic focus and, 34; eyes of, 45, 214, 216; Leverkühn’s relationship with, 43, 177, 214, 215, 216, 217; love triangle involving, 177, 193, 216; marriage of, 217–18; models for, 233; as mother figure, 214; Zeitblom as narrator and, 39

Goebbels, Joseph, 39, 229

Goethe, Johann Wolfgang von: Mann and, 50, 80; works by: Poetry and Truth, 148; Tame Xenias, 219; Wilhelm Meister, 213. See also Faust (Goethe)

Goldberg, Oskar, 61n17, 190

Goldhagen, Daniel, 117, 223

Good Soldier, The (Ford), 12

Göring, Hermann, 168

Gounod, Charles, 34, 35, 211

Great Depression, 5

Greenberg, Clement, 42

Grétry, André, 162

Grimmelshausen, Christoffel von, 46, 148, 150, 156

Große kommentierte Frankfurter Aufgabe (GKFA) edition, xi, 16–17, 17n2

Gründgens, Gustav, 157

Gumpert, Martin, 116

Half Mile Down (Beebee), 189

Halle an der Saale (Germany), 53–57, 148–56, 159

Hamburger, Käte, 194, 195

Händel, Georg Friedrich, 99

harmony, 82, 99–100, 141, 145, 146, 172

Haydn, Franz Josef, 100, 226

“Heiligenstadter Testament” (Beethoven), 85n20

Heine, Heinrich, 34, 35n7

Helen of Troy, 129, 167, 228

hell, 185, 188

Helmstetter, George, 30

Hentsch, Richard, 194

Herz, Ida, 194

Herzog, Wilhelm, 70

Hetaera Esmeralda, 39–40, 57, 130, 131, 158, 167

Hindemith, Paul, 107–8

Histoire du soldat, L’ (Stravinsky), 195

Historia von D. Johann Fausten (chapbook): DF allusions to, 32, 129–30, 131, 132, 136, 142, 150, 157, 158, 171, 179, 180, 181, 185–86, 188, 219, 225, 226, 227, 228, 229; DF chapter numbering and, xi; Faust myth as portrayed in, 31–32, 116–17, 127, 129–30, 140, 148, 181, 188; formatting of, xi; geographical confines of, 58; literary influence of, 31, 32–34; Mann and, 31, 32, 33–34, 33n5, 227; melancholia in, 81; popularity of, 32

History of the Damnable Life and Deserved Death of Doctor John Faustus, The, 32

Hitler, Adolf, 24; bohemian vs. bourgeois dynamic and, 59, 59n15; death of, 229; DF references to, 164; election returns (1932), 52; Leverkühn and, 60, 113, 139, 185; Mussolini and, 198; Nietzsche and, 93; Poland invasion plans of, 168; rise of, 60; Strauss Salome performance and, 163

Hitler’s Willing Executioners (Goldhagen), 223

Hoeckner, Berthold, 43n15

Hoffmann, Heinrich, 221

Holocaust, the, 5, 68, 70

Holy Roman Empire, 52–53, 80n7

Holy Sinner, The (Mann), 195

Homer, 13, 167

homoeroticism, 12–15, 13n22, 163, 178, 197

homophony, 46, 67, 104–8, 112, 121, 141, 143

Horkheimer, Max, 143

Huber, Kurt, 168

Hugo, Victor, 133, 211

“Humaniora und Humanismus” (Mann), 145

humanism vs. anti-humanism, 189

Hunchback of Notre Dame, The (Hugo), 133, 211

hyperinflation of 1923, 5, 58, 196, 206

“Ideas of 1914,” 192

illiberalism, 3

illness as allegory, 114, 114n3

“Illness as Metaphor” (Sontag), 114, 114n2

impressionism, literary, 48

Independent Socialist Party, 63

inevitability, politics of, 8–9

Inferno (Dante), 125, 127, 166

Institoris, Helmut (character), 13, 191, 196, 234

Institoris, Henricus, 32, 130

intellectual anomie, 93

International Society for Contemporary Music, 204

Invisible Man, The (Ellison), 4

irony, 147, 154

Italian music, 53

jazz, 204

Jesus Christ: Beethoven and, 142; DF allusions to, 161, 225; Dürer and, 80; laughter motif and, 131; Leverkühn and, 117–19; pietà motif and, 156; typological allegory and, 81

“Jewish Question, The” (Mann), 69, 69n5

Jewishness vs. Germanness, 72–73, 211

John (apostle), 199, 225

John, Gospel of, 225

Joseph tetralogy (Mann), 24, 69, 79, 199, 201

Joyce, James, 7; as literary modernist, 184; Mann and, 37–38, 108–9, 184; as Paris avant-garde member, 209; Schoenberg and, 8; works by: Finnegans Wake, 7, 109; A Portrait of the Artist as a Young Man, 108–9; Ulysses, 7, 109

Judaism: Mann and, 68–70; Zeitblom and, 128. See also anti-Semitism

Jünger, Ernst, 67

Kafka, Franz, 37

Kahler, Erich, 47

Kähler, Martin, 55n10, 235

Kaisersaschern (fictional), 80–82, 128, 134, 135, 150, 199

Kaufmann, Fritz, 80

Keats, John, 187

Kierkegaard, Søren, 55n11, 155, 185

Kleist, Heinrich von, 63, 63n18, 192, 194

Klemperer, Otto, 108, 204

Klopstock, Friedrich Gottlieb, 187–88

Knight, Death, and the Devil (engraving; Dürer), 82, 155, 161, 165, 261 fig. 4

Kontje, Todd, 73

Kracauer, Siegfried, 51, 51n2

Kretzschmar, Hermann, 234

Kretzschmar, Wendell (character): Beethoven lectures of, 27, 85, 88, 97, 105–6, 139–41, 172, 184, 227; biographical sketch, 234; as devil figure, 54; Ephrata brethren lectures of, 87, 95, 103; Leverkühn as student of, 57, 84, 156, 158; model for, 234

Kridwiss, Sixtus (character), 3n2, 201, 235

Kridwiss Circle (fictitious proto-fascist group), 24, 59; Conservative Revolution and, 66–67; Mann and, 202; members of, 65–66, 101; models for, 90, 201; as “pre-fascist” group, 65n22

Kumpf, Ehrenfried (character): archaic idiom of, 150; biographical sketch, 235; German culture and, 149; models for, 54, 82, 149; montage technique and, 46; as professorial caricature, 55

Lagarde, Paul de, 92

lamentation and redemption, 119–22

Lamentation of Doctor Faustus, The (symphonic cantata; Leverkühn): Adorno and, 224; anti-Semitism and, 72, 195; Beethoven and, 84–85, 86, 113, 121, 225; composition of, 218–19, 223; elegy and, 195; genre of, 158, 162; Kridwiss Circle and premiere of, 67; as Leverkühn “late period” piece, 84–85, 103, 110, 119; Leverkühn’s piano performance of, 116, 118, 226–27; musical description of, 224, 226; as redemption, 119–22

Langbehn, Julius, 92

Lasso, Orlando di, 10

“Late Style in Beethoven” (Adorno), 26, 105–6, 140, 160

laughter motif, 131, 175

Lebensraum, 169

Leipzig (Germany), 57–58, 115, 158–60, 173

leitmotifs, 45, 111

Les Six, 211

Lesser, Jonas, 4n4

Lessing, Gotthold Ephraim, 72, 233

Letters of Obscure Men, The (Crotus Rubanius), 127

Leverkühn, Adrian (character): biographical sketch, 235; birth of, 4, 50; childhood mentor of, 84; as Christ figure, 117–19, 119n6; death of, 228–29; devil’s pact of, 158, 162; Dürer and, 80–82, 81n12; as Generation of 1914 member, 192; goal of, 34; health problems of, 197, 218; Hitler and, 60, 113, 139, 185; as homosexual, 161, 205; irrational/demonic aspects of, 78; life of, and twelve-tone musical theory, 42–44, 43n15; lifespan of, 4; love triangle involving, 217; Luther and, 82–84; melancholic temperament of, 128; “middle period” of, 65; models for, 225, 228, 230; as modern figure, 189; Munich salon society and, 100; music education of, 133, 138–39; name of, 235; pact with the devil, 100, 104, 116–17, 221–22; paralytic stroke suffered by, 227, 228; patrons of, 142; polyphonic technique and, 45–46, 77; puppet opera by, 33; self-identification of, as Christian, 126; “strict style” of, 48, 67, 88, 97, 100, 119, 134, 139, 170, 220; suicide attempt of, 228, 229; as syphilitic, 64–65, 93, 104, 115–17, 158, 162, 179, 197, 207, 224; theology studies of, 122, 147–48; tragic relationships of, 43; twelve-tone music and, 6; as university student, 53, 55–56, 148–56; Zeitblom’s relationship with, 12–14, 145, 147, 161, 170

Leverkühn, Adrian (character)—as artist/intellectual: Beethoven and, 84–86, 104–8; Beissel and, 87–88; Dürer and, 79–82; Luther and, 82–84; Nietzsche and, 88–91; polyphonic technique and, 77–79, 100–104; typological allegory and, 79, 91–95

Leverkühn, Adrian (character)—as fascist: homophony and, 104–8; music as order/chaos, 97–100; music theory and political allegory and, 96–97; polyphony and political culture, 100–103; strict style and, 108–13, 139

Leverkühn, Adrian (character)—compositions: Brentano Songs, 57, 110, 167, 181, 217; early period (1905-1906), 84, 107, 247; first performances of, 205; late period (1919-1930), 84–85, 111, 248; Love’s Labor Lost, 84; Marvels of the Universe, 187–88; middle period (1906-1918), 65, 84, 103, 107–8, 247–48; Phosphorescence of the Sea, 84, 107, 162, 210. See also Apocalipsis cum figuris (oratorio; Leverkühn); Lamentation of Doctor Faustus, The (symphonic cantata; Leverkühn); Violin Concerto (Leverkühn)

Leverkühn, Elsbeth (character), 118, 132, 133, 156, 214, 236

Leverkühn, Jonathan (character), 88, 130, 137, 236

Leverkühn, Nikolaus (character), 136–37, 236

Levin, Harry, 37–38

Lewisohn, Ludwig, 5n7

liberal culture, regression into irrationality, 4–6; politics of inevitability/eternity and, 8–9, 48

Library of Congress (Washington, DC): Beissel manuscripts at, 87, 144; Mann’s lectures at, 9–10, 89 (see also “Germany and the Germans” (lecture; Mann))

Life and Opinions of Tristram Shandy, Gentleman, The (Sterne), 40, 145

Linderhof Castle (Bavaria), 215

Liszt, Franz, 34

“Little Mermaid, The” (Andersen), 182, 229

logograms, 164, 167, 170

Lolita (Nabokov), 12

London (England), 197

Longfellow, Henry Wadsworth, 125

Lortzing, Albert, 34

Los Angeles Philharmonic, 204, 206

love triangles, 193, 217

Love’s Labour’s Lost (opera; Leverkühn), 84

Love’s Labour’s Lost (Shakespeare), 164, 166, 171, 176, 214, 216

Löwenstein, Hubertus zu, 78n1

Lowe-Porter, Helen Tracy, 16, 28, 43, 174

Loyal Subject, The (H. Mann), 51

Lübeck (Germany), 51, 80n7

Luder, Frau (character), 133

Ludwig II (King of Bavaria), 215, 216

Ludwig III (King of Bavaria), 63

Lukács, Georg, 35

Luther, Martin: Bible translation of, 125; character modeled on, 54, 82, 235; on contritio, 157; devil encounter of, 84, 151; DF typological allegory and, 82–84; Faust myth and, 30–31; historical settings and, 50, 128, 132, 154; Mann’s research on, 26; montage technique and, 46, 150; quotations from, in Faust Chapbook, 179; spiritual liberation vs. political liberty, 94, 152; “table talks” of, 31, 54

Lutheranism, 82, 83, 127

“Lyric Suite” (Berg), 226

Magic Mountain, The (Mann): illness and allegory in, 96–97, 114; music in, 130, 138; nunc stans concept in, 135; success of, 3, 23; Wagner’s influence on, 44–45; WWI and, 24–25

magic square, 11, 43, 82, 134, 150, 172

Malleus Maleficarum, 26, 130, 137, 151, 152, 227, 242

Manlius, Johannes, 31, 118

Mann, Carla (sister), 27, 58, 59, 120, 205, 238

Mann, Frido (grandson), 120, 220, 221, 239

Mann, Heinrich (brother), 51, 176, 198, 224

Mann, Julia Elizabeth (sister), 58, 238

Mann, Julia (mother), 58, 174, 175, 196, 238

Mann, Katia Pringsheim (wife), 69, 233

Mann, Klaus (son), 34, 35n7, 157

Mann, Michael (son), 26, 96, 193, 239

Mann, Thomas, 195; Adorno and, 105n13; birth of, 23; democracy theory of, 14–15, 24, 94–95; diaries of, 25, 185; health problems of, 27, 201; as “high modernist” writer, 37–38; hometown of, 51; as homosexual, 25; interviews given by, 5n7; Joyce and, 37–38, 108–9, 184; Judaism and, 68–70, 128; lectures of, 24, 89, 95, 175, 178, 202 (see also “Germany and the Germans” (lecture; Mann); literary reputation of, 3, 23–25; marriage of, 69; as music lover, 96, 96n1; Nietzsche and, 80, 88n27; notebooks of, 23, 30; as political exile, 3, 24, 27–28, 78n1, 180, 201; propaganda broadcasts of, 24; religious beliefs of, 83; Sontag and, 114nn2–3; speeches of, 68; travels of, 209; ultra-nationalist critics of, 214; as US citizen, 28; works by: “The Art of the Novel,” 47; “At the Prophet’s,” 66n23; “Bilse and I,” 25, 46–47; “Blood of the Walsungs,” 69; “Brother Hitler,” 59n15; “The Camps,” 68, 219, 223; Chronicle of My Life, 161; Death in Venice, 13n22, 23, 38n8, 114, 163; “Disorder and Early Sorrow,” 154; “The End,” 219; “Frederick the Great and the Grand Coalition,” 193; The Holy Sinner, 195; “Humaniora und Humanismus,” 145; “The Jewish Question,” 69, 69n5; Joseph tetralogy, 24, 69, 79, 199, 201; Reflections of a Non-Political Man, 23, 192; Sorrows and Greatness of Richard Wagner, 193; The Story of a Novel, 10n18, 27, 44, 45, 108–9; “The Tables of the Law,” 24, 69; “Thoughts in Time of War,” 143; Tonio Kröger, 23, 183; Tristan, 69. See also Buddenbrooks (Mann); Doctor Faustus entries; Magic Mountain, The (Mann)

Mann, Thomas—correspondence of: Adorno, Theodor W., 141; Broch, Hermann, 70; Kahler, Erich, 47; Lesser, Jonas, 4n4; Meyer, Agnes E., 3; Preetorius, Emil, 3n2, 47; Reeb, Otto, 65n22; Rohde, Erwin, 213; Rosenau, Fred H., 48n28; Tillich, Paul, 149, 153

Mann, Thomas Johann Heinrich (father), 238

Marble Statue, The (Eichendorff), 139

Marcuse, Ludwig, 33n5, 224

Marlinière, Riccault de la, 72

Marlowe, Christopher, 32–33

Martin Secker publishers, 28

Marvels of the Universe (orchestral fantasy; Leverkühn), 187–88

Marxism, 78n1, 134

Massenet, Jules, 211

Massine, Léonide, 211

Master-Builder Jerome of Augsburg, The (drawing; Dürer), 136, 260 fig. 3

Matthew, Gospel of, 118, 171, 176

medium specificity, 41–44

Meistersinger, Die (opera; Wagner), 10, 169

melancholia, 81–82, 81n12, 131, 150

Melanchthon, Philip, 31, 130, 258 fig. 1

Melani, Jacopo, 224

Melencolia I (woodcut; Dürer), 11, 81–82, 150

Méliès, Georges, 34

melody, 82, 99–100, 145, 146, 172

Mendelssohn, Felix, 53, 158, 160, 162

meningitis, 114, 120, 221, 222

Mephisto (K. Mann), 157

Mer, La (Debussy), 162

Merseburg (Germany), 52

Metamorphoses (Ovid), 187, 220

Meyer, Agnes E., 3

Meyerbeer, Giacomo, 174

Midsummer Night’s Dream, A (Mendelssohn), 161

Midsummer Night’s Dream, A (Shakespeare), 171

Milhaud, Darius, 107–8

Minna von Barnhelm (Lessing), 233

Missa solemnis (Beethoven), 88, 93, 118

Möbius, Paul Julius, 89

Moderne Orchester, Das (Volbach), 137

modernism: as barbarism, 101–2; international, 211; literary, 178; musical, 203, 210; poetry, 189

modernity, 104–5, 112, 189

Moeller Van den Bruck, Arthur, 54

Moltke, Helmuth von (the Elder), 194

Moltke, Helmuth von (the Younger), 194

monophony, 101

montage: defined, 27; DF historical settings and, 50–51, 136–37, 159; DF polyphonic structure and, 46, 47–48; ethical problems of, 120; Mann’s use of, 26–27, 28, 46–47, 156; Schoenberg and, 28, 110, 173, 230

Monteux, Pierre, 193

Monteverdi, Claudio, 10, 225

Moretti, Franco, 34

Moses, Julius, 69n5

mother figures, 207, 214

Much Ado about Nothing (Shakespeare), 193, 217, 218

Mühsam, Erich, 64

Munich (Germany): Allied bombing raids in, 45; chapters occurring in, 13, 58–59, 60–62, 173–76; council movement in, 198; democratic backsliding in, 60–62; gay cruising area in, 13n22, 197; German Revolution in (1918-1919), 63–64; Mann’s residence in, 206; post-WWI cultural life in, 217–18; salon society in, 61–62, 100, 189–90, 213, 238; Wagner cult in, 175

Munich Royal Opera, 206

Munich Secession, 174, 176

Munich Soviet Republic, 64, 65

Münzer, Thomas, 52

Murnau, F. W., 34

music: “absolute” vs. programmatic, 166; alchemy and, 226; as allegory, 6–11, 42–44, 43n15 (see also Doctor Faustus: (Mann)—music theory and political allegory in); horizontal vs. vertical aspects of, 82, 99–100, 110, 141, 145, 172

music and mathematics motif, 132

“music of the spheres,” 139

musica riservata, 169

“musical Bolshevism,” 206

Musical Encyclopedia (Riemann), 204

“musical prose,” 219

Mussolini, Benito, 168, 198

Nabokov, Vladimir, 12

Nadler, Josef, 66

Napoleon, 85

Narrated Time, 45

narrative style: heterodiegetic, 38n8; homodiegetic, 38–41

National People’s Party, 62, 100–101, 190

National Socialist Party, 60, 190, 224

nationalism, 56–57, 72–73; Bach and, 158; conservatism and, 190; völkisch, 61, 102, 102n11, 103, 135, 155

naturalism, 48

Naumburg (Germany), 80n7, 229

Nazi Germany: fall of, 27; German public blame for, 134; liberation vs. self-liberation of, 224; Mann as commentator on, 3; Mann writings banned in, 27–28; quotidian life in, 134; WWII military defeats, 167, 186; WWII surrender of, 187, 223

Nazism, 3; art as used in, 143, 144, 157; Conservative Revolution and, 54; defeat of, 12, 27; election returns (1932), 52; genesis of, 5; German character and, 77–78, 224; German “devil’s pact” and, 117; history and, 4–5; intellectual/cultural factors behind rise of, 67, 92, 92n37; Lebensraum concept of, 169; Mann as commentator on, 68–69, 219; medieval German history and, 51–52, 134, 135; propaganda of, 126; resistance to, 168; rise of, 6–7, 24, 48–49, 127, 224; Romanticism and, 63n18; Schoenberg and, 6–7; student movements infiltrated by, 57; twelve-tone music and, 7n11, 113, 226; Volk concept and, 135; Zeitblom and, 39, 48–49, 121, 126, 134, 168, 223

neoclassicism, 48, 183

Newman, Ernest, 26, 85, 96

Nietzsche, Friedrich, 161, 213, 235; Basel teaching position of, 169; “blond beasts”/”ascetic priests” dualism of, 58–59, 191; DF typological allegory and, 88–91, 93, 149; Dürer and, 82, 155; fascism and, 89–90, 93; health problems of, 131; historical settings and, 51; Hitler and, 93; Leverkühn and, 57, 78, 225, 230; Mann and, 80, 88n27; Mann’s research on, 26, 183; montage technique and, 46, 47; mood swings of, 181; postures affected by, 227; return to Naumburg, 229; spiritual liberation vs. political liberty, 94; as syphilitic, 93, 117, 181, 218, 227; as university student, 57; women and, 89; works by: Also Sprach Zarathustra, 131; Ecce Homo, 117, 149, 161, 225; The Gay Science, 235; On the Genealogy of Morals, 58–59, 191

Nietzsche: Attempt at a Mythology (Bertram), 155

“Nietzsche’s Philosophy in the Light of Contemporary Events” (lecture; Mann), 89

Nikolaus II, Prince Esterhazy, 142

1984 (Orwell), 4

“Nobleman with a Hand on His Chest” (painting; El Greco), 229

Nonnenmacher, Kolonat (character), 97, 237

Noten zur Literatur (Adorno), 179

nunc stans (standing now), 80, 135

Nuremberg (Germany), 50, 80, 134, 136, 168, 199

Oberammergau (Bavaria), 215

Odyssey, The (Homer), 13, 167

Oedipus Rex (Stravinsky), 200

On the Genealogy of Morals (Nietzsche), 58–59, 191

“On the German Republic” (lecture; Mann), 178, 202

“On the Marionette Theater” (Kleist), 63, 63n18, 192, 194

Orfeo, L’ (opera; Monteverdi), 225

Origin of the German Mourning Play (Benjamin), 81

Orwell, George, 4, 38, 79

Otto II (Holy Roman Emperor), 150

Otto III (Holy Roman Emperor), 52–53, 80n7, 135, 150

Overture no. 3 (“Leonore”; Beethoven), 147, 195

Ovid, 187, 220

Pacific Palisades (CA, USA): Mann’s residence in, 3, 8, 24, 206

Paganini, Niccolò, 165

Pale Fire (Nabokov), 12

Palestrina (Italy), 59–60, 84, 116, 176, 179

Palestrina, Giovanni Pierluigi da, 10, 176

Panofsky, Erwin, 81

paresis, 116, 117

Paris (France), 209, 210, 211, 217

parody, 7, 109, 159, 169, 178, 212

Parsifal (opera; Wagner), 131, 143, 144, 163

Patton, George S., 223

peasant uprisings (1520s), 65, 94

pentagram, 98–99, 100, 103, 138, 267 fig. 10

Pessoa, Fernando, 34

Peter, Gospel of, 171

Pfeiffering (fictional Bavarian town): Buchel counterparts in, 132; Lamentation of Doctor Faustus performed in, 67; Leverkühn arrives in, 60; Leverkühn’s final days in, 85, 187–88, 197, 220; real-world model for, 60, 196; Schweigestill farm in, 173, 175, 268–69 figs. 11–12; significance of, 60

Philosophy of New Music (Adorno): influence on DF, 26, 44, 146, 170, 173, 183–84; polyphony as defined in, 160; on Schoenberg, 8; on subjectivism in music, 107, 110–11, 112, 112n27, 119–20; on twelve-tone music, 119, 173

Phosphorescence of the Sea (symphonic fantasy; Leverkühn), 84, 107, 162, 210

Piano Sonata no. 32 (Opus 111; Beethoven): Adorno and, 27, 108, 139, 140; DF lectures on, 27, 97, 105, 108; as late-period piece, 140; Mann and, 172; third movement lacking in, 105

pietà motif, 118, 156, 228

Pirckheimer, Willibald, 168

plagiarism, 28, 47, 173

Plague, The (Camus), 4

Plessner, Helmut, 155

Poetry and Truth (Goethe), 148

pogroms, 52

Poland, German invasion of, 168

Polling (Germany), 175, 196, 268–69 figs. 11–12

Pollock, Jackson, 42

polyphony: defined, 101, 141, 143; DF structure and, 44–46, 49, 77–79; dissonance and, 146; “imitative,” 132, 133; Leverkühn and, 67, 133, 146, 189; political culture and, 100–103; “strict style” in, 110n22, 111–12

Portrait of a Young Venetian Woman (painting; Dürer), 133, 259 fig. 2

Portrait of Philip Melanchthon (engraving; Dürer), 258 fig. 1

Portrait of the Artist as a Young Man, A (Joyce), 108–9

Pound, Ezra, 209

Praetorius, Michael, 140

Preetorius, Emil, 3n2, 47, 201

Pressburg (Hungary), 115, 162

Princeton University, 24

Pringsheim, Katia, 69

Pringsheim, Klaus, 69, 96

Proclamations (Derleth), 202

prostitution, 114, 131, 158, 160

Protestant Reformation, 53–54, 127

Proust, Marcel, 37

Prussia, Kingdom of, 50

puppet theaters, 32–33, 63

Pushkin, Alexander, 34, 35n7

Pythagoras, 143

Pythagorean comma, 98–99, 100, 112, 267 fig. 10

Pythagorean music theory, 97–100, 139, 267 fig. 10

queerness, 12–15, 13n22

Recollections of Nietzsche (Deussen), 57, 88

redemption motif, 35, 63, 119–22, 119n6, 195

Reeb, Otto, 65n22

Reflections of a Non-Political Man (Mann), 23, 192

Reflections on Violence (Sorel), 202

Reisinger, Hans, 15, 164, 165, 167, 239

revolutions of 1848, 52

Rheingold, Das (opera; Wagner), 144, 169

rhombohedron, 81–82

Riedesel, Baron von (character), 61–62, 100–102, 190, 237

Riefenstahl, Leni, 52

Riemenschneider, Tilmann, 26, 235

Rimsky-Korsakov, Nikolai, 161

Ring of the Nibelung (opera series; Wagner), 144, 169

Rodde, Clarissa (character): biographical sketch, 238; bohemian vs. bourgeois dynamic and, 59, 173; Generation of 1914 and, 173, 191; Mann’s montage technique and, 27; model for, 27; Munich salon society and, 61; suicide of, 204

Rodde, Frau Senatorin (character), 58, 61, 174, 238

Rodde, Inez (character), 58, 61, 173, 191, 196, 204, 238

Rohde, Erwin, 213

Roman Empire, 101, 102

Romanticism, 63n18, 111, 140, 160, 162, 164, 178, 184

Rosenau, Fred H., 48n28

rounds (musical genre), 102, 132, 134

Russian Revolution, 198

S. Fischer Verlag, xi, 16

Saale River, 128

Saint-Saëns, Camille, 120, 120n8, 137, 213

Salome (opera; R. Strauss), 163

Salonmusik, 213

Salzburg Festival, 206

Samson and Delilah (opera; Saint-Saëns), 120, 120n8, 213

San Francisco Symphony, 96, 193

Sartre, Jean-Paul, 38

Satie, Erik, 210

Saturday Review of Literature, 96n1

Scheidemann, Philipp, 63

Schildknapp, Rüdiger (character): as anti-Semitic, 70–71; biographical sketch, 239; DF dramatic focus and, 34; eyes of, 216; as homosexual, 167; Leverkühn’s relationship with, 59, 164, 215; Leverkühn/Zeitblom relationship and, 13; model for, 15, 165, 239; name of, 165, 167, 239

Schindler, Anton, 85, 89, 140, 142

Schlaginhaufen salon (fictitious Munich salon), 24, 189–90, 239

Schleiermacher, Friedrich, 53

Schleppfuss, Eberhard (character): as devil figure, 41, 42, 54, 151, 160, 185; Faust myth and, 39; montage technique and, 32, 151; name of, 151; as private lecturer, 151–52; as professorial caricature, 55; Zeitblom narration and, 41

Schmitt, Carl, 54, 67

Schneidewein, Nepomuk (character), 120, 121, 220, 221–22, 226, 239

Schoenberg, Arnold: German cultural hubris and, 6–7; Mann’s montage technique and, 28, 110, 173, 230; “musical prose” term and, 219; as twelve-tone music inventor, 170, 173; works by: Transfigured Night, 162; Trio for Violin, Viola, and Cello, 219; writings by: Theory of Harmony, 26, 96. See also twelve-tone music

Schoeps, Hans-Joachim, 154

Schopenhauer, Arthur, 80, 135, 191

Schritt vom Wege, Der (film; 1939), 157

Schubert, Franz, 34, 130

Schuh, Willi, 214

Schumann, Robert, 10, 34

Schütz, Heinrich, 140

Schwarz, Egon, 68, 71–72

Schweigestill, Frau (character), 207, 208

Schweigestill farm, 173, 175, 220, 268–69 figs. 11–12

Schweighart farm (Polling, Germany), 175, 268–69 figs. 11–12

Schwerdtfeger, Rudi (character), 39; death of, 218, 226; DF dramatic focus and, 34; eyes of, 45, 174, 216; as homosexual, 13, 205; Leverkühn violin concerto composed for, 35, 99, 109, 197, 205; Leverkühn’s relationship with, 43, 57, 109, 205, 217, 218; love triangle involving, 193, 216, 217; marriage of, 217–18; name of, 14, 174; Rodde (Inez) and, 191, 196; Zeitblom-Leverkühn relationship and, 12–13

Second Reich, 193

“Self-Portrait at Twenty-Eight” (Dürer), 80

sentimenalism, literary, 188

Shakespeare, William: Gesta Romanorum as influence on, 193; Leverkühn and, 145; Wagner and, 145; works by: As You Like It, 217; Love’s Labour’s Lost, 164, 166, 171, 176, 214, 216; Much Ado about Nothing, 193, 217, 218; sonnets, 177, 214; The Tempest, 121, 220, 222; Twelfth Night, 193; Two Gentlemen of Verona, 193, 217

Shostakovich, Dmitri, 164

Simplicius Simplicissimus (Grimmelshausen), 46, 148, 150, 156

Snyder, Timothy, 8–9, 11, 113, 121

Social Democratic Party, 24, 51, 63

sonata form, 139, 172

Sontag, Susan, 114, 114n2–3

Sorel, Georges, 202

Sorrows and Greatness of Richard Wagner (Mann), 214

Spender, Stephen, 12

Spengler, Oswald, 35, 54, 67, 90

Spies, Johann, 31–32, 33

Spirit of 1914, 62–63, 194

Stachorski, Stephan, 17

Stein, Gertrude, 34

Sterne, Laurence, 40, 145

Stockholm edition, 16–17, 28

Story of a Novel, The (Mann), 10n18, 27, 44, 45, 108–9

Story of Music, The (Bekker), 26, 99, 102, 146, 203

Strauss, Richard, 163

Stravinsky, Igor: avant-garde culture and, 210; Leverkühn and, 10, 107–8; Mann’s research on, 26, 96; memoirs of, 26, 96, 161, 209, 233; musical innovations of, 107–8; as neoclassic composer, 48, 183; works by: Firebird Suite, 162; L’Histoire du soldat, 195; Oedipus Rex, 200

stream of consciousness, 48

“strict style”: in music history, 110n22, 142

String Quartet no. 13 (Beethoven), 142

Struwwelpeter, Der (Hoffmann), 221

subjectivity, 106, 107–8, 110–12, 113, 141, 184, 226

“Suffering and Greatness of Richard Wagner” (lecture; Mann), 175

Suhrkamp edition, 16, 28, 230

Switzerland, 24, 201

symbolism, 48

Symphonie Fantastique (Berlioz), 35, 200, 213

Symphony no. 1 (Brahms), 217

Symphony no. 3 (“Eroica”; Beethoven), 85

Symphony no. 8 (Beethoven), 140

Symphony no. 9 (“Choral”; Beethoven): DF lectures on, 139; intellectual anomie and, 93; Leverkühn Lamentation and “taking back” of, 84–85, 113, 121, 225; progressive/universalist aspirations of, 113, 121, 147; redemption and, 86, 195; spiritual liberation vs. political liberty, 86, 88, 94; symphonic form overcome by, 139

Symphony no. 45 (“Farewell”; Haydn), 226

syphilis: devil’s pact and, 116–17; Dürer and, 80–81; historical reputation of, as punishment, 114n3; Mann’s montage technique and, 46, 47; Mann’s research on, 26; primary, 115; secondary, 115–16; symptoms of, 103, 117, 131, 181, 197, 224; tertiary, 64–65, 116, 197, 221, 224, 227

“Tables of the Law, The” (Mann), 24, 69

Tame Xenias (Goethe), 219

Tannhäuser (opera; Wagner), 156

Tartini, Giuseppe, 198

Tempest, The (Shakespeare), 121, 220, 222

Theory of Harmony (Schoenberg), 26, 96

Thomas Mann: Werk und Zeit (Borchmeyer), 81n12

Thomson, Virgil, 210

“Thoughts in Time of War” (Mann), 143

Thuringia (Germany), 84

Tillich, Paul, 26, 55–56, 55n9, 55n10, 149, 153, 155, 235

Time of Narration, 45

Tissot, James, 35

Tobin, Robert, 13n22, 197

Tokyo Chamber Symphony, 96

Toller, Ernst, 64

Tolna, Frau von (character), 152, 158, 205, 207, 232, 241

Tolstoy, Leo, 50

Tonio Kröger (Mann), 23, 183

Tragical History of Doctor Faustus, The (Marlowe), 32–33

Transfigured Night (Schoenberg), 162

Treaty of Versailles, 197

Trio for Violin, Viola, and Cello (Schoenberg), 219

Tristan (Mann), 69

Tristan and Isolde (opera; Wagner), 137

Trithemius, Johannes, 30

Triumph of the Will (film; 1935), 52

Trump, Donald, 5

Turgenev, Ivan, 34, 35n7

Twain, Mark, 40

Twelfth Night (Shakespeare), 193

twelve-tone music: as allegory, 6–11; defined, 146; four-fold division of, as structuring device, 42–44, 43n15; Leverkühn and, 84, 110–11, 134, 146, 170, 173; Mann’s research on, 26; montage technique and, 28, 110; in Nazi Germany, 7n11, 113, 226

Two Gentlemen of Verona (Shakespeare), 193, 217

typological allegory, 79

ultra-nationalism, 56–57, 214

Ulysses (Joyce), 7, 109

Unconscious Beethoven, The (Newman), 26, 85

Unitarianism, 83

United States: Beissel in, 93; Civil War in, 193; exiled German intellectual community in, 55n9, 206; German Studies in, 105n13; Mann’s arrival in, 180

University of Cracow, 219

University of Gießen, 53

University of Halle, 53, 148–56

University of Jena, 53

University of Notre Dame (South Bend, IN), 4

University of Wittenberg, 53, 148

Vaget, Hans Rudolf, 4n5, 51n2, 52, 120n8

Vienna edition, 16–17

Vintage edition, xi, 16, 17

Violin Concerto (Leverkühn): Beethoven and, 165; commissioning of, 197; first performance of, 205; as late-period piece, 84; Munich salon society and, 213; musical description of, 35, 40, 99, 212–13; parody and, 109

Violin Concerto no. 1 (Shostakovich), 164

Virgil, 166

Volbach, Fritz, 26, 96, 136, 137

Volk, 135

völkisch rhetoric, 61, 102, 102n11, 103, 135, 155

Voss, Richard, 187

Waetzoldt, Wilhelm, 80, 81, 242

Wagner, Cosima, 216

Wagner, Richard: DF references to, 10, 10n18; Faust myth and, 35; leitmotifs used by, 44–45, 111; lodestars of, 145; love affairs of, 216; Mann and, 80, 175; Munich cult of, 175; patrons of, 215; programmatic music of, 166; works by: The Flying Dutchman, 35, 163; Die Meistersinger, 10, 169; Parsifal, 131, 143, 144, 163; Das Rheingold, 144, 169; Tannhäuser, 156; Tristan and Isolde, 137

Walter, Bruno, 96, 206

Wartburg Castle (Germany), 84, 154

Weber, Carl Maria von, 35, 99n7, 147, 160, 181, 195

Weber, Max, 155

Wedekind, Frank, 34, 35n7

Weilheim (Germany), 175

Weimar Republic: collective memory struggles in, 24–25; Conservative Revolution in, 171; constitution of, 24; court system in, 202; cultural high point of, 206; democratic backsliding in, 65; far-right intellectuals in, 55n10; as first German democracy, 86; generational identity in, 56, 154; Jewish literary critics in, 70, 74; Mann’s support of, 202; political culture in, 5, 55n10, 56, 100–101, 190

Weissenfels (Germany), 130

Well-Tempered Clavier, The (Bach), 143

White Rose resistance group, 168

Whitman, Walt, 14, 15, 193

Wilde, Oscar, 34

Wilhelm II (German emperor), 63, 192

Wilhelm Meister (Goethe), 213, 220

Wilhelmine Empire, 86, 145, 193

Wimmer, Ruprecht, 17

Winfried (fictional student fraternity), 13, 15, 55–56, 149, 153

Wingolf (student fraternity), 149, 153

Wirklichkeit der Hebräer, Die (Goldberg), 190

witchcraft trials, 78

Wittelsbach dynasty, 63

Wittenberg (Germany), 31, 32, 53, 132, 148

Wolf, Hugo, 10, 26, 181, 228, 230

Wolfenbüttel (Germany), 50

Woods, John E., xi, 16, 17, 102n11, 125, 138, 141

Woolf, Virginia, 37

World War I: chapters devoted to, 62–63; end of, 197; German responsibility for, 197; German university life and, 56; intellectual/cultural factors behind outbreak of, 3; The Magic Mountain and, 24–25; Munich salon society and, 62; outbreak of, 192, 197; Zeitblom’s military service during, 192, 194

World War II: chapters devoted to, 167–70; DF composition history and, 24–25, 186; German resistance movements following, 223; German surrender, 187, 223; German V-1 rocket used in, 197

xenophobia, 149

Zeitblom, Bartholomäus, 80

Zeitblom, Serenus (character): Apostolic function of, 85; biographical sketch, 242; birth of, 4, 50; Breisacher and, 190; comic relief function of, 33; as devil figure, 43n15; final words of, 92; as Generation of 1914 member, 192; as “good German,” 12; as homosexual, 161; Leverkühn’s relationship with, 12–14, 145, 147, 161, 170; lifespan of, 4; marriage of, 129, 170; models for, 140; Munich salon society and, 100; name of, 242; as narrator, 25, 38–44, 38–39n9, 48–49, 126–30, 134; Nazism and, 39, 48–49, 121, 126, 134, 168, 223; as novel’s hero, 12; polyphonic technique and, 45–46, 77; prayer for the fatherland, 229; retirement of, 127; temperament of, 128; “thoughtlessness”/ “suffering” dualism of, 58–59; travels of, 58; as university student, 53, 55–56, 153–54; WWI military service of, 192, 194

Zionism, 68–69, 69n4, 71

Zurich (Switzerland), 214